I'm not a composer and I never learnt any music theory, but this is the first video that talks about the topic of harmonisation in a comprehensive, well-rounded and logical way. Most other videos on youtube are very subjective and very hand-wavy, basically "Oh and this chord could sound nice now"
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You mentioned that a single tone can be harmonized with 3 chords ( e.g. b in G-Major, in B-Minor, in e-Minor, so in I,III,Vi ). I tried this on my piano for some sample tones. It opened my eyes - this simple fact 🙂. GOOD TEACHING
Quite a nice presentation. I started looking at rule based harmonization a few decades ago. After learing just a little bit about it, my guitar teacher at the time said to start off by harmonizing a melody by ear first (I was starting to write songs) and then look for ways to modfiy the harmony, and the melody if necessary. He did not expand on that thought. I can do this now, but harmonizing by ear does not have to be formally rule based. It is still a mystery to me how it works, but then a lot of things in this world are a mystery, none so much as the workings of the human brain, and in this case, the musical brain. So, many folks with no theoretical understanding can harmonize by ear only. The application of theory can come after the fact, if at all. Without notation, and/or a well-trained ear, it is very difficult to apply any rule-based harmonization at all. Another thing that maybe needs a bit more explanation is chord velocity or harmonic rhythm. Where do you put you chords? How often do you change them? Do you only put chord changes on the beat? Do you change chords more slowly? This is an important issue. Also, I sometimes read that you only need to really worry about vertical harmony (melody note and chord tone congruence) on the beats, or maybe more strongly stated, on the strong beats. Looking at a few example of real music, it did not seem that this was always true. So, what is an approach tone or auxilliary tone must depend on a prior decision as to which chord you are going to use. Also, if you use seventh chords and better yet extensions, then how do you define auxilliary tones? Is it always based on the triad form? These are things that the basic material I have read on harmonization does not cover. Some melodies seem to contain measures that favour particular chords, and sometimes the notes seem more random, and harder to pin down for harmony. As an amateur songwriter, I am still trying to up my game.
Obviously go with what sounds best. That always supersedes any ‘rules’. Think of the rules as guidance. On the issues of harmonic rhythm and the use of inessential notes & chord extensions we have videos on those topics. Keep composing!
Before looking at your examples, I decided to take on the challenge to see what I could come up with. Mine follows your second example EXCEPT on beat 2 of the first measure, I went for a I 7b and for beat 4 of the first measure, I went with a secondary dominant, V 7b / ii. I love exercises like this. Thanks!
Thank you so much, Mr. Green. I have learnt a lot from your videos, over the past one year or so. You have lost a lot of weight, Mr. Green. I sincerely hope it is on purpose and not due to illness. You have a large following, and we want only the best for you. You are a treasure, my friend. You are indeed an invaluable treasure. Sending love and goodwill, from Canada.
Excellent lesson!! I love how clearly you explain everything without making things unnecessarily complicated. Teaching theory is not an easy task. My respects to you. Greetings from Germany!
Thanks a lot for your expanation!!! I love to listen to music. I love the emotions it gives. But my ear is not as good for music as I would like. That's why I've not understand for many years what specialist talk about saying "harmonization". I read many articles about harmony but the material was really difficult for me (yes, simple things can be difficult🙃). And after watching your lesson I finally got it!!! Yes!!!! I'm so happy! Awasome! You're a true teacher!!!👍👍👍💯💯💯🤩
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Pretty simple and straight way to explain the topic... I was looking for a reference to teach my students the same...Thanks a lot... This was really helpful...
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Thank you for clear presentation. I have seen also piano roll editor instead of notation in the same purpose. I means that young composers want to make sounds direct to the virtual player. Not to real instruments. I prefer this traditional way.
Just stumbled upon your videos. Exactly the kind of advice and teaching I’ve been looking for. I’m self thought hobbyist. I’ve tried to find these kind of more advanced theory videos. There are a lot of videos where composing process is shown but they don’t explain the theory and ideas behind the choices.
Very enlightening. Not being a classically trained musician, but always interested in the theory, each one was a great lesson. The last two were particularly interesting.
Hey there, my music guru! May God's blessing be with you and your family always! Because of you, I'm sounding more intelligent about what I understand regarding music. Love ya, man!!!
Hello Gareth, thanks a lot for such an excellent video and a learning resource. Hope you are doing well. We need hundreds of such videos from you. Couple of points and requests: 1) Although the ideas and concepts will still remain the same, it would be really great to see the construction of harmonization for some longer pieces of melody (may be the prelude or chorus of some popular song, etc.) using the building blocks. 2) On the 4th way, you have used Cm. Clearly, it works - it creates tension that pulls towards resolution. But, it's important to know "why" it works. It would be great if you can cover this in one of your future videos. Also, perhaps equally important, what else "might" work as well.
Bravo! You've done a bunch of these harmony-melody videos and they are all unique and useful in their own ways. I don't think you are nearly at the bottom of the issue and I look forward to more!
A solid job on harmonizing under the melody. I went for a different harmony approach using the second eighth of the passing notes as chord tones, with the melody note as 9th for the first chord and the 11th for the third chord, or, in guitarists' jargon, starting with a sus2 on the II chord resolving to the I chord, then a sus4 on the V chord (with a counter-motion from A to F# to avoid duplication) resolving to the III chord for the first bar. However, what I really would have liked to see is how to harmonize a sung melody (with lyrics) to a set chord accompaniment (or possibly just the bass note and one or two extra notes, e.g. power chords aka hollow fifths, to leave room for ambiguous decoration in the upper (and maybe some lower) vocals also following some of those lyrics, or just counterpointing pieces of those lyrics.
"I'm not trying to set the Thames on fire here." LOL! This was very helpful, thanks. Ironically over the past two days I was wrestling with just this issue on one of my bigger pieces. I could hear an echo of your voice from previous videos, talking about passing notes. So I paid a lot of attention to that while I was considering chord placement.
This is a very good video. It is the job of the composer to bring out the essential color and beauty of the melody. Many techniques are used. Another method is augmentation wherein shifting harmonies are employed over one note. Bach's Chorales also offer great demonstrations how one melody can be rendered in different expressions. Another pretty progression for the given melody may be: em - bm- C - G- II#3- V7--I. This is the fun of music! Thanks for the video.
Very helpful examples that I can learn from for my own compositions. I took the „Music composition“ and „Writing counterpoint“ classes and the 4 harmonizations give me a different angle to look at. Thank you, Gareth!
A pleasure. The TH-cam videos on our channel are designed to complement the courses on our website so it’s good to hear from you that this approach is working.
This is soo appreciated, thanks a lot !! And so much clearer explained and better to understand than from all the kids around on youtube now trying to teach theory.
Hello Maestro: Please keep this up it is wonderful to see, hear, listen and learn from a professional that teaches music theory "the hardest concept on the planet." Again Thank you much, Cheers R
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Hello Garteh, this is very useful. I find it hard to harmonize a piece sometimes I have super repeating chords, but this one made me study other options for harmonizing a piece. Thank you so much!
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My ears tell me that the example number one is the one I like the most. Number two is also good, but number one is better. Examples three and four sound very dissonant to my taste hehe. Thank you for the lesson! It was great!
That’s fine. Personal choice! 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.
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thank you!!!! you're one of my favorite teachers. of course next to my physical teacher!!! I now had 5 piano lessons and am very devoted to learn learn learn... your clases are so clear. even though english is not my native language, i do fully follow you!!! thanks and respect from amsterdam! x inge
@@MusicMattersGB Thank you!!! I just looked at your webside! Impressive and really great choices of courses to take! respect!! for now, since the income of us artists dropped down with 90%, I can not affort a payed course, I'll stick to your youtube channel and learn and practice as much as I can. Thanks for your exellent skills, talents teachings!!
This video was most helpful and interesting as well as educating. Your video communicated even more than you said directly. This video displays well the varied ways and flavors you can have through harmony. I find harmony fascinating and this was an enjoyable video for me.
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Great video. Would be nice to see different rhythms included as well, i.e. breaking up the chords different ways, different start times for introducing the chords, etc.
I actually tried this. Didn't work out as supposed. Not because I wouldn't understand the theory about chords, but because... I am thinking like a Renaissance composer (watched your video about Byrd) or rather: like a choir singer. When you played this little melody, I immediately heard the full alto voice inside my head. I still tried. The last chord... had to go above the alto with the tenor, but that shouldn't be a problem. But then I began to hear parts of the bass and tenor inside my head. And somehow ended up ignoring exactly what this video is about. Oh, I have passing notes in exactly one voice for each chord but the last, and I have at least one passing note in each voice. But I probably broke that chord scheme or have something here that's horribly boring (like only using I and V or something), didn't even check... well, at least I had some fun and learned something about myself. I am glad I found your channel. Thank you so much for sharing all this content!
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Great video as always. Apparently in Australia we also use the abc method of labelling inversions. I didn’t know this until recently as the only classical harmony book I had was by Walter Piston. I agree the British way is less confusing and quicker to understand. I might practice four part harmonisations by using melodies out of a Beatles song book and reharmonising them.
Yes. The abc system is used widely around the world. Some people know no other system while others have never encountered it. Reharmonising melodies is a very useful process.
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Yeah, this really got through to me. I’ll look to see if you have other lessons where you DO adhere to the chord root in the base and harmonize thusly. Thx again.@@MusicMattersGB
Sir: Please inform this is a checkup - can the ii go to the I Chord in a Chord Progression? Can the iii Chord go to the I Chord in a Chord Progression. Please answer - Wonderful, beautiful and amazing. A
It’s perfectly possible. Take care with II to I as V is often a stronger alternative and you need to lookout for consecutive 5ths/ 8ves. Much more at www.mmcourses.co.uk
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@@MusicMattersGB ??…counterpoint is independence of line. Harmony happens from correct counterpoint but there’s no thought about chords. Sorry didn’t mean to start a debate. I used to write by the chord method that you use in this video, but I also had parallel motion all over the place. Thanks again I’m watching some of your other videos now.
I think it’s impossible to separate counterpoint from the chord language. The two really fit together. One might start with either but both have to fit.
@@MusicMattersGB thanks for your response. I had learned regarding counterpoint that we are writing lines of music, beginning with the melody of course then the other soprano, tenor, and bass lines. Independence of line is the goal in counterpoint, each voice must musically stand on its own. Intervals between the voices are what count, among the other some 900 counterpoint rules. Chords are a shorthand tool to analyze counterpoint, like a piano reduction. Chords are a result of counterpoint, that’s why I say that chords don’t matter. It’s the intervals between the voices that matter. Thanks and Good day sir.
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Great video! Can you make more, focusing maybe on how one might take the guess work out of the process of harmonizing, and instead being able to pick chords with greater intention when trying to create a certain mood in the piece? Moods like dramatic, dreamy, mysterious, sad, heroic... that kind of thing. Hope you know what I mean.
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I really enjoy your videos. Please keep them coming! I have to convert the "a" b" "c" "d" system for inversions to figured bass in my mind, but I'm getting used to it. Is this system used in G.B. across the board for all harmonic analysis, even for advanced students, or is this more of "let's get started" method for beginners before they learn about secondary functions, etc. Your students are very fortunate! Thank you so much for taking the time to create and share these! You are a talented teacher!!
Gareth, I adore your videos but might I suggest that you start making the scores larger so as those of us whom are watching on mobile phones can read them please 🙂
We realise this can be a problem so we’ve got the scores as big as possible but if you’re struggling on a phone you might need a bigger screen for these kind of videos.
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The musical compositional concepts of Western Europe begin with voicing. The development of musical forms rests on these principles. In the classical-romantic era, the principle of harmony was used, which was studied by schoolchildren and students in musical institutions. All musical forms of that time were based and developed on the mechanism of Western European harmony.
I’m fine thanks. It’s been intentional weight loss. 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.
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Great video yet again! Thanks for all this rich information. For me, harmonisations 1-3 are all good, but that Dim7c in the last one clashes too much for my ear: maybe I’m too musically conservative!
This is simply gold. I don't understand how someone can dislike such content.
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I'm not a composer and I never learnt any music theory, but this is the first video that talks about the topic of harmonisation in a comprehensive, well-rounded and logical way. Most other videos on youtube are very subjective and very hand-wavy, basically "Oh and this chord could sound nice now"
Great comment.
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What a wonderful teacher. And well respected, since your comments section is full of grateful people. Merci.
That’s most kind
You mentioned that a single tone can be harmonized with 3 chords ( e.g. b in G-Major, in B-Minor, in e-Minor, so in I,III,Vi ). I tried this on my piano for some sample tones. It opened my eyes - this simple fact 🙂. GOOD TEACHING
Glad it’s helpful
Quite a nice presentation.
I started looking at rule based harmonization a few decades ago. After learing just a little bit about it, my guitar teacher at the time said to start off by harmonizing a melody by ear first (I was starting to write songs) and then look for ways to modfiy the harmony, and the melody if necessary. He did not expand on that thought.
I can do this now, but harmonizing by ear does not have to be formally rule based. It is still a mystery to me how it works, but then a lot of things in this world are a mystery, none so much as the workings of the human brain, and in this case, the musical brain. So, many folks with no theoretical understanding can harmonize by ear only. The application of theory can come after the fact, if at all. Without notation, and/or a well-trained ear, it is very difficult to apply any rule-based harmonization at all.
Another thing that maybe needs a bit more explanation is chord velocity or harmonic rhythm. Where do you put you chords? How often do you change them? Do you only put chord changes on the beat? Do you change chords more slowly? This is an important issue.
Also, I sometimes read that you only need to really worry about vertical harmony (melody note and chord tone congruence) on the beats, or maybe more strongly stated, on the strong beats. Looking at a few example of real music, it did not seem that this was always true. So, what is an approach tone or auxilliary tone must depend on a prior decision as to which chord you are going to use. Also, if you use seventh chords and better yet extensions, then how do you define auxilliary tones? Is it always based on the triad form? These are things that the basic material I have read on harmonization does not cover.
Some melodies seem to contain measures that favour particular chords, and sometimes the notes seem more random, and harder to pin down for harmony.
As an amateur songwriter, I am still trying to up my game.
Obviously go with what sounds best. That always supersedes any ‘rules’. Think of the rules as guidance. On the issues of harmonic rhythm and the use of inessential notes & chord extensions we have videos on those topics. Keep composing!
Amazing teacher, I can't compliment enough. What a great guy! Thank you! 🙏
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Before looking at your examples, I decided to take on the challenge to see what I could come up with. Mine follows your second example EXCEPT on beat 2 of the first measure, I went for a I 7b and for beat 4 of the first measure, I went with a secondary dominant, V 7b / ii. I love exercises like this. Thanks!
That’s great and of course there are many possibilities.
I'd love to see a video on re-harmonising this G-Major melody by using one of the relative modes. ex. A-Dorian, C-Lydian
All possible
Thank you so much, Mr. Green. I have learnt a lot from your videos, over the past one year or so.
You have lost a lot of weight, Mr. Green. I sincerely hope it is on purpose and not due to illness. You have a large following, and we want only the best for you. You are a treasure, my friend. You are indeed an invaluable treasure. Sending love and goodwill, from Canada.
That is really lovely of you. Have no fear. The weight loss is entirely intentional. Thanks for your support.
@@MusicMattersGB Waoh, so relieved, congrats then!
Excellent lesson!! I love how clearly you explain everything without making things unnecessarily complicated. Teaching theory is not an easy task. My respects to you. Greetings from Germany!
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Thanks a lot for your expanation!!! I love to listen to music. I love the emotions it gives. But my ear is not as good for music as I would like. That's why I've not understand for many years what specialist talk about saying "harmonization". I read many articles about harmony but the material was really difficult for me (yes, simple things can be difficult🙃). And after watching your lesson I finally got it!!! Yes!!!! I'm so happy! Awasome! You're a true teacher!!!👍👍👍💯💯💯🤩
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.
Just wonderful. Can't thank you enough for these videos and your excellent classes! You are a treasure.
Love your RP accent. So comfortable to listen to!
That’s most kind.
i'm only in the first minutes of the video, and a really thank you for clear explanation!
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Pretty simple and straight way to explain the topic... I was looking for a reference to teach my students the same...Thanks a lot... This was really helpful...
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.
Thank you for clear presentation. I have seen also piano roll editor instead of notation in the same purpose. I means that young composers want to make sounds direct to the virtual player. Not to real instruments.
I prefer this traditional way.
😀
Al classical music pieces go around the 4 harmonisation techniques you gave. You summarised everything in 20 minutes. I liked your lessons!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
You know your stuff so so well. And you have a lovely relaxing way of explaining it. Thank you
That’s kind of you.
As an organist, I can say that this is a very well done video. Thank You!
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
A humble gratitude I bestow upon thee! I am most thankful
A pleasure. Much more at www.mmcourses.co.uk
Just stumbled upon your videos. Exactly the kind of advice and teaching I’ve been looking for. I’m self thought hobbyist. I’ve tried to find these kind of more advanced theory videos. There are a lot of videos where composing process is shown but they don’t explain the theory and ideas behind the choices.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Very enlightening. Not being a classically trained musician, but always interested in the theory, each one was a great lesson. The last two were particularly interesting.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Hey there, my music guru! May God's blessing be with you and your family always!
Because of you, I'm sounding more intelligent about what I understand regarding music. Love ya, man!!!
😀
Looking good and healthier!
Nice video on harmonization, I sure hope these lessons reach out to songwriters.
Thanks for your support.
Hello Gareth, thanks a lot for such an excellent video and a learning resource. Hope you are doing well. We need hundreds of such videos from you.
Couple of points and requests:
1) Although the ideas and concepts will still remain the same, it would be really great to see the construction of harmonization for some longer pieces of melody (may be the prelude or chorus of some popular song, etc.) using the building blocks.
2) On the 4th way, you have used Cm. Clearly, it works - it creates tension that pulls towards resolution. But, it's important to know "why" it works. It would be great if you can cover this in one of your future videos. Also, perhaps equally important, what else "might" work as well.
We will take that on board. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
I like that there is a sense of calmness in your video 😊
Thank you
Pray that all is well and you're healthy!
Absolutely fine thanks. Hope you are too.
I love harmonisation lesson.... Thanks so much . May you continue giving us more....
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
Bravo! You've done a bunch of these harmony-melody videos and they are all unique and useful in their own ways. I don't think you are nearly at the bottom of the issue and I look forward to more!
Plenty more to come!
A solid job on harmonizing under the melody.
I went for a different harmony approach using the second eighth of the passing notes as chord tones, with the melody note as 9th for the first chord and the 11th for the third chord, or, in guitarists' jargon, starting with a sus2 on the II chord resolving to the I chord, then a sus4 on the V chord (with a counter-motion from A to F# to avoid duplication) resolving to the III chord for the first bar.
However, what I really would have liked to see is how to harmonize a sung melody (with lyrics) to a set chord accompaniment (or possibly just the bass note and one or two extra notes, e.g. power chords aka hollow fifths, to leave room for ambiguous decoration in the upper (and maybe some lower) vocals also following some of those lyrics, or just counterpointing pieces of those lyrics.
It’s great that there are so many ways of harmonising.
"I'm not trying to set the Thames on fire here." LOL! This was very helpful, thanks. Ironically over the past two days I was wrestling with just this issue on one of my bigger pieces. I could hear an echo of your voice from previous videos, talking about passing notes. So I paid a lot of attention to that while I was considering chord placement.
That’s great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
As we say in the UK…says no one ever outside London;)
I’ve lived in the north of the U.K. for 40 years!
Lookin' slim and trim, Gareth! As always, loving your content from Maryland, US!
Thanks for your support.
I came here to say the same thing. Well done Gareth I know what hard work it is to lose weight having lost 9.5 stone myself x
Well done you. That’s a fine achievement.
He has done an amazing job hasn't he?
Now we just need to get him off to the gym and trim the hair - then he will be the piano machine...
Randallstown Md in the house
I always love the videos where you harmonize a melody. Thank you very much!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
This is a very good video. It is the job of the composer to bring out the essential color and beauty of the melody.
Many techniques are used. Another method is augmentation wherein shifting harmonies are employed over one note.
Bach's Chorales also offer great demonstrations how one melody can be rendered in different expressions.
Another pretty progression for the given melody may be: em - bm- C - G- II#3- V7--I.
This is the fun of music! Thanks for the video.
A pleasure. Yes, many different ways to tackle it.
How nice if I could have learnt harmony in such creative way! Thank you very much!!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Very helpful examples that I can learn from for my own compositions. I took the „Music composition“ and „Writing counterpoint“ classes and the 4 harmonizations give me a different angle to look at. Thank you, Gareth!
A pleasure. The TH-cam videos on our channel are designed to complement the courses on our website so it’s good to hear from you that this approach is working.
This is soo appreciated, thanks a lot !! And so much clearer explained and better to understand than from all the kids around on youtube now trying to teach theory.
A pleasure. Much more at www.mmcourses.co.uk
@@MusicMattersGB Thank you ! I visited your site and you'll soon have a new student :)
That’s great. Enjoy!
Hello Maestro: Please keep this up it is wonderful to see, hear, listen and learn from a professional that teaches music theory "the hardest concept on the planet." Again Thank you much, Cheers R
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Buenísimo!!! Gracias desde España!!!
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Hello Garteh, this is very useful. I find it hard to harmonize a piece sometimes I have super repeating chords, but this one made me study other options for harmonizing a piece. Thank you so much!
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This is awesome... Really forces me to look at song writing in a different light.
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till the end, your video is a true and useful lesson...thank you Maestro!
That’s most kind
What a brilliant teacher! Bravo!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
Thanks for sharing music content! Greetings from Barcelona!
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My ears tell me that the example number one is the one I like the most. Number two is also good, but number one is better. Examples three and four sound very dissonant to my taste hehe.
Thank you for the lesson! It was great!
That’s fine. Personal choice! 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.
Thank you very much! This is very helpful , especially for those who aren't strong in music theory like myself 😊
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.
best explanation ive seen about this topic! 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.
thank you!!!! you're one of my favorite teachers. of course next to my physical teacher!!! I now had 5 piano lessons and am very devoted to learn learn learn... your clases are so clear. even though english is not my native language, i do fully follow you!!! thanks and respect from amsterdam! x inge
That’s really kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
@@MusicMattersGB Thank you!!! I just looked at your webside! Impressive and really great choices of courses to take! respect!! for now, since the income of us artists dropped down with 90%, I can not affort a payed course, I'll stick to your youtube channel and learn and practice as much as I can. Thanks for your exellent skills, talents teachings!!
This video was most helpful and interesting as well as educating. Your video communicated even more than you said directly. This video displays well the varied ways and flavors you can have through harmony. I find harmony fascinating and this was an enjoyable video for me.
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Great video. Would be nice to see different rhythms included as well, i.e. breaking up the chords different ways, different start times for introducing the chords, etc.
😀
I actually tried this. Didn't work out as supposed. Not because I wouldn't understand the theory about chords, but because... I am thinking like a Renaissance composer (watched your video about Byrd) or rather: like a choir singer. When you played this little melody, I immediately heard the full alto voice inside my head. I still tried. The last chord... had to go above the alto with the tenor, but that shouldn't be a problem. But then I began to hear parts of the bass and tenor inside my head. And somehow ended up ignoring exactly what this video is about. Oh, I have passing notes in exactly one voice for each chord but the last, and I have at least one passing note in each voice. But I probably broke that chord scheme or have something here that's horribly boring (like only using I and V or something), didn't even check... well, at least I had some fun and learned something about myself.
I am glad I found your channel. Thank you so much for sharing all this content!
A pleasure. Much more at www.mmcourses.co.uk
This is a fun exercise! Thanks for sharing.
A pleasure
There's a lot of value in this lesson, even though I'm a guitar guy. Thanks!
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You videos are amazing and you made the world a better place. I noticed that you are much slimmer than before, do keep healthy gentleman.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. I’m fine - thanks for your concern.
Great video as always. Apparently in Australia we also use the abc method of labelling inversions. I didn’t know this until recently as the only classical harmony book I had was by Walter Piston. I agree the British way is less confusing and quicker to understand. I might practice four part harmonisations by using melodies out of a Beatles song book and reharmonising them.
Yes. The abc system is used widely around the world. Some people know no other system while others have never encountered it. Reharmonising melodies is a very useful process.
"sift" - good word that. Very helpful, as ever.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
Thank you! Wonderful as usual. Lots of love from Egypt. (And congratulations on the weight loss!)
Many thanks.
Thank you. such a good teacher. You've lost a lot of weight in a short time, looking good. I hope you're well.
You’re most kind. I’m fine thanks. It’s been intentional weight loss.
Thank you. Your tutorial was interesting and helpful.
That’s great
Thank you sir. Relearning fairly fast!
That’s great
Thank you. I learnt something today.
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.
Definitely, I would harmonize it like this: bcd(V) gab(III) a(V) f#(III) g(I). Less chords and a(II) does not break partials continuum.
😀
This is helping me learn to play rootless voicings in the baseline. Thx.
Excellent.
Yeah, this really got through to me. I’ll look to see if you have other lessons where you DO adhere to the chord root in the base and harmonize thusly. Thx again.@@MusicMattersGB
There are many videos covering this
@@MusicMattersGB Can’t wait.
😀
Hi professor
Thanks a million, you are incredible.
I'm a bit concerned that you look thinner than before . Hope you will be safe and happy.
Thank you. The weight loss is intentional but thanks for your concern.
Sir: Please inform this is a checkup - can the ii go to the I Chord in a Chord Progression? Can the iii Chord go to the I Chord in a Chord Progression. Please answer - Wonderful, beautiful and amazing. A
It’s perfectly possible. Take care with II to I as V is often a stronger alternative and you need to lookout for consecutive 5ths/ 8ves. Much more at www.mmcourses.co.uk
very important lesson, thank you so much. helped clear a lot of doubts and questions :)
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Such a pleasure to watch these wonderful presentations. :)
That’s great to hear. 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.
Helpful ..always right .. nice variety there !!
Thank you.
The Gareth has spoken! 🙌🏻
😀
I enjoy your lessons, and I learn. 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
I prefer writing counterpoint. Chords don’t matter.
You mentioned it but I was hoping you would go full counterpoint.
Great stuff I’m subscribing.
That’s great. Counterpoint does of course need a coherent underlying chord structure.
@@MusicMattersGB ??…counterpoint is independence of line. Harmony happens from correct counterpoint but there’s no thought about chords.
Sorry didn’t mean to start a debate.
I used to write by the chord method that you use in this video, but I also had parallel motion all over the place.
Thanks again I’m watching some of your other videos now.
I think it’s impossible to separate counterpoint from the chord language. The two really fit together. One might start with either but both have to fit.
@@MusicMattersGB thanks for your response.
I had learned regarding counterpoint that we are writing lines of music, beginning with the melody of course then the other soprano, tenor, and bass lines.
Independence of line is the goal in counterpoint, each voice must musically stand on its own.
Intervals between the voices are what count, among the other some 900 counterpoint rules.
Chords are a shorthand tool to analyze counterpoint, like a piano reduction.
Chords are a result of counterpoint, that’s why I say that chords don’t matter.
It’s the intervals between the voices that matter.
Thanks and Good day sir.
Hi. You're looking great! As always, loved the video
You’re most kind
Thanks Gareth! What an excellent video!
A pleasure.
Excellent explanation as always Gareth
Most kind.
wonderfully explained - thank you very much 🍀
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.
Great video! Can you make more, focusing maybe on how one might take the guess work out of the process of harmonizing, and instead being able to pick chords with greater intention when trying to create a certain mood in the piece? Moods like dramatic, dreamy, mysterious, sad, heroic... that kind of thing. Hope you know what I mean.
Good idea
@@MusicMattersGB Looking forward to it!
Gareth, excellent video, it's so valuable this type of practical content directly linked to the craft.
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Really inciteful ty, new to you're site, I'll be following more often! The 6/4 is what I'm used to but abc works just as well!
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Great stuff as usual Garreth.
Most kind.
Great lesson! 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.
I really enjoy your videos. Please keep them coming! I have to convert the "a" b" "c" "d" system for inversions to figured bass in my mind, but I'm getting used to it. Is this system used in G.B. across the board for all harmonic analysis, even for advanced students, or is this more of "let's get started" method for beginners before they learn about secondary functions, etc. Your students are very fortunate! Thank you so much for taking the time to create and share these! You are a talented teacher!!
That’s great. Much more at www.mmcourses.co.uk
amazing explanation. Thank you.💓
A pleasure
Cheers for this video man! Just found you channel today and it’s gonna help me a ton with my music production 🙏
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
Gareth, I adore your videos but might I suggest that you start making the scores larger so as those of us whom are watching on mobile phones can read them please 🙂
We realise this can be a problem so we’ve got the scores as big as possible but if you’re struggling on a phone you might need a bigger screen for these kind of videos.
Hey, you said your name! Finally! Well done. Great info.
I’ve done it for a while now, following requests!
Great job as usual Gareth. Best wishes from from Barnsley
Most kind. Great to hear from someone in Barnsley!
These videos are always delightful and insightful. And Gareth couldn't be any cuter... LOL
You’re too kind!
Excellent. Thank you!
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Thanks Gareth 👏👏👏
A pleasure.
Great tutorial...Thank you sir
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The musical compositional concepts of Western Europe begin with voicing. The development of musical forms rests on these principles. In the classical-romantic era, the principle of harmony was used, which was studied by schoolchildren and students in musical institutions. All musical forms of that time were based and developed on the mechanism of Western European harmony.
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Sir you look different . I hope you are doing well and fine. 🙏🏼 Thank you for such lessons.
I’m fine thanks. It’s been intentional weight loss. 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.
Very helpful! Thanks.
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I just wanted to ask "what does this b do over the second quarter note of the first example?", but then you explained it thankfully. Great job!!
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enlightening!!! Thanks a lot!!!!
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.
Thank you so much for this! So helpful! Your content has helped so much 💪🙏
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
eyeopening....thank you, sir
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Great video yet again! Thanks for all this rich information. For me, harmonisations 1-3 are all good, but that Dim7c in the last one clashes too much for my ear: maybe I’m too musically conservative!
A pleasure. The idea of ex 4 is to push into more chromatic territory. A step too far for some!
What a great lesson! And enormously useful!
Most kind