I'm watching this again, just because you are a brilliant teacher. I've been practicing the Rule of the Octave, and started learning about cadences with exercises from CPE Bach. And I'm becoming aware of movement between fingers and the patterns. My teacher said he didn't know why I just didn't learn songs, but he's happy to help me on the path I've chosen. I'm going to be joining your group soon (personal matters) but I appreciate your advice through these videos. Merci beaucoup, Gareth.
Great video! The explanation of non-chord (inessential) tones is excellent. Because music is NEVER (or seemingly never) Black and White ...except on a keyboard, arguments can be made for the following: In measure 5, because (in the left hand) the middle C moves to D and the E in the right hand moves to F while the G in the right hand continues to sound, the argument could be made that the chord changes from C to G7 ( I to V7c). The counter argument that the harmonic tempo is not moving that quickly either before or after that incident (I presume) would be the general consensus of most musicians. Likewise, in the last measure, one could argue that the movement in the left hand of E & G to D & F suggests a D7 chord ( II7) which can be a substitute for V7. The fact that the previous chord is 1b adds fuel to the argument. Again, ultimately, the tempo of the harmony causes a "lean" toward passing notes. Because the tempo of the piece is not specified (in this example), if the entire piece's tempo were (perhaps) half the speed that was demonstrated, I believe the arguments for the chords I mentioned becomes a tad bit stronger. But, that's part of the joy of music / music analysis: given the right circumstances, the right (or wrong) attitude, and (if necessary) a sufficient quantity of wine (or other strong spirit), a (sometimes) plausible argument can be made for almost any analysis of a piece. All humor aside, this is an excellent demonstration of how to go about determining how music "works". Thanks so much!
You’re most kind and absolutely right that sometimes it’s possibly to read a given situation in more than one way. I think it has been the intention of many composers to do that.
I’m from the US, but I like UK terminology. It is more telling. Inessential notes more telling than non-chord tones. Auxiliary notes more telling than neighboring tones. And A, B and C chords a more convenient shorthand than root, first inversion, and second inversion chords.
My confusion with C though is that when you play the chord C and go to the lower aux note B, you are actually playing a C7, so why it's not called a C>C7>C ? Similarily with the upper one (D), you are at C9...
I am also taking a course in functional harmony which is very interesting. Your videos are of an incredible level in terms of density, subtlety and clarity. By the way, following the paradigms of functional harmony, the last V is perfectly interpretable as a III, because it can be a substitution of the dominant, not only the VII can do it. Your lessons are fantastic, thank you very much maestro Gareth. P.S. I would really appreciate it if you could express your thoughts on functional harmony. Is it a good path in your opinion?
Thanks for your kind words. I think there’s is great value in understanding functional harmony if we want to know what’s going on in the Western tradition.
Great video! I know this may be a little off topic but could you discuss the difference between building a melody with chord tones vs key scale tones like the root third and seventh of the scale as a way to outline the melody. Read about this online and confused me about how these approaches to melody would sound and look like on paper.
Here’s a request: would you consider making video on techniques for writing Fugal Stretto? I’m trying to find techniques other than just trying to manually see if the subjects will work.
can I ask what's the correct terms for how a song is structured, as in I would like to learn about that and I dont even know what to search for, I'm more focused on electronic music if that makes any difference
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Something perhaps worth noting is that every time you have two inessential notes playing simultaneously they are consonant with each other.
Good point
Two weeks ago I couldn't sightread out of a paper bag. Today I followed this and was able to follow and even anticipate his examples.
Fabulous
I'm watching this again, just because you are a brilliant teacher. I've been practicing the Rule of the Octave, and started learning about cadences with exercises from CPE Bach. And I'm becoming aware of movement between fingers and the patterns. My teacher said he didn't know why I just didn't learn songs, but he's happy to help me on the path I've chosen. I'm going to be joining your group soon (personal matters) but I appreciate your advice through these videos.
Merci beaucoup, Gareth.
@lawrencetaylor4101 That’s great. Good to know it’s useful
Very well-designed lesson. I've been using those techniques nearly all my life but never thought about how they functioned musically.
It’s really useful to be clear about it
Great video! The explanation of non-chord (inessential) tones is excellent. Because music is NEVER (or seemingly never) Black and White ...except on a keyboard, arguments can be made for the following:
In measure 5, because (in the left hand) the middle C moves to D and the E in the right hand moves to F while the G in the right hand continues to sound, the argument could be made that the chord changes from C to G7 ( I to V7c). The counter argument that the harmonic tempo is not moving that quickly either before or after that incident (I presume) would be the general consensus of most musicians. Likewise, in the last measure, one could argue that the movement in the left hand of E & G to D & F suggests a D7 chord ( II7) which can be a substitute for V7. The fact that the previous chord is 1b adds fuel to the argument. Again, ultimately, the tempo of the harmony causes a "lean" toward passing notes. Because the tempo of the piece is not specified (in this example), if the entire piece's tempo were (perhaps) half the speed that was demonstrated, I believe the arguments for the chords I mentioned becomes a tad bit stronger. But, that's part of the joy of music / music analysis: given the right circumstances, the right (or wrong) attitude, and (if necessary) a sufficient quantity of wine (or other strong spirit), a (sometimes) plausible argument can be made for almost any analysis of a piece.
All humor aside, this is an excellent demonstration of how to go about determining how music "works". Thanks so much!
You’re most kind and absolutely right that sometimes it’s possibly to read a given situation in more than one way. I think it has been the intention of many composers to do that.
I’m from the US, but I like UK terminology. It is more telling. Inessential notes more telling than non-chord tones. Auxiliary notes more telling than neighboring tones. And A, B and C chords a more convenient shorthand than root, first inversion, and second inversion chords.
😀
Thank you for this clear explanation. Really appreciating your videos.
Glad they’re helpful. Much more at www.mmcourses.co.uk
My confusion with C though is that when you play the chord C and go to the lower aux note B, you are actually playing a C7, so why it's not called a C>C7>C ? Similarily with the upper one (D), you are at C9...
We have to look at the context and decide if it’s a harmonic move or a melodic move. In these cases they are melodic moves.
I am also taking a course in functional harmony which is very interesting. Your videos are of an incredible level in terms of density, subtlety and clarity. By the way, following the paradigms of functional harmony, the last V is perfectly interpretable as a III, because it can be a substitution of the dominant, not only the VII can do it. Your lessons are fantastic, thank you very much maestro Gareth.
P.S. I would really appreciate it if you could express your thoughts on functional harmony. Is it a good path in your opinion?
Thanks for your kind words. I think there’s is great value in understanding functional harmony if we want to know what’s going on in the Western tradition.
Good lesson. I think I just may pass my Music Theory final exam. Wish me luck!
Hope it goes well. Good luck!
Great video! I know this may be a little off topic but could you discuss the difference between building a melody with chord tones vs key scale tones like the root third and seventh of the scale as a way to outline the melody. Read about this online and confused me about how these approaches to melody would sound and look like on paper.
We’ve done videos on this but we could certainly do more.
@@MusicMattersGB oh really? I will check that out then. Thank you!
😀
Here’s a request: would you consider making video on techniques for writing Fugal Stretto? I’m trying to find techniques other than just trying to manually see if the subjects will work.
That’s a possibility
can I ask what's the correct terms for how a song is structured, as in I would like to learn about that and I dont even know what to search for,
I'm more focused on electronic music if that makes any difference
Have a look at our Composition course at www.mmcourses.co.uk
Can we see these non chord tones as extensions instead of the chord tone? Thank u
You can but the fundamental question to ask is this - is the non chord tone a melodic decoration or is it an essential part of the chord?
@@MusicMattersGB I see that’s a very good answer . Thank you
😀