I’ve been playing the piano for two years and found your channel very early. I’ve watched your music theory videos even when I didn’t understand anything. And now my musical knowledge is superior to my keyboard talents. Good things come to those who wait, and study, and listen. Merci.
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.
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.
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.
Good video as usual. Interesting but very much within a tonal context. I wondered about two things. 1. If we take a standard triad - CEGC and then fill in the gap between G and C with A and B those notes would not be technically passing tones surely - but I would expect them to work. 2. It is sometimes possible - maybe quite often - to use chromatic harmonies - by using notes which are out of the key. Perhaps that possibility has been disregarded for this video, as many people will want to work with standard keys and tonality, or be sitting exams which test this kind of thing, but it would be interesting to know what the role of "out of key" notes would be in the same way. In jazz they might just be considered as colour tones - if the harmonies otherwise worked OK.
Good points. On your first one A and B could be passing notes if used melodically. If used harmonically they would generate a clustered dissonance which is fine in the right context. We have other videos on chromatic harmony, which may be of interest.
I'm wondering about much the same thing but if the chord is C7, that would include B as an essential note and bridge the GAB/567 gap, yes? I frequently find songs I love which bridge such gaps from 5th to 7th with what appear to be two notes which don't fit in any of these categories if we consider the chord as a triad, but not as a seventh where one note (7th) turns into an essential note and the other a passing note (6th).
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I would argue that in bar 3, beat 2, there is either a change of chord on the second quaver, or even that the soprano C is the "actual" albeit consonant passing note, given the bass motion II-V-VI, and the dominant 7th on the second quaver being a stronger chord than the IIIb on the beat. Cheers.
IIIb V7 is an authentic way of reading that beat even though it makes for fast harmonic rhythm. It feels more like double passing notes but Bach often writes corners that can be understood in two or more ways. I believe he does that on purpose. Or you could see the first of the pairs of quavers as appoggiaturas on to the second of the pairs, which then become harmony notes belonging to V7.
Gareth, my man, you're just looking better and better aren't ya? If you ever need a video idea I reckon lots of us would appreciate an addendum to the galant schemata video you did at some point since so much was, understandably, left unsaid regarding how those stock progressions applied to part writing and cadential cliches
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.
Thanks a lot for this, great explanation. I have a question for you regarding auxiliary notes. Say I'm in the key of C, and y go for a chord of D minor. In the melody I play the harmony notes (D,F,A) and I want to do an auxiliary note up over A, in this case my auxiliary note should be A sharp, because it is 6ths in the chord of D minor? Or should I go to B, because B is part of the key the song is in (which is C) and A sharp is not? Thanks
Usually you would adopt the accidentals that belong to the key signature but it’s also possible to use a chromatic auxiliary note, when you use a note outside the key. At the end of the day, go for the sound that works best.
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.
When I sit down at the piano and try to write stuff I often find myself getting stuck with 4 chord loops like you would typically find in pop songs. Whats a good way to break out of this and make more complex musical ideas?
There are many ways to go about it. You can do it by writing 2 4 bar loops and figuring out how to connect them. Or you can go the figured bass way. Have a 8 bar bass line and harmonize it. Sometimes it is also just a matter of forcing it. Sometimes you are working on some progression so long that it is hard to not hear it on a loop and if you the go to something else it sounds weird. As long as it follows the basic of harmony it should work just fine. And start using dominant 7 chords if you haven’t already. If you use them at the end of phrases you can do clever things to redirect to another key. Same with circle of fifths progressions. You can go really abstract and chromatic with them
@@LesterBrunt i totally relate to when you said "it is hard to not hear it on a loop and if you the go to something else it sounds weird" and its so frustrating! thank you so much for the tips, ill work on it!
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5:32 by you must move stepwise and not leap when using a passing tone, does it mean the notes you play have to be at most one whole step apart from one another, and one half step only in the cases of B and E?
In contemporary music and jazz, how would you differentiate between an inessential note and a chord extension? (since the 'non-chord' tones in classical music may be used as chord extensions) Thanks in advance!
In a chord extension the extended notes are part of the chord and are therefore essential. It’s notes moving alongside that don’t belong to the chord extension that will be inessential.
B MAJOR/G#min....isnt a common KEY to play on the Guitar But Im going to play the A chord as the N6 chord of G# min. ( for REFERENCE) Im going to play B 3, 7 , 8 12 ( the F# or 5th is in the second octave) Then simply F# Maj barre chord..less the bar against open B and E ( F#7 add 11) Then...Im going to play A sus 9 chord at the nut.. Then Alter pick different BASS notes A sus9/F...A sus9/E...A sus9/C It dosnt sound quirky..but rather soothing/dreammy Then the B Maj7 again ( basically I, V) For another Cadence...Im simply going to play D Maj7 ( barre on 2nd fret) E min ( at the Nut).............It could be E lyd #2 or Lyd b3 A sus9/F...A usus9/C F# MAJOR barr B Maj ..barre ( without picking that high F# note) Then Im going to play.... A Maj7...at the nut Slide up 2 frets to play inverted D# min. Play the D# with my pinky on the A string. arpeggiate it...D# min add b9 ( D# phrygian) Then G# min...at the 4th fret. I could play E min F Maj C AUG against open B and E F# Maj B Major.. or trick you ear even more.. Play B Maj7 Barr at the 7th fret...less the barr,,against the open B and E then play E , 3, 7 agsint open B and E Then A Maj7 at the 5th fret...less the Barr....alter pick between E on the 7th fret and open A Then simply SLIDE the simple chord shape to E Maj7 at the NUT Then F# Maj.....B MAJOR You know me...Ill play D min or A# maj7 ( Bb maj7) to F min chord then F# Maj B Maj or C AUG F min Bb/A# dim B MAJOR :-P
@@MusicMattersGB I know it might be weird to some people That I play D Maj7 while in B MAJOR. ( b3 chord degree) But it's in one of the most famous songs LONGER by Dan Folgerberg. It's in G MAJOR/Emin G Maj C Maj D sus C Maj ( repeat) Bb MAJ A min G Maj ....C Maj D Maj. The b6 chord degree....I learned that from learning It's a wonderful world. It also help me learn how to play Just Between you and me.. by April Wine. ( the mystery chord ) It;s also in G MAJOR/Emin There's a cadence in the song. Eb Maj D Maj B min A min Both of those chords act like aux note or passing chords/notes... Bb maj to A min Eb Maj to D Maj. While in B Maj....I could had use C Maj7 as the N6 chord But I just wanted to play play E min ( different chord colors) I also could play D# min triad ( 6 fret A string) against open B and E Then stack the A note below it....on low E string. It would simply be ( N6) A with a TRITONE D # min/A I could had easily play that as a passing chord D# into E lydian ish E Maj or E min chord. so If I went... D Maj7 C Maj7 F Maj G Maj F# Maj into B MAJOR most people would be like WTF key is he in ??? G Maj is the b6 chord degree.lol Tritone SUB or N6 chord.. Then Above or below the V chord...Pre DOMINANT :-P Follow instruction in this video lesson and apply it.
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I’ve been playing the piano for two years and found your channel very early. I’ve watched your music theory videos even when I didn’t understand anything. And now my musical knowledge is superior to my keyboard talents. Good things come to those who wait, and study, and listen.
Merci.
Bravo. Keep up the good work.
A nice lesson for composers stumped at writing melodies.
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.
These videos are helping us a lot. All the love and respect Mr. Gareth Green.
LOVE FROM INDIA 💖
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That certainly helped. Thank you. I still wasn't too sure about suspensions; now that's much clearer.
Excellent
Brilliant tutorial mate. 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.
Good video as usual. Interesting but very much within a tonal context. I wondered about two things. 1. If we take a standard triad - CEGC and then fill in the gap between G and C with A and B those notes would not be technically passing tones surely - but I would expect them to work. 2. It is sometimes possible - maybe quite often - to use chromatic harmonies - by using notes which are out of the key. Perhaps that possibility has been disregarded for this video, as many people will want to work with standard keys and tonality, or be sitting exams which test this kind of thing, but it would be interesting to know what the role of "out of key" notes would be in the same way. In jazz they might just be considered as colour tones - if the harmonies otherwise worked OK.
Good points. On your first one A and B could be passing notes if used melodically. If used harmonically they would generate a clustered dissonance which is fine in the right context. We have other videos on chromatic harmony, which may be of interest.
I'm wondering about much the same thing but if the chord is C7, that would include B as an essential note and bridge the GAB/567 gap, yes? I frequently find songs I love which bridge such gaps from 5th to 7th with what appear to be two notes which don't fit in any of these categories if we consider the chord as a triad, but not as a seventh where one note (7th) turns into an essential note and the other a passing note (6th).
😀
VERY USEFUL INFORMATIONS ...THANK YOU SIR
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Thank you 💐
A pleasure. Thanks for your support
9:02 interesting the FE also happen to be neighbor notes in this example.
😀
I would argue that in bar 3, beat 2, there is either a change of chord on the second quaver, or even that the soprano C is the "actual" albeit consonant passing note, given the bass motion II-V-VI, and the dominant 7th on the second quaver being a stronger chord than the IIIb on the beat. Cheers.
Hmm I can kinda see that argument in what you are saying
IIIb V7 is an authentic way of reading that beat even though it makes for fast harmonic rhythm. It feels more like double passing notes but Bach often writes corners that can be understood in two or more ways. I believe he does that on purpose. Or you could see the first of the pairs of quavers as appoggiaturas on to the second of the pairs, which then become harmony notes belonging to V7.
Gareth, my man, you're just looking better and better aren't ya? If you ever need a video idea I reckon lots of us would appreciate an addendum to the galant schemata video you did at some point since so much was, understandably, left unsaid regarding how those stock progressions applied to part writing and cadential cliches
Good idea. Thanks
great teaching
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.
Thanks a lot for this, great explanation. I have a question for you regarding auxiliary notes. Say I'm in the key of C, and y go for a chord of D minor. In the melody I play the harmony notes (D,F,A) and I want to do an auxiliary note up over A, in this case my auxiliary note should be A sharp, because it is 6ths in the chord of D minor? Or should I go to B, because B is part of the key the song is in (which is C) and A sharp is not?
Thanks
Usually you would adopt the accidentals that belong to the key signature but it’s also possible to use a chromatic auxiliary note, when you use a note outside the key. At the end of the day, go for the sound that works best.
thank you for this
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.
Watch out for the consecutive fifths tenor/bass bar 3-4
Hi. If you mean from 2-3 some scholars count these as consecutive while many allow them because of the contrary motion.
What do you mean by "consecutive fifths"? I'm looking at bar 3 and 4 and neither use repeating fifths
When I sit down at the piano and try to write stuff I often find myself getting stuck with 4 chord loops like you would typically find in pop songs. Whats a good way to break out of this and make more complex musical ideas?
We have plenty of videos on the channel covering that.
There are many ways to go about it. You can do it by writing 2 4 bar loops and figuring out how to connect them.
Or you can go the figured bass way. Have a 8 bar bass line and harmonize it.
Sometimes it is also just a matter of forcing it. Sometimes you are working on some progression so long that it is hard to not hear it on a loop and if you the go to something else it sounds weird. As long as it follows the basic of harmony it should work just fine.
And start using dominant 7 chords if you haven’t already. If you use them at the end of phrases you can do clever things to redirect to another key. Same with circle of fifths progressions. You can go really abstract and chromatic with them
😀
@@LesterBrunt i totally relate to when you said "it is hard to not hear it on a loop and if you the go to something else it sounds weird" and its so frustrating! thank you so much for the tips, ill work on it!
😀
Really Really thaaanks
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.
5:32 by you must move stepwise and not leap when using a passing tone, does it mean the notes you play have to be at most one whole step apart from one another, and one half step only in the cases of B and E?
Whole step or half step in every case
Great stuff! thank you :)
A pleasure
In contemporary music and jazz, how would you differentiate between an inessential note and a chord extension? (since the 'non-chord' tones in classical music may be used as chord extensions)
Thanks in advance!
In a chord extension the extended notes are part of the chord and are therefore essential. It’s notes moving alongside that don’t belong to the chord extension that will be inessential.
B MAJOR/G#min....isnt a common KEY to play on the Guitar
But Im going to play the A chord as the N6 chord of G# min. ( for REFERENCE)
Im going to play B 3, 7 , 8 12 ( the F# or 5th is in the second octave)
Then simply F# Maj barre chord..less the bar against open B and E ( F#7 add 11)
Then...Im going to play A sus 9 chord at the nut..
Then Alter pick different BASS notes A sus9/F...A sus9/E...A sus9/C
It dosnt sound quirky..but rather soothing/dreammy
Then the B Maj7 again ( basically I, V)
For another Cadence...Im simply going to play
D Maj7 ( barre on 2nd fret)
E min ( at the Nut).............It could be E lyd #2 or Lyd b3
A sus9/F...A usus9/C
F# MAJOR barr
B Maj ..barre ( without picking that high F# note)
Then Im going to play....
A Maj7...at the nut
Slide up 2 frets to play inverted D# min. Play the D# with my pinky on the A string.
arpeggiate it...D# min add b9 ( D# phrygian)
Then G# min...at the 4th fret.
I could play E min F Maj C AUG against open B and E
F# Maj B Major..
or trick you ear even more..
Play B Maj7 Barr at the 7th fret...less the barr,,against the open B and E
then play E , 3, 7 agsint open B and E
Then A Maj7 at the 5th fret...less the Barr....alter pick between E on the 7th fret
and open A
Then simply SLIDE the simple chord shape to E Maj7 at the NUT
Then F# Maj.....B MAJOR
You know me...Ill play D min or A# maj7 ( Bb maj7)
to F min chord then F# Maj B Maj
or C AUG F min Bb/A# dim B MAJOR :-P
😀
@@MusicMattersGB I know it might be weird to some people
That I play D Maj7 while in B MAJOR. ( b3 chord degree)
But it's in one of the most famous songs LONGER by Dan Folgerberg.
It's in G MAJOR/Emin
G Maj C Maj D sus C Maj ( repeat)
Bb MAJ A min G Maj ....C Maj D Maj.
The b6 chord degree....I learned that from learning It's a wonderful
world. It also help me learn how to play Just Between you and me..
by April Wine. ( the mystery chord )
It;s also in G MAJOR/Emin
There's a cadence in the song.
Eb Maj D Maj B min A min
Both of those chords act like aux note or passing chords/notes...
Bb maj to A min
Eb Maj to D Maj.
While in B Maj....I could had use C Maj7 as the N6 chord
But I just wanted to play play E min ( different chord colors)
I also could play D# min triad ( 6 fret A string) against open B and E
Then stack the A note below it....on low E string.
It would simply be ( N6) A with a TRITONE D # min/A
I could had easily play that as a passing chord D# into E lydian ish
E Maj or E min chord.
so If I went...
D Maj7 C Maj7 F Maj G Maj F# Maj into B MAJOR
most people would be like WTF key is he in ???
G Maj is the b6 chord degree.lol
Tritone SUB or N6 chord..
Then Above or below the V chord...Pre DOMINANT :-P
Follow instruction in this video lesson and apply it.
Hello Mr. Green, are you alright? I'm asking seriously. It looks like you have lost weight in the last 6 months. I hope you are not sick. Greetings.
Hi. The weight loss is intentional and well overdue! Thanks for your concern.
@@MusicMattersGB ufff that is good :) take care we need you :)
That’s kind
Every note is either a chord tone or a neighbour tone :/
There are others eg passing tone, anticipation note
There are not inessential notes !
That’s what they’re called.
ARE YOU THINNER?
I am. It’s been intentional weight loss.
i come from china.take care of yourself teacher. nice lessons!
These tones are far from inessential!!!
Indeed. It’s simply the label we give them.