One month ago this would have been out of my pay grade. After practicing the Rule of the Octave and practicing my cadences and sequences, I followed this with wide-eyed enthousiasm. You are really a great teacher, Gareth.
Two-part canons at the fifth also work well with sequential harmonic patterns around the circle of fifths. Bach often does this in episodic sections of his fugues.
Very nice and well explained. A question though - In a major key, when the second part comes in, the first chord would probably be a major V chord as it is here. In a minor key would you use a major V chord there or would you allow a minor V chord to preserve the minor feel?
Something you just sort of do in these demonstrations which is presumably down to your long years of work and resulting familiarity is that you put down a second line, with no further comment, which fits neatly with the first, e.g. the ascending crotchets in the bass of bar 7 which make consonant intervals with the on-the-beat quavers in the treble. Any suggestions for exercises to increase ones fluency in this sort of thinking?
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One month ago this would have been out of my pay grade. After practicing the Rule of the Octave and practicing my cadences and sequences, I followed this with wide-eyed enthousiasm. You are really a great teacher, Gareth.
That’s most kind.
Two-part harmony, four-part harmony, cantata, fugue, canon writing. Love this stuff. I could watch these tutorials all day.
Go for it!
You are a really great teacher!!!
You’re most kind. Much more at www.mmcourses.co.uk
Thanks Gareth... this is fantastic music technic taught by a truly great teacher.
You’re very kind
That was very clear. I'd never heard of the "head/tail" idea. I'm looking forward to incorporating your technique into a piece I'm working on.
Enjoy!
Thank you for this very useful video! Food for thought in the plane tomorrow...
Enjoy the video and your flight!
Very clear. Thank you.
A pleasure. Much more at www.mmcourses.co.uk
Hello, thank you for your classes. One question: Wouldn't the F in bar seven in the right hand need to be an F# since it's B transposed up a fifth?
I’ve relaxed the strictness of the canon because of the cadence and in order to keep the piece in the home key.
I love your videos thank you ❤🙏
Glad you enjoy them. Much more at www.mmcourses.co.uk
Two-part canons at the fifth also work well with sequential harmonic patterns around the circle of fifths. Bach often does this in episodic sections of his fugues.
Absolutely
this is where I need to be
Excellent
Very nice and well explained. A question though - In a major key, when the second part comes in, the first chord would probably be a major V chord as it is here. In a minor key would you use a major V chord there or would you allow a minor V chord to preserve the minor feel?
It doesn’t have to begin with a V but even in a minor key a major V would be fine.
Thank you @@MusicMattersGB another great video.
@simongross3122 😀
Something you just sort of do in these demonstrations which is presumably down to your long years of work and resulting familiarity is that you put down a second line, with no further comment, which fits neatly with the first, e.g. the ascending crotchets in the bass of bar 7 which make consonant intervals with the on-the-beat quavers in the treble. Any suggestions for exercises to increase ones fluency in this sort of thinking?
The trick is always to think harmonically. Keep progressions strong, voice leading good, and every note justified as essential or non-essential.
Magnificent!
Glad it’s useful. Much more at www.mmcourses.co.uk
I can smell some Bach in there in the faintest way, good job!
😀
Sweet!
Glad it’s helpful. See the rest of the course at www.mmcourses.co.uk