You’re most kind .I’ve found when writing I have to use these points (instinctively)to keep some kind of momentum going so a piece makes sense . rhythm & phrasing can make... or not make . Thank you Gareth . 👍
I thought that this is going to be a boring, textbook like information giving video, but I actually engaged with this video and learn lots about making music more interesting 😊
I had a big smile on my face when you played the last example with modulations and chromatic chords without even looking down onto the piano. I can't even imagine how much practice is required to feel this 'home' on the piano and in music theory. You're so skilled! Thanks for the great videos.
Thanks so much for these courses, youve been making my life much easier!! You teach in another language from my native one, but i found your tutorials miles better than others.. Keep up that good work!
Gareth, I'm trying to play guitar. I don't know if you know what a pentatonic scale is or not, a scale with 5 notes; in major or minor keys. 1 question I have is how to create short pieces called licks for soloing. How do you tell a story playing what you're feeling? That's 1 thing about music is playing by your feelings. What is texture on a guitar? 1 other thing to create tension is to play a non chord tone then release the tension playing a chord tone with what chord you play.
That’s absolutely true about non chord tones and chord tones. In terms of creating licks consider the melodic shape and design, and think about choice of chords/ chord progression. Texture is about how sound is organised - thick/ thin, high/ low, chordal/ linear etc. All of this will be used to paint what you’re feeling.
Yes it is improvised. 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 find that especially the dynamic tension can be opposite what you say in the video, especially when combined with rhythm. A fast paced piano dynamic is going to be more tense than a single forte chord or even a series of chords in a creschendo because the fast place + quiet dynamic gives a sense of suspense. Beethoven himself uses forte dynamics(actually, they are sforzandos, but since it is only 1 chord, it is as if he just wrote forte there) as a local point of release in his Presto Agitato of the Moonlight Sonata.
Your demonstration for #5 is wonderful. You make it look so easy. Does, the genre of music dictate how tension and release is used? For instance, would John Cage or Philip Glass use different techniques from Brahms or Grieg? Or are your tips fairly universal?
I guess harmony as a whole is largely about tension and release; e.g. ornaments can make a chord more interesting (and the melody as well): an obvious example would be appoggiatura. The style of composers such as Schubert or Rossini has an unmistakable, very personal feel partly thanks to their ways of building up tension. I think a video analyzing short examples from the Classical and Romantic repertoire, focusing mainly on harmony and maybe rythm, would be very interesting.
"Thank you" is not enough to describe the impact of this excursion. I can't believe how many doors and windows you opened in this short amount of time. I've always been sensitive to the hearing of tension and release but never could accomplish it much in my writing. Also, with many new music pieces, this is so lacking. Mozart had this aspect well in hand, especially when he holds back on a cadence only it make it feel empty. (thinking of the middle sections of the piano concertos and the Jupiter Symphony I just heard again. But that's Mozart isn't it.)
Hi Gareth, Very thought provoking as always. This is a similar question to one I've posted about your dynamics lesson but in this case about tempo; how far is the performer responsible for adding subtle tempo changes as part of the performance or is it all down to the composer? I would have thought a good performer would interprete any phrase marks as a guide to subtle accel. to the midpoint of a phrase and then a rall. to the end of the phrase back to standard tempo so it ebbs and flows a bit. Otherwise, it would sound like a robot playing the score. Surely it's not necessary to add these markings to every phrase? Or add Rubato to every score? Would it be reasonable (and maybe this is what the performer is expecting) that I only add accel. and rall. marks in particularly important places which I think are key and leave it to the performer to interprete tempo as they see fit elsewhere? Thanks Steve
So true this all leads to a strong emotion in music that the listener can really feel i and be moved by it.this tools really help us have a strong toolbox of great ideas that we can build on ty.
I read recently that Bach encouraged his students to play as many notes on chords as possible on a harpsichord so as to be able to make the produce a large amount of sound, considering the rather squashed dynamic capabilities of the instrument.
I could watch and listen to you explaing how to modulate for hours, I've done it a few times but not nearly as good as what you do, which is why I'm here to learn
what do you call te notes inbetween chords?... i want to type into youtube something along the lines of ""top chord note rhythm patterns" .... can you help :)
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Thanks. 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.
Thanks. 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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Very Good! That encapsulates a lot of your knowledge of performance, improvisation and composition. Invaluable to those pursuing a course on The Art of Course Performance such as myself! One point though..if you listen to harpsichord music while on the M6, you don't have to keep on adjusting the playback volume! 😜
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I am very much a beginner on the piano, have been playing guitar for years. I can't seem to figure out how you know which notes to add when you're making a song 'more interesting'. Like when you increased the rythmic activity, all these other notes were added. How do you know what to play?
come on spill the beans. you actually have a trained cat off camera playing that amazing music while you talk. So amazing you play all that in what seems largely improved AND also actively discussing it while playing.
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i love how you beautifully combined all the elements of tension and release as you got towards the end, the last bit of playing was so nice to hear! im not even a piano player or listen to classical music for the most part but it was such a great demonstration that i feel like i have a better understanding of what to listen to when i tell a story through music. thank you very much for this video!
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Thank you. 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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@@MusicMattersGB Thank you! I have found another of your videos where you go over a bit of it. And, it talks about going to other key centers which is EXACTLY what I'm looking for!
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Wow! The mans a genius,this is going to be so helpful with my song writing,so many great ideas,thanks gareth
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Yup he’s gold
Very kind
this man is an OG, respect
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Utterly brilliant! Thank you!!!
You’re most kind.
This is underrated! Dude just flawlessly sung me a clean tutorial while also playing the tutorial on the piano in real time, unedited.. =O
Thank you
Another great tutorial. Very important topic
Thank you!
A pleasure. Hope you’re doing ok.
What an incredible video. I feel so inspired to try these tips out. Thank you!
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The way you manage to talk out loud so clearly while playing those complex chords is mesmerising Gareth - you're an exceptional musician and teacher!
That’s most kind
How much tension and release you want in your music?
Liszt: Yes!
😀
How much tension and release do you want in your music?
Me: 🤬🤬🤬🤬🤬🤯😫😫😫😫😫
Oh my god are you just improvising those demonstrations? AND talking over the top of it explaining what you're doing? Incredible!
That’s kind. And yes….
You’re most kind .I’ve found when writing I have to use these points (instinctively)to keep some kind of momentum going so a piece makes sense . rhythm & phrasing can make... or not make . Thank you Gareth . 👍
😀
I thought that this is going to be a boring, textbook like information giving video, but I actually engaged with this video and learn lots about making music more interesting 😊
Excellent. Much more at www.mmcourses.co.uk
Wow 🤩 I love this lesson . Especially your demonstrations of texture and harmony ❤️🎹❤️
That’s most kind.
I have been applying a lot of your lessons to guitar and it has definitely transformed my playing. Outstanding lessons, good sir!
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Wow! My second music request being answered! You are quite quick to get to my ideas over there, thank you very much.😊
A pleasure
I had a big smile on my face when you played the last example with modulations and chromatic chords without even looking down onto the piano. I can't even imagine how much practice is required to feel this 'home' on the piano and in music theory. You're so skilled! Thanks for the great videos.
That’s most kind. Much more at www.mm courses.co.uk
Wow, I love you. Hahaa, you just made so many things click for me. Thank you so much!
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Thank you
Thank you Sir....
It is teachers like you who make life interesting. Jug Jug Jiyo. May your creed live long.
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Thanks so much for these courses, youve been making my life much easier!!
You teach in another language from my native one, but i found your tutorials miles better than others..
Keep up that good work!
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10:20 On the texture part, it was funny seeing how his voice slowly got drowned by the tension lol
😀
Gareth, I'm trying to play guitar. I don't know if you know what a pentatonic scale is or not, a scale with 5 notes; in major or minor keys. 1 question I have is how to create short pieces called licks for soloing. How do you tell a story playing what you're feeling? That's 1 thing about music is playing by your feelings. What is texture on a guitar? 1 other thing to create tension is to play a non chord tone then release the tension playing a chord tone with what chord you play.
That’s absolutely true about non chord tones and chord tones. In terms of creating licks consider the melodic shape and design, and think about choice of chords/ chord progression. Texture is about how sound is organised - thick/ thin, high/ low, chordal/ linear etc. All of this will be used to paint what you’re feeling.
You have beautiful, big eyes, maybe also thanks to your glasses.
Great video by the way :)
That’s most kind!
Outstanding how you improvise complex chorales just like that!
Years of doing it!
The improvisation on the harmony tip was amazing!!! I wanted it to end properly...
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Really nice-sounding piano-playing, even the plain examples.
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I'm so glad I subscribed to this channel
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That example of harmonic tension was absolutely lovely!
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Thank you for this! You're a very good teacher! I've just bought your Grade1-8 courses, and can't wait to learn much more!
That’s great. Enjoy the course.
I love the way you teach and your persona in general. You seem very patient, kind, and compassionate - all qualities of a great teacher
You’re most kind. Thank you
The ending progression was so beautiful and best of all it's probably improvised too☺️
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Lmaooo that release almost made me cry 😭
They’re powerful
I find that especially the dynamic tension can be opposite what you say in the video, especially when combined with rhythm. A fast paced piano dynamic is going to be more tense than a single forte chord or even a series of chords in a creschendo because the fast place + quiet dynamic gives a sense of suspense. Beethoven himself uses forte dynamics(actually, they are sforzandos, but since it is only 1 chord, it is as if he just wrote forte there) as a local point of release in his Presto Agitato of the Moonlight Sonata.
It all depends on context.
This! Couldn’t be more useful!
That’s great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Your demonstration for #5 is wonderful. You make it look so easy. Does, the genre of music dictate how tension and release is used? For instance, would John Cage or Philip Glass use different techniques from Brahms or Grieg? Or are your tips fairly universal?
That’s most kind. Of course genre will affect the picture but most of the content has universal application.
I guess harmony as a whole is largely about tension and release; e.g. ornaments can make a chord more interesting (and the melody as well): an obvious example would be appoggiatura.
The style of composers such as Schubert or Rossini has an unmistakable, very personal feel partly thanks to their ways of building up tension. I think a video analyzing short examples from the Classical and Romantic repertoire, focusing mainly on harmony and maybe rythm, would be very interesting.
That’s all true and we are gradually building a bank of such videos.
"Thank you" is not enough to describe the impact of this excursion.
I can't believe how many doors and windows you opened in this short amount of time.
I've always been sensitive to the hearing of tension and release but never could accomplish it much in my writing. Also, with many new music pieces, this is so lacking. Mozart had this aspect well in hand, especially when he holds back on a cadence only it make it feel empty. (thinking of the middle sections of the piano concertos and the Jupiter Symphony I just heard again. But that's Mozart isn't it.)
That’s great
Hi Gareth, Very thought provoking as always.
This is a similar question to one I've posted about your dynamics lesson but in this case about tempo; how far is the performer responsible for adding subtle tempo changes as part of the performance or is it all down to the composer? I would have thought a good performer would interprete any phrase marks as a guide to subtle accel. to the midpoint of a phrase and then a rall. to the end of the phrase back to standard tempo so it ebbs and flows a bit. Otherwise, it would sound like a robot playing the score. Surely it's not necessary to add these markings to every phrase? Or add Rubato to every score?
Would it be reasonable (and maybe this is what the performer is expecting) that I only add accel. and rall. marks in particularly important places which I think are key and leave it to the performer to interprete tempo as they see fit elsewhere?
Thanks
Steve
You’re absolutely correct. Indicate significant tempo changes and structural ralls etc but leave rubato/ rhythmic flexibility to the performer.
As always, clear concise and interesting!
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So true this all leads to a strong emotion in music that the listener can really feel i and be moved by it.this tools really help us have a strong toolbox of great ideas that we can build on ty.
That’s great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
The part you played in the beginning was just gorgeous haha. I would love come up with something like that Gareth
That’s most kind
I read recently that Bach encouraged his students to play as many notes on chords as possible on a harpsichord so as to be able to make the produce a large amount of sound, considering the rather squashed dynamic capabilities of the instrument.
😀
One question, I have been playing the cello for 3 years now. Does this still a apply to me? Cause I making a stress in my music.
Absolutely
🙏🌷 Suprême Master in Music Mindfulness-Plenitudissima Créativité, including ^°°^ Rubato's Chopin Rhythms.. ... etc..🇱🇦🇻🇳🎻🎹
😀
I could watch and listen to you explaing how to modulate for hours, I've done it a few times but not nearly as good as what you do, which is why I'm here to learn
Glad it’s useful
what do you call te notes inbetween chords?... i want to type into youtube something along the lines of ""top chord note rhythm patterns" .... can you help :)
Inessential notes or non-chord tones.
Hey, what kind of music did you play when you were showing harmonies?
Made up for the purpose
Woww!! The harmony section at the end is so beautiful. Kindly find some time to break it down into pieces for us.
Glad you enjoyed it.
Great lesson, im going to practice this knownledge now. Thank you
Excellent
wow.....really informative! thank you very much.
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Yea I am 100% guaranteed going to use each of these in my songs. Thank you!
That’s great
Priceless... not what I thought tension was. Thans so much master.
A pleasure.
Awesome lesson. Thank you
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I was literally getting inside the screen on the last part hats off demonstration
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Very very handy tips here. Thanks!
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Invaluable! Thank you so much for this video.
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Superb tutorial, thank you very much.
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Wow great playing in perfect harmony keep it up
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Good tips and reminder
😀
@@MusicMattersGB i just successfully completed my MA Professional Media Composition, not bad at 60!
Congratulations!
@@MusicMattersGB thankyou Gareth
This is what i needed as a composer, thank you
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So well explained. Thank you.
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The Harmony Part was brilliant
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🎼🥺🥺🥺I love the way he plays his triads
😀
ASANTE SANA/THANK YOU VERY MUCH
😀
Thank you. Great video
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Thank you Sir. You're a great Man
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Thank you sir
You are a great teacher
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one day ill be able to improvise on the piano like you 🙏
Keep going. You will.
thank you for sharing.
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the best teacher in the world
You’re too kind
So impressive
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great, thank you for sharing
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thank you very much!
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Great teacher on youtube.Thank you.
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Very Good! That encapsulates a lot of your knowledge of performance, improvisation and composition. Invaluable to those pursuing a course on The Art of Course Performance such as myself!
One point though..if you listen to harpsichord music while on the M6, you don't have to keep on adjusting the playback volume! 😜
😀
Sir, Thanks a lot.
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I am very much a beginner on the piano, have been playing guitar for years. I can't seem to figure out how you know which notes to add when you're making a song 'more interesting'. Like when you increased the rythmic activity, all these other notes were added. How do you know what to play?
You might be interested in looking at our online Theory courses at www.mmcourses.co.uk which explain how the whole system works.
One more type is Harmonic Rythm. Slower harmonic change is more restful and faster change is increasing tension. Lots of good tips here!
Harmonic rhythm is certainly another factor.
come on spill the beans. you actually have a trained cat off camera playing that amazing music while you talk. So amazing you play all that in what seems largely improved AND also actively discussing it while playing.
😀😀
God Bless You Sir I been trying to build tension in a cinematic type of way and You have share some of those tools to get there 👍🙏
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I loved your use of examples to really prove the points you made. Thanks for another great video!
A pleasure
Thank you, Gareth. You are an amazing musician and an excellent teacher. I think I'll have a look at your courses.
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Needed to learn this for my compositions! Thanks Mr. Music!
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i love how you beautifully combined all the elements of tension and release as you got towards the end, the last bit of playing was so nice to hear! im not even a piano player or listen to classical music for the most part but it was such a great demonstration that i feel like i have a better understanding of what to listen to when i tell a story through music. thank you very much for this video!
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Víkingur Ólafsson is genius at bringing dynamics to Bach's pieces!
😀
great lessons
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Thank you so much for sharing this it was a really nice demonstration and a high quality video as a whole :3
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This is maybe the best music channel on TH-cam, hands down. Especially for composers and musicians. Thank you for all your amazing work on here!
Thank you. 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.
Inspiring!!!
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Sir, what you played in 5th part shows how talented you are. impressive
You’re very kind
Thank you so much. Very informative 💕💕💕
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Wow! this is really helpful😇 Thank you so much professor👍
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amazing end
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magnificent
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Amo a este profesor
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Brilliant!
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.
Excellent and beneficial content. I appreciate the demonstration of the various techniques. Thank you for sharing advanced music topics. 😘
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Gareth, your videos this summer are doing more than some of my years in a conservatory! Thank you so much🤗
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I love your videos!! Thanks so much!!
I'm having trouble understanding phrases, cadences, and their application if you have any videos on that....
We will address those subjects to amplify what we’ve already done.
@@MusicMattersGB Thank you! I have found another of your videos where you go over a bit of it.
And, it talks about going to other key centers which is EXACTLY what I'm looking for!
Wizard!
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Great lesson Gareth thanks, I love the way you demonstrate the concepts on the piano
A pleasure. Glad it’s helpful