Extremely good lesson, didnt know inversions can influence the sound of a progression and add so much. Rather than just using the other diatonic chords, borrowed chords, secondary dominants and tritone subs. Really opens up the possibilities...
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Once again, thanks for sharing! ---- To those who don't know "harmonic (!) minor scale" or "Aeolian ♮7 scale": it's a musical scale derived from the natural minor scale, with the minor seventh degree raised by one semitone to a major seventh, hence flat 3/5 but natural 7 (in the video: e flat, a flat and b natural).
It is good practice to work out chord progressions in pop songs. In this way you can see why songs work by e.g modulation from one key to another or returning the the original key. You can learn a lot by doing this. Also good for hearing/working out chords!
@@MusicMattersGB I've a piece I've had for years in C minor using and Fc and no matter what I did it sounded cheesy when I wrote a "B Section". The usual Ab > Bb back to Cm etc. I liked going to Ab to G major in the Harmonic minor with the Eb note on top. But still it didn't do the theme justice. I've played a few of these options thanks a lot. I'd love to see some comparisons to Classical by the better Pop writers like The Beatles and early/mid Elton John.
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Huge topic - everything’s valid ,I suppose it depends on the overall motive/scheme /where you are heading towards . The possibilities are endless esp considering this is only using tonic triads as a start . I’ve found this fascinating for years . Thank you Gareth - great !! All the best
this is amazing! got to know a lot more about major and especially minor scale and more insights when I want to add my chord to some of my favourite songs. :p
Thank you so much sir. You are the best teacher. Everytime I am down and lack inspiration, I watch your videos. That gives me endless opportunities to compose music. 🙏🙏
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@@MusicMattersGB which of your courses deepens the concepts presented in this video ? I already have a good knowledge of theory. Thks for the good work !!
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I’ve just watched that. Unfortunately I said V instead of VI. Apologies. Just to clarify in a minor key (using the harmonic minor) V is major and VI is major.
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Yes. It’s great, especially on the approach to a Cadence. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
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Extremely useful. To be frank, I've subscribed to the 'banglo-us ' tradition which may seem a little weird to music teachers. But it works well for me.
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Thank you for the great lesson! Your chart really helps me think about what's available - all the different sonic possibilities! And thank you for the explanation between the US and UK systems but in this case, the UK system of letters is easier to remember! Thank you again!
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b means first inversion but a letter after the chord indicates the inversion while a flat sign before a chord would indicate a borrowed chord/ chromatic alteration.
How do I get that keyboard reflected on screen....what is the technique or software used...?? Need for my online lessons.. Awaiting your valuable inputs Gareth sir...
Yes the bass shifting down a semitone works well. Conventionally it’s about the second inversion because a 6/4 5/3 resolution is problematic with iiic moving to vii
great stuff, thanks a lot for that. ideas for future parts: including the use of the secondary chords, creating progressions beyond 3 or 4 chords, what are diminished and augmented triads/chords actually good for? .... could be an awesome series!
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It is not surprising that you do not have an example with chord III, though it is tempting for beginner students to try to use it. Have you done a video on problems (and possibilities perhaps) with chord III (why it should be avoided)? Another issue is V - IV. Some teachers say this should be avoided. Do you take this line too?
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Very informative video. Although all the chords you discussed as chord progressions are diatonic. Could you perhaps do a video like this showing possible chord progressions involving chromatic harmony?
It is not an American convention, really, but derives from the practice of describing the intervals above some bass note. Take the chord C Major. C - E - G. In first inversion, that gives E - G - C, where C makes a general sixth interval against the E in the bass [E-F-G-A-B-C], & G makes a general third interval against the same bass note E [E-F-G]. Bear in mind that in a 6/3 chord, the 6 could actually sound below the 3, or vice versa, if compounds of the 6 or the 3 are taken into account. But, in the case of the C Major chord in first inversion, that bass note is E, & the 6 and the 3 above it are measured in relation to it, resulting in the general description of it as a "6/3" inversion. The same holds for the 6/4 or any similar description of an inversion you encounter. Look into "figured bass".
I call them first and second inversion, not 6-3, 6-4. I have to say I like the abc version more. Calling the first thing "root", the second thing "first", and the third thing " second" is what I've come to expect from the geniuses who created our musical terms.
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Hi Gareth. I had a chuckle when you mentioned the Shakespeare chord. That might have gone over some younger viewers heads. Getting back to the theory two things I found of interest were when you mention following the tonic chord with an inversion of the tonic chord. In this way you get movement while staying on the same chord. The second thing was when you mentioned using an inversion of the diminished chord. Could you follow up this video with using non Diatonic chords outside the Key. I only found out about this recently. I think you borrow chords from a parallel key. That indeed would be the logical follow up to this video. Thank you.
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Very helpful - as with many of your videos. Also useful is to know how to specify inversions in chord notation - used in some systems. C/E is a representation of Ib in C major, while C/G is Ic in C major. Cm/Eb is Ib in C minor. F/A is IVb in C major, while Fm/Ab is IVb in C minor (harmonic), and F/C is IVc in C major. V (Va) is just G, while Vb is G/B and Vc is G/D. II (or IIa - sometimes written ii in lowercase - to show minor) is Dm, IIb is Dm/F. VI (vi to show minor) is Am. Trickiest is VIIb - needs more thought. I think it's Bdim/D or sometimes shown as a chord Bo/D. All of these are assuming C as the tonic.
@@MusicMattersGB Thanks. I missed one or two - I think they're now fixed. It would get more difficult for other keys, but I'm assuming those who want to use the chord notation will figure it out. It's useful for some of the notation systems, and some will play back a voicing of the chords specified.
Confused: In example #2, you're using the first inversion for chord V, though it's not labeled that. Other times also, you're using the inversion chords on the ones that aren't labeled as such. Why? If the freedom is always there to use other inversions instead of the exact notation, why use labels at all? Thanks!
I’ve just checked the inversions and they seem to be correct. Inversions are determined by the lowest sounding note of the chord. The other notes can be placed in any order.
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No. The melody and chords need to belong to each other for the most part but you don’t usually want the bass line tracking the melody which is what happens if the chords follow the melody.
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The Keyboard Harmony course is a practical application of the whole topic and yes, it certainly covers chord progressions and much else besides. If you click on the course there is a complete list of contents.
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Extremely good lesson, didnt know inversions can influence the sound of a progression and add so much. Rather than just using the other diatonic chords, borrowed chords, secondary dominants and tritone subs. Really opens up the possibilities...
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Can't see the super thanks button.
No problem. It may not be available in your country or on your device yet. Thanks anyway.
Absolutely
Once again, thanks for sharing! ---- To those who don't know "harmonic (!) minor scale" or "Aeolian ♮7 scale": it's a musical scale derived from the natural minor scale, with the minor seventh degree raised by one semitone to a major seventh, hence flat 3/5 but natural 7 (in the video: e flat, a flat and b natural).
😀
Please recommend books for chord progressions. You are the best teacher I have ever seen. Thanks for your service sir!!
It is good practice to work out chord progressions in pop songs. In this way you can see why songs work by e.g modulation from one key to another or returning the the original key. You can learn a lot by doing this. Also good for hearing/working out chords!
Have a look at our videos on the subjects of chord progressions in major keys and in minor keys.
@@MusicMattersGB I've a piece I've had for years in C minor using and Fc and no matter what I did it sounded cheesy when I wrote a "B Section". The usual Ab > Bb back to Cm etc.
I liked going to Ab to G major in the Harmonic minor with the Eb note on top.
But still it didn't do the theme justice.
I've played a few of these options thanks a lot.
I'd love to see some comparisons to Classical by the better Pop writers like The Beatles and early/mid Elton John.
😀
@@MusicMattersGB He's right! These courses are great and easier to grasp than many books!
Great to see someone recognizing the importance of inversions and giving them the attention they deserve
An important aspect.
Incredibly interesting and very helpful ! Thank you for sharing !
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Best music teacher I’ve had….thank you!
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In the nick of time! I've just been working on this. Thank you,
A pleasure. Thank you.
Thanks!
A pleasure! Thank you very much for your generosity and support for the channel!
Invaluable resource. And yes, Music Matters, as I'm finding out. Thank you and sending you good wishes.
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Very well
Demonstrated .
This helps explain
Much .
Cheers
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Huge topic - everything’s valid ,I suppose it depends on the overall motive/scheme /where you are heading towards . The possibilities are endless esp considering this is only using tonic triads as a start . I’ve found this fascinating for years . Thank you Gareth - great !! All the best
That’s great. Hope life is good.
this is amazing! got to know a lot more about major and especially minor scale and more insights when I want to add my chord to some of my favourite songs. :p
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Thank you so much sir. You are the best teacher. Everytime I am down and lack inspiration, I watch your videos. That gives me endless opportunities to compose music. 🙏🙏
You’re very kind. I hope you’re well.
@@MusicMattersGB yes we are fine. Thank you 🙏. Hope you all are fine there. Take care.
Excellent video - really powerful creativity tool.
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I really appreciate your teaching style, I got a huge amount from this, and I plan on watching many more of these!
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@@MusicMattersGB which of your courses deepens the concepts presented in this video ? I already have a good knowledge of theory. Thks for the good work !!
Thank you for this video I love the way you put the open minded approach across.
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Great teacher 🙌🙌🙌
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At 12:29 the narration says five is major, the cord spelt out in green and played is an Ab major triad, but the display reads vi is augmented?
I’ve just watched that. Unfortunately I said V instead of VI. Apologies. Just to clarify in a minor key (using the harmonic minor) V is major and VI is major.
Great lesson as always!
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Great video as always!
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Man I love the II chord.
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Another great video. It's interesting that the American system for describing inversions is apparently built from figured bass ! Thanks for the film !
Absolutely
Been following you since long sir. Great lessons from a great person. Love from India ❤
That’s most kind. Love from the U.K.
Honestly it's nice to see you
Thank you
You are really teaching, amazing, greetings from Argentina!
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Extremely useful. To be frank, I've subscribed to the 'banglo-us ' tradition which may seem a little weird to music teachers. But it works well for me.
Great. Do what’s most useful for you
Love your videos! Could you do one about chord III?
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Thank you kindly.
A pleasure. Thanks for your support
Thank you sir
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@@MusicMattersGB Thank you sir, in Indonesia I am also a teacher teaching Music Art ... Nice to know you
Good to know you too.
Thank you for the great lesson! Your chart really helps me think about what's available - all the different sonic possibilities! And thank you for the explanation between the US and UK systems but in this case, the UK system of letters is easier to remember! Thank you again!
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Great Garreth
Very Helpful
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How you can mark borrowed chords from paraller keys example from minor to major if b on the corner means second inversion
b means first inversion but a letter after the chord indicates the inversion while a flat sign before a chord would indicate a borrowed chord/ chromatic alteration.
This is very useful. I use I, V, iv, IV and iii, vi, ii, V a lot. I, vi, iii, V is quite nice too.
That’s great. It’s interesting to explore different progressions.
Thank you
Thanks for your support.
How do I get that keyboard reflected on screen....what is the technique or software used...??
Need for my online lessons..
Awaiting your valuable inputs Gareth sir...
Synthesia is the program. We capture the midi in that.
@@MusicMattersGB Thank you so much....immense help...
😀
What about following I with iiic?
Also, the third progression, I - IVb - V is what's used in La Bamba, if I'm not mistaken.
😀 I to iiic is an unusual progression.
@@MusicMattersGB:
It's quite nice if you ask me, just a single voice moving down a single semitone. Any particular reason why it's unusual?
Yes the bass shifting down a semitone works well. Conventionally it’s about the second inversion because a 6/4 5/3 resolution is problematic with iiic moving to vii
I like this . Try this. Try that , and listen ! Thank you . Alan
😀
Thank you so much
A pleasure
great stuff, thanks a lot for that. ideas for future parts: including the use of the secondary chords, creating progressions beyond 3 or 4 chords, what are diminished and augmented triads/chords actually good for? .... could be an awesome series!
We’re on it. Have a look at the channel and you’ll find quite a bit of that with much more on the way.
Love those vids
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IIb or not IIb 😀 ... Shakespeare's back - in music! Excellent video and I love the entertainment, too. 😘
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It is not surprising that you do not have an example with chord III, though it is tempting for beginner students to try to use it. Have you done a video on problems (and possibilities perhaps) with chord III (why it should be avoided)?
Another issue is V - IV. Some teachers say this should be avoided. Do you take this line too?
Video on chord III in pipeline. Many books advise avoiding V IV. It’s all about context. Often it doesn’t work but sometimes it works well.
So helpful
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Great video, thanks. Does a 7th chord have a 4th inversion?
Yes. Absolutely
Wonderful
Thanks. Hope you’re well.
Congratulations
Glad it’s helpful
@@MusicMattersGB I will try to show your explanations to my pupils. Thank you.
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Hi! This is a question about modulation: When modulating from C major to its dominant G, what note of C will be raised?
F#
@@MusicMattersGB Thank you!
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Can I go I > VI > I?
It’s perfectly possible. Just remember VI I is not a cadence.
@@MusicMattersGB So am I required to write a cadence when I come to the end of a phrase?
@nguyenyang9854 Yes if you’re writing in a style that follows the conventions of Western tonal music.
18:17 Progression #13 sounds like one of Chopin's piano concerto!
It’s amazing how often these progressions turn up.
tyvm!!!!!!!!!
A pleasure.
Very informative video. Although all the chords you discussed as chord progressions are diatonic. Could you perhaps do a video like this showing possible chord progressions involving chromatic harmony?
That’s certainly a future possibility.
Why are the US chord inversions named 6-3 and 6-4? I don't see how that translates at all.
It is not an American convention, really, but derives from the practice of describing the intervals above some bass note.
Take the chord C Major. C - E - G.
In first inversion, that gives E - G - C, where C makes a general sixth interval against the E in the bass [E-F-G-A-B-C], & G makes a general third interval against the same bass note E [E-F-G].
Bear in mind that in a 6/3 chord, the 6 could actually sound below the 3, or vice versa, if compounds of the 6 or the 3 are taken into account. But, in the case of the C Major chord in first inversion, that bass note is E, & the 6 and the 3 above it are measured in relation to it, resulting in the general description of it as a "6/3" inversion.
The same holds for the 6/4 or any similar description of an inversion you encounter. Look into "figured bass".
@@punctuscontrapunctum4066 That makes perfect sense, thank you for the detailed explanation!
That’s great. It all comes from the Figured Bass system developed during the early Baroque period, all focused on intervals above the bass note.
I call them first and second inversion, not 6-3, 6-4. I have to say I like the abc version more.
Calling the first thing "root", the second thing "first", and the third thing " second" is what I've come to expect from the geniuses who created our musical terms.
I'm no expert but at 5:49, you say "I IV V could sound like this", but then you play I , III V I. Am I wrong?
I’m playing I IV V but then offer a second version with the melody presented differently over I IV V.
cheers
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What chords to follow chord Ib?
IV works well, as does VIIb, as does IIb, as does V, as does VI.
Is it just me or has our teacher undergone a massive change? I can hardly recognize him as the same man!!!
It’s been intentional weight loss - not before time!
Hello from Russia. How do you think, can talented/experienced people "feel" all these things and "guess" it?
Sure but it’s all associated with firm foundations of knowledge.
@@MusicMattersGB so if you are pro, you can „speak“ this language and choose the avenues
Absolutely
Why is your 6 sometimes an A and sometimes a Gsharp chord? 😳
Unsure of your question. Perhaps you could clarify?
Hi Gareth. I had a chuckle when you mentioned the Shakespeare chord. That might have gone over some younger viewers heads. Getting back to the theory two things I found of interest were when you mention following the tonic chord with an inversion of the tonic chord. In this way you get movement while staying on the same chord. The second thing was when you mentioned using an inversion of the diminished chord. Could you follow up this video with using non Diatonic chords outside the Key. I only found out about this recently. I think you borrow chords from a parallel key. That indeed would be the logical follow up to this video. Thank you.
We’ve got some videos on the channel on non diatonic chords but will look at parallel key borrowing as a topic.
@@MusicMattersGB Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
SO i can continue with (Which Chord Comes Next_ (Major Chord Progression Chart) - Music Composition) AFTER Follow Chord I
See our video about the best chords to follow chord I
First comment😄
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Very helpful - as with many of your videos. Also useful is to know how to specify inversions in chord notation - used in some systems. C/E is a representation of Ib in C major, while C/G is Ic in C major. Cm/Eb is Ib in C minor. F/A is IVb in C major, while Fm/Ab is IVb in C minor (harmonic), and F/C is IVc in C major. V (Va) is just G, while Vb is G/B and Vc is G/D.
II (or IIa - sometimes written ii in lowercase - to show minor) is Dm, IIb is Dm/F. VI (vi to show minor) is Am. Trickiest is VIIb - needs more thought. I think it's Bdim/D or sometimes shown as a chord Bo/D. All of these are assuming C as the tonic.
That’s the idea. Don’t forget the accidentals in the slash chords.
@@MusicMattersGB Thanks. I missed one or two - I think they're now fixed. It would get more difficult for other keys, but I'm assuming those who want to use the chord notation will figure it out. It's useful for some of the notation systems, and some will play back a voicing of the chords specified.
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Confused: In example #2, you're using the first inversion for chord V, though it's not labeled that. Other times also, you're using the inversion chords on the ones that aren't labeled as such. Why? If the freedom is always there to use other inversions instead of the exact notation, why use labels at all? Thanks!
I’ve just checked the inversions and they seem to be correct. Inversions are determined by the lowest sounding note of the chord. The other notes can be placed in any order.
9:44 that made me laugh for a while, thank you for making this video
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Shouldn't the chord progressions follow your melody? Might be a stupid question because I'm a newbie.
No. The melody and chords need to belong to each other for the most part but you don’t usually want the bass line tracking the melody which is what happens if the chords follow the melody.
🍀🍀🍀👍
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I ii iii IV V vi vii°
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Was Gareth’s weight loss ever explained?
Yes. There’s even a video about it. Sadly the weight is going back on again. Ugh…!
Lol 2b or not 2b, rolling on the floor
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Hope you’re eating well man. Looks like you lost tons of weight.
I’m doing fine thanks. Intentional weight loss. Thanks for your concern.
This is why so many songs sound similar, no creativity.
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You've lost weight! How are you?
I’m well thanks. It’s intentional weight loss. Thanks for your concern.
The best chords to follow ? 🤣🤣🤣🤣🤣
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Which of your courses goes deeper on this topic ? Thanks 🙏
The best course would be our Advanced Theory course. Enjoy! www.mmcourses.co.uk/p/advanced-music-theory-course
What would the difference with Keyboard Harmony be ? I already have a good knowledge of theory.
My goal is not only harmony but progressions too.
The Keyboard Harmony course is a practical application of the whole topic and yes, it certainly covers chord progressions and much else besides. If you click on the course there is a complete list of contents.
So I guess I’ll need both of them !!!😂
Thanks!
A pleasure! Thank you very much for your generosity and support for the channel!
Thanks!
A pleasure! Thank you very much for your generosity and support for the channel!