It really makes things easier to understand these kinds of sequences in the framework of schemas to give a cohesive idea of what all these schemas have in common as well as how they function, to fill out a space between a presentation of materials, cadences and so on. This one is called the 7-6 fauxbourdon and is a variation of the fauxbourdon which is just a sequential use of 3-6 chords for anyone interested. The equivalent for an ascending scale is the monte which alters 3-5 chords with 3-6 chords in exactly the same way. Neither of these are good for harmonizing the scale of course because it's quite empty of harmonic content but gets you well from one point to another, this emptiness is why these simple schema were used less and less through the romantic period where musical material became more dense.
Merci to Alex and you for making excellent videos. When you were talking about suspensions months ago I had no idea what you were talking about. And now I'm building up my keyboard skills to play them, and I understood the theory behind this lesson. Finally. I'm learning the ukulele, tenor & baritone, and want to apply this to learning the fretboard. My teacher is more than willing to help me along that path.
I usually watch your videos on my TV so I can't post a comment. I happened to watch this on my laptop today and just wanted to drop a note to say that you are one of the best music educators I have EVER listened to or watched in my 40-year-long study of music theory. Even if I already know about the subject I am a forever student because it's the best way to keep my mind engaged. I am constantly learning and relearning theory.... and WOW, your content is always just amazing! I have taken a few course from your website as well, just fantastic education all the way around. THANK YOU and please keep up the excellent work!
It's interesting how in your second example, the descending line sounds much more prominent than in the first example where the suspensions seem more dominant.
Good video, I can see that a strong descending bass can be used to dramatic effect, but what am I missing? It looks to me that you start and finish on C in the root position, but that the sequence in between (a, G, F, e, d, C, b dim) are all in first inversion (once resolved). I do wonder how this works in four parts, without writing parallel octaves, or at least some awkward leaps (and doubling of mediants), also I am not sure how this sequence would work in the minor because of augmented and diminished chords in the 'wrong' places.
These often work better in three parts but one can organise a reasonable more disjunct fourth part. Descending melodic minor is often the answer to your minor question.
Thanks for the video! May I make a suggestion. I have a few courses of yours, but have you covered enharmonics anywhere? What I struggle with (perhaps I am the only one?) is, especially in keys with many sharps and flats, is when to use a sharp "#" and when to use a flat "b"? When i modulate alot, and also use borrowed chords, for example, I dont feel that it is obvious always, what symbol to use? What is easier to read for a pianists, and what is the "rules" of how to do this? Thanks.
I appreciate the idea... fingering for the right hand is an unknown for me. Trying different things. Do viewers already know the best fingerings for legato?
Hi Gareth, my grade 7 theory textbook (Victoria Williams) seems to think that putting suspensions in the soprano line in the exam question is a strict ‘no-no’. So clarity, please 🙂?
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It really makes things easier to understand these kinds of sequences in the framework of schemas to give a cohesive idea of what all these schemas have in common as well as how they function, to fill out a space between a presentation of materials, cadences and so on. This one is called the 7-6 fauxbourdon and is a variation of the fauxbourdon which is just a sequential use of 3-6 chords for anyone interested. The equivalent for an ascending scale is the monte which alters 3-5 chords with 3-6 chords in exactly the same way. Neither of these are good for harmonizing the scale of course because it's quite empty of harmonic content but gets you well from one point to another, this emptiness is why these simple schema were used less and less through the romantic period where musical material became more dense.
😀
Merci to Alex and you for making excellent videos. When you were talking about suspensions months ago I had no idea what you were talking about. And now I'm building up my keyboard skills to play them, and I understood the theory behind this lesson. Finally.
I'm learning the ukulele, tenor & baritone, and want to apply this to learning the fretboard. My teacher is more than willing to help me along that path.
That’s great.
I usually watch your videos on my TV so I can't post a comment. I happened to watch this on my laptop today and just wanted to drop a note to say that you are one of the best music educators I have EVER listened to or watched in my 40-year-long study of music theory.
Even if I already know about the subject I am a forever student because it's the best way to keep my mind engaged. I am constantly learning and relearning theory.... and WOW, your content is always just amazing!
I have taken a few course from your website as well, just fantastic education all the way around. THANK YOU and please keep up the excellent work!
That’s really kind of you. Thank you. Glad you find our content helpful.
It's interesting how in your second example, the descending line sounds much more prominent than in the first example where the suspensions seem more dominant.
Yes. You can really change the flavour and impact of the line.
Thanks for making music theory easier to learn and enjoyable .
A pleasure. Much more at www.mmcourses.co.uk
Good video, I can see that a strong descending bass can be used to dramatic effect, but what am I missing? It looks to me that you start and finish on C in the root position, but that the sequence in between (a, G, F, e, d, C, b dim) are all in first inversion (once resolved).
I do wonder how this works in four parts, without writing parallel octaves, or at least some awkward leaps (and doubling of mediants), also I am not sure how this sequence would work in the minor because of augmented and diminished chords in the 'wrong' places.
These often work better in three parts but one can organise a reasonable more disjunct fourth part. Descending melodic minor is often the answer to your minor question.
Thanks for the video! May I make a suggestion. I have a few courses of yours, but have you covered enharmonics anywhere? What I struggle with (perhaps I am the only one?) is, especially in keys with many sharps and flats, is when to use a sharp "#" and when to use a flat "b"? When i modulate alot, and also use borrowed chords, for example, I dont feel that it is obvious always, what symbol to use? What is easier to read for a pianists, and what is the "rules" of how to do this? Thanks.
We do cover enharmonics in our theory courses but this is a topic to which we could return in TH-cam videos.
I appreciate the idea... fingering for the right hand is an unknown for me. Trying different things. Do viewers already know the best fingerings for legato?
There are various options including simply hopping fingers. If you want to achieve legato you have to engage in finger substitution.
Stepwise variation on the diatonic circle of fifths progression. Without suspensions you played romanesca
😀
Hi Gareth, my grade 7 theory textbook (Victoria Williams) seems to think that putting suspensions in the soprano line in the exam question is a strict ‘no-no’. So clarity, please 🙂?
You generally shouldn’t alter a given melodic line in a theory exam unless otherwise directed but in real music suspensions appear in all parts.