Great video mate.... thanks for posting. The format is fantastic, more time spent illustrating the concepts in practice as opposed to just talking about it. Thanks again.
Thanks for that suggestion @Kriss Nix The focus in this video was chord structure and how to write a chord progression for a string quartet in various styles. But your suggestion has prompted me to make a "part 2" harmonising a melody. Thanks for that.
In the last example, you didn't explain the relation between the notes the first and second violins were playing and the chords themselves, could you go a bit more in-depth with this?
That's a good point. I don't have any time to address this now but later this year, I will have some time to produce more 4 Phils videos and was intending to remake this one.
The first and second violins are just playing chord tones. For example the first measure the overall chord is a Gmaj, so the first violin alternates between the 3 and 5 (B and D) and the second violin alternates between the 1 and 5 (G and D). The second chord is a Cmaj, so the first violin alternates between the 1 and 3 (C and E) and the second violin between the 5 and 3 (G and E). And it continues throughout the progression. The choice in chord tones played between the instruments I would guess is due to voiceleading, keeping the instruments from having to travel too far notewise and keep the progress smooth. If you’d like a Roman numeral analysis it would be the following: G(I) C(IV) D(V) G(I) - Emin(vi) C(IV) D(V)[the written G in the bass is supposed to be a D I believe] G(I) C(IV) D(V) G(I) Hope this was helpful☺️
Philharmonic❤
Loved the content :)
Sir you have an outstanding way of explaining the key point of a string quartet and how to compose it.
Thank you @Pblaze I hope it helps you - if you're a student, to better understanding and practice - if a teacher, a useful resource for your students.
Great video mate.... thanks for posting. The format is fantastic, more time spent illustrating the concepts in practice as opposed to just talking about it. Thanks again.
Thanks James - I'm a bit busy with schoolwork at the moment, but I might get back to making a few more videos with these guys next week.
Thanks Phil for putting this together
Thanks @Ants Glad it helped.
@4:40 i believe the Cello is playing C C B C D, however you have it notated as C C B A G in the 1st measure.
HarmonicPhil
Great job and explanation!
Thank you. Glad it helped
Great Video!
Thanks - glad you enjoyed it
Very nice! I like how the viola becomes more discernible in the mix once it has its own distinct rhythm. Probably the hat helps, as well. Thank you.
Thanks - I'll pass that onto the Phil with the hat ;)
Very good informative videos.... thanks ❤❤
You're welcome
He mr rock it me Astin
Hey Astin
So what about the other way round? - how to add chords to a beautiful melody?
Thanks for that suggestion @Kriss Nix The focus in this video was chord structure and how to write a chord progression for a string quartet in various styles. But your suggestion has prompted me to make a "part 2" harmonising a melody. Thanks for that.
In the last example, you didn't explain the relation between the notes the first and second violins were playing and the chords themselves, could you go a bit more in-depth with this?
That's a good point. I don't have any time to address this now but later this year, I will have some time to produce more 4 Phils videos and was intending to remake this one.
The first and second violins are just playing chord tones. For example the first measure the overall chord is a Gmaj, so the first violin alternates between the 3 and 5 (B and D) and the second violin alternates between the 1 and 5 (G and D). The second chord is a Cmaj, so the first violin alternates between the 1 and 3 (C and E) and the second violin between the 5 and 3 (G and E). And it continues throughout the progression. The choice in chord tones played between the instruments I would guess is due to voiceleading, keeping the instruments from having to travel too far notewise and keep the progress smooth. If you’d like a Roman numeral analysis it would be the following:
G(I) C(IV) D(V) G(I) - Emin(vi) C(IV) D(V)[the written G in the bass is supposed to be a D I believe] G(I) C(IV) D(V) G(I)
Hope this was helpful☺️
@@AzhaneHereford that is a good analysis thank you - sorry for the late response to your comment. I have just been going back through old videos
:0
Hate to be Critical Chris, but not great part-writing; the 2nd and 3rd examples are full of parallel 5ths and octaves that should be avoided.