This content is _extremely_ underrated!! I’d expect something like this to come from someone with at minimum 10k subscribers, but you’re just on a whole different level of quality. I absolutely adore this format and the detail and importance of what’s being conveyed. Looking forward to the next Barbershop Theory!
Awesome stuff as always! I thought your point on the negative harmony was super interesting as I've never heard it referenced in a barbershop sense. I also really enjoyed how you demonstrate the different ways of tuning this chord!
The first one features a just minor 3rd and has the ratio 50:45:36:30 The second one features a subminor third and has the ratio 10:9:7:6 The simpler ratio is probably the reason why the second one sounds nicer. Also, with the subminor 3rd being narrower than the minor 3rd, it allows for a stronger resolution.
yes, because the subdominant is a fifth BELOW the tonic, and is hence the SUBdominant, the dominant below the tonic in other words... Seems to me the relation to the tonic is what makes harmony positive or negative so that if you go a step above you get a super tonic and a step below you get a sub tonic. I love all the chords that are borrowed from minor: the flat 6, the minor 4, half diminished 2 etc. And all their crew of chords! Here is one that screwed me up: what is an F7 chord in C? a V7/Bb, or a secondary dominant of the borrowed subtonic! What a ways to go to explain a chord that's just the IV7 in the blues! My teacher's answer to this question (which avoids the question!) was that you better be watching for a modulation, say to F: C-F-G-C-F7-Bb-F-Gmi-C7-F, or, more fun, C-F-G-C-F7(aug6th)-E-E7-A. I have never written a barbershop tag and I'm feeling like I might want to try it! Any suggestion for an easy one?
Amazing lessons and advice, coming from a barbershop newbie! Illustrations and explanations are on point, and the fact that you can accurately sing notes that are CENTS different from regular intonation is crazy! Keep it up 👏🏻👏🏻👏🏻
Thank - glad you found it useful! Although I am a fairly good singer, I have used pitch software to create these examples 😄 However all the examples I show can be recreated and it’s very possible to learn to be this precise ALL the time!
I agree, but I would put it this way: It's amazing that we can accurately sing the right notes according to the true overtone series rather than the equal temperament which was imposed on us so long ago :)
If you continue to view iv6 in the context of negative harmony, the "rootless 9th" idea is just a reflection of the idea that the V7 chord is really a V9 with a missing 9th.
True, in Europe it’s called F clef (F nøgle in danish), but I’m pretty sure Bass Cleff is the standard in english speaking countries. But yeah about the dots, that’s on me 😅
Both chords have the same notes, yes. And that can maybe also explain why the IVm6 has such a big pull towards the tonic - because it’s a variety of the dominant chord.
God question! Yes and no. The way I see it, it depends on which chord it follows. In the key of C, a D-type dominant chord is resolving to G, the next chord in line in the circle of 5ths. So if the progression is D7b5 - G7 - C, then yes, the half-diminished and m6 chord appear the same. However, if the cadence is Fm6 - C (which is a natural cadence because subdominants can freely Resolve to the tonic without any help from a dominant, I would then call the notes F-Ab-C-D a IVm6 chord. Just my take on the matter 😊 Thanks for the question!!
@@BarbershopTagAlong I like that the chord can be both. Totally agree on the V/V-V-I, I remember that from theory class. I’m new to barbershop and these harmonies, so yes, the iv6-I is a great and direct route to tonic. I’ve always loved that the half-diminished 7th resolves so easily, the best of the 7th chords IMHO. Thanks for responding! You appeared randomly in my feed-why the algorithm gave you to me today completely unknown…I am now subscribed! Thanks again-
@@adamkeener6106 Yeah, I love that part of music Theory - that you can view Things in different ways and still get the same end result, if that makes sense. So glad to have you ok board this crazy barbershop train! Thanks for subbing, and please Keep the questions coming! - Søren
I loved your tuning examples and explanation. I think the he “Westminster” resolution is what makes the Biebl “Ave Maria” so attractive to Barbershoppers.
I sang barbershop in high school but that was 50 years ago: I don't remember hearing about a barbershop 7th chord until about five minutes ago. If you have something called a barbershop 7th chord, can't it just be called a dominant 7th chord? If it's on the 5th degree of the scale I would say it's dominant and if it's on any other degree, it probably is a secondary dominant?
The reason the term “barbershop 7th” is used is because of the way we tune that chord compared to other musical generes and styles. So yes, you could just call it a dominant 7th 😊
I've been singing barbershop for years but I'm a complete beginner at music theory. There's a bit of a road ahead of me before I understand this video, but one day.
Luckily, even though these different topics I address are pretty advanced, if you trust your ears going forward and learn the vocabulary, it’s easier to put into practice than one might think 😊
This is a fine video. Excellent explanation. I learned something more definitive than I already knew, and wonderful use of just intonation to drive the points home. A+ Becoming a fan. JG
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This content is _extremely_ underrated!! I’d expect something like this to come from someone with at minimum 10k subscribers, but you’re just on a whole different level of quality. I absolutely adore this format and the detail and importance of what’s being conveyed. Looking forward to the next Barbershop Theory!
Thank you so much!! Comments like these mean the world to me ❤️ Also makes me work harder to improve the quality of my content!
@@BarbershopTagAlong DUDE. Please make more Music Theory videos regarding barbershop! I want an arrangers series SO bad.
@@DigitalChocolates69 I'm working on a new episode as we speak - about arranging in fact - but it just takes time to make!
Awesome stuff as always! I thought your point on the negative harmony was super interesting as I've never heard it referenced in a barbershop sense. I also really enjoyed how you demonstrate the different ways of tuning this chord!
Thank you so much Ryan! So happy you enjoyed the bit about negative harmony, as well as the tuning side of Things!
The first one features a just minor 3rd and has the ratio 50:45:36:30
The second one features a subminor third and has the ratio 10:9:7:6
The simpler ratio is probably the reason why the second one sounds nicer. Also, with the subminor 3rd being narrower than the minor 3rd, it allows for a stronger resolution.
Thanks for this amazing explanation! I'm not used to use ratios, but I think you're absolutely right in terms of why the 2nd version sounds better!
So when you negative harmony an authentic cadence, it becomes a plagal cadence. Fascinating!
yes, because the subdominant is a fifth BELOW the tonic, and is hence the SUBdominant, the dominant below the tonic in other words... Seems to me the relation to the tonic is what makes harmony positive or negative so that if you go a step above you get a super tonic and a step below you get a sub tonic. I love all the chords that are borrowed from minor: the flat 6, the minor 4, half diminished 2 etc. And all their crew of chords!
Here is one that screwed me up: what is an F7 chord in C? a V7/Bb, or a secondary dominant of the borrowed subtonic! What a ways to go to explain a chord that's just the IV7 in the blues! My teacher's answer to this question (which avoids the question!) was that you better be watching for a modulation, say to F: C-F-G-C-F7-Bb-F-Gmi-C7-F,
or, more fun, C-F-G-C-F7(aug6th)-E-E7-A. I have never written a barbershop tag and I'm feeling like I might want to try it! Any suggestion for an easy one?
Amazing lessons and advice, coming from a barbershop newbie! Illustrations and explanations are on point, and the fact that you can accurately sing notes that are CENTS different from regular intonation is crazy! Keep it up 👏🏻👏🏻👏🏻
Thank - glad you found it useful!
Although I am a fairly good singer, I have used pitch software to create these examples 😄 However all the examples I show can be recreated and it’s very possible to learn to be this precise ALL the time!
I agree, but I would put it this way: It's amazing that we can accurately sing the right notes according to the true overtone series rather than the equal temperament which was imposed on us so long ago :)
3:31 forgot to add the flat 😎 Great video, please keep on going! 😊
Ooooooh nooooo!! 😱 You would’ve thought I would catch that in the editing process 😅 You sometimes lose track of all the drawing!
If you continue to view iv6 in the context of negative harmony, the "rootless 9th" idea is just a reflection of the idea that the V7 chord is really a V9 with a missing 9th.
Yeah exactly!! This is a pretty solid argument as to why a dominant 9th (or 7th) chord on the b7 of the scale leads so well to I!
Excellent, informative video. It is quite obvious that a lot of work went into this. Enjoyed it!
So glad you enjoyed it Ron! And thanks for the kind words!
These videos are really fun an engaging! I hope you continue to make videos on this series!
Thank you so much - happy to hear it!! And you bet I will!
I’ve always loved this chord, but didn’t even realize the iv6 and rootless 9 would tune differently! Genius!
Me too! It’s really night and day if you listen closely and I absolutely love that part of barbershop!
Thank you so much for this video! Perfect lesson.
So glad you liked it!!
Søren, you are going places!!
Nice stuff, but a point of order...The bass clef is also know as the F clef and the two dots should be above and below the F line, not the D line.
True, in Europe it’s called F clef (F nøgle in danish), but I’m pretty sure Bass Cleff is the standard in english speaking countries.
But yeah about the dots, that’s on me 😅
The IVm6 is just the V7b9sus. No?
Both chords have the same notes, yes. And that can maybe also explain why the IVm6 has such a big pull towards the tonic - because it’s a variety of the dominant chord.
@@BarbershopTagAlong A real cliche in pop music is F Fmin C. So I always assumed that that was IV, V7, i
@@Lutemann Yeah, and the reason why it feels like a IV V I is because they are so similar in terms of voice leading and pull towards the tonic.
Always a fan of the fruity rootless 9th
Help! Isn’t this also a half-diminished 7th (D/F/Ab/C)?
God question! Yes and no. The way I see it, it depends on which chord it follows. In the key of C, a D-type dominant chord is resolving to G, the next chord in line in the circle of 5ths. So if the progression is D7b5 - G7 - C, then yes, the half-diminished and m6 chord appear the same. However, if the cadence is Fm6 - C (which is a natural cadence because subdominants can freely Resolve to the tonic without any help from a dominant, I would then call the notes F-Ab-C-D a IVm6 chord.
Just my take on the matter 😊 Thanks for the question!!
@@BarbershopTagAlong I like that the chord can be both. Totally agree on the V/V-V-I, I remember that from theory class. I’m new to barbershop and these harmonies, so yes, the iv6-I is a great and direct route to tonic. I’ve always loved that the half-diminished 7th resolves so easily, the best of the 7th chords IMHO. Thanks for responding! You appeared randomly in my feed-why the algorithm gave you to me today completely unknown…I am now subscribed! Thanks again-
@@adamkeener6106 Yeah, I love that part of music Theory - that you can view Things in different ways and still get the same end result, if that makes sense. So glad to have you ok board this crazy barbershop train! Thanks for subbing, and please Keep the questions coming! - Søren
AMAZING
Thank you so much! Glad you liked it!
I prefer version 1
Cool! Why exactly do you prefer that version? The way it sounds?
I loved your tuning examples and explanation. I think the he “Westminster” resolution is what makes the Biebl “Ave Maria” so attractive to Barbershoppers.
Thank you so much! Yeah 100%
I sang barbershop in high school but that was 50 years ago: I don't remember hearing about a barbershop 7th chord until about five minutes ago. If you have something called a barbershop 7th chord, can't it just be called a dominant 7th chord? If it's on the 5th degree of the scale I would say it's dominant and if it's on any other degree, it probably is a secondary dominant?
The reason the term “barbershop 7th” is used is because of the way we tune that chord compared to other musical generes and styles.
So yes, you could just call it a dominant 7th 😊
I've been singing barbershop for years but I'm a complete beginner at music theory. There's a bit of a road ahead of me before I understand this video, but one day.
Luckily, even though these different topics I address are pretty advanced, if you trust your ears going forward and learn the vocabulary, it’s easier to put into practice than one might think 😊
This is a fine video. Excellent explanation. I learned something more definitive than I already knew, and wonderful use of just intonation to drive the points home. A+ Becoming a fan. JG
Thank you so much Jay!
This is complex but beautifully explained, thanks
Thank you so much Darcy!