Really, thank you: you're the best music theory pedagogue I've ever encountered. And you have a very straightforward and friendly teaching style (which was not the case with my own grumpy counterpoint teacher). Many thanks and I hope to hear more.
Dear music matters, I am one of the people who really enjoy these kind of videos, but I have a little request to make if it’s possible. I am visually impaired. So if you can play the melody instead of showing it on the board as well, this would be very helpful to me to understand what you are talking about. Thank you for your effort
Wow. You are really good at what you do. Keep it up. Could you please consider a topic on mediant and chromatic mediant relationships and how they can be used in harmony?
Amazing how following the rules achieves such a musical result. Found your basic harmony video yesterday and it took me right back to O-level music. Can't believe how much I remembered! This one obviously takes it up a notch, but I could almost see where you were going. And for once, as an alto, I was grateful for the f repeated notes. Many thanks 😊
Love Gaerth's presentations. Had I a theory instructor like him when I was younger, (positive and laid-back), it would've made a WORLD of difference. But, that was decades ago, this is now. Thanks for sharing your knowledge and talent, Gaerth. I'm VERY grateful. Merry Christmas and Happy Holidays to you, and Alex.
I absolutely love this. Because this is pure composition. Not hearing it, but following rules. Nowadays, every man and his dog is composing on apps just by listening and playing around. I mean, it works, but, this goes to show if you know the basics, you dont need the gimmicks.
Glad you’re enjoying it. We might as well embrace all that technology offers but there’s certainly no substitute for technique and, in my view, technique assists creativity. See www.mmcourses.co.uk for details of our 24 online courses, how to join Music Matters Maestros, and to find out about our marking and accompaniment services .
Your videos are so super helpful, it's such a shame you aren't more famous, everyone would benefit from your videos. Your smile always makes me happy, love your videos, it helps me a lot with my school compositions. Thanks a lot and I wish you well.
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.
22:03 just saving this because maybe i need it one day 28:31 WOW im just grade 4 really interested in these videos and im just amazed about the terms there... i have heard about "neapolitan sixth" things but i've never heard anything like this! just one note it changes name 32:17 IM JUST WOWED AT THIS POINT modulating to a random key in JUST ONE-TWO bars doesn't sound rushing but instead flows so smooth.... music is a really interesting concept. THANK YOU for making this videos, now i can be a little more "advanced" and knowledgeable about music because of your videos hehe, 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.
I've been playing piano for 2 1/2 years, and knew nothing, zero about music theory. Luckily I found your channel, and learned a lot. And I learned my limitations. I decided to quit watching videos about jazz exercises (though I've practiced them) and extensions and sevenths. I decided to master triads. Actually master is a funny word, since I think that comes with decades, or centuries of playing. I'll just say I'm better. And I'm starting to branch out. I believe you've talked about the Dohnanyi exercises once, and I've seen Dr. Kate Boyd also show them. But they move up chromatically I thought they sounded better using the circle of fifths, or fourths. I'm starting to practice those exercises, and it's getting better. I noticed that in every key they end up in a Diminished Chord. So I devised an exercise where I move from a diminished chord and move from each degree in the chord and move to either a root, third, fifth or major seventh. When I've learned that, the next step is to move to Dominant Sevenths, n'est-ce pas? Oh, right, then it would be minor keys, then melodic and harmonic minors. It seems that the task is quite challenging, so I should quit writing and get to practicing. I followed this video quite happily, and only a little nervous sweating, until you got to the Augmented Sixth chord. That's too advanced for me...for now. You and Alex have a great channel, and I thank you for every video in your catalogue. Merci beaucoup.
Thank you so much for your teaching. You have helped me a great deal with my piano bar and strolling accordion playing. Please keep these videos coming.
Thank you for these superior video tutorials! I’ve been thinking a lot about counterpart - working out the Fux exercises - so this was extremely helpful. All of them are good! Best regards, David M White, PhD
Good job! I never got quite this far in college. I celebrated starting my senior year of college by switching my major from vocal performance to history so I never encountered anything like this.
As a major in Conducting, having already finished my studies of the common practice period harmony, i can say this video is a perfect synthesis of several of these techniques. Keep it up!
Exactly what I searched for. Great explanation. Could you do a video on how to come up with such chromatic melodys or on creating a melody on a chromatic harmony chord progression?
Will put that on the list. Many thanks. See www.mmcourses.co.uk for much more, including details of our 24 online courses and of Music Matters Maes tros.
if you listen or learn stairway to heaven... The lowest notes of each chord are descending chromatically A min...G# aug, C Maj ( G 5th) ...D Maj/F#...FMaj7..G Maj. A min That's becuase the vi and vii chord of A melodic min are dim. F Maj F#dim G Maj G# dim A min The Outro solo...Basically the samething ( just in a different PITCH/key B min/D Major...( it's just the arpeggios are being played backwards.) B min...A# dim A Maj G# dim G Maj F# #2, #5 or F# b3, b6 E min F Maj it's just on the SECOND HALF of the scale. You can trying insert a dim chord tween D doiran D# dim E phryigan C Maj C# dim D min A min A#dim into B minor....C Maj...D # dim Dmin it'll be sort of the same thing D min...D#dim E min F maj F# dim G Maj... In other words...the note degree that's NOT in the MAJOR scale. b2, b3, b5, b6, b7.....insert them as diminished. Or Later on you could sub the N6 with a minor chord... example....A Harmonic min b2 ( Bb Lydian #6) Bb Maj.... Bb lydian #2, #6.....in a nutshell....use that as a pivot minor chord. Bb min....Eb min F Min ( simple 1, 4, 5 in minor) The F min..is lydian b3 or iv of C Harmonic MAJOR or F lydian #2 of A Harmonic min) Bb min....Eb min F min G7 into C MAJOR different cadence.... or Bb min as phryian chord.... Bb min Eb MINOR...Ab min G7 into C Maj. or Bb min as dorian ish...........Bb min Eb7 Ab MAJ G7 into C MAJOR or Bb min as dorian b2 Bb min Eb7 Ab min G7 into C MAJOR or Bb min C min F min/AbMaj G7 into C MAJOR or sub the Bb with Maj..as different 1 or 4 or 5 chord ( keep it simple) Bb Maj Eb maj F Maj G7 into C MAJOR...ect Bb Maj Eb MAJ Ab Maj G7 into C MAJOR Bb Maj C Maj F Maj G7 into C MAJOR
Another great video; you're one of the best sources of musical knowledge around. Thank you for the hard work! I'm especially interested in modulating between distant keys, and this offers some really nice insight. The usual progressions work fine and dandy, but they can be a bit predictable!
Thank you very much! Incredibly useful video that came around at the perfect time! However, I would suggest that you turn the volume of the piano down a bit!
I like how you use the British way of describing the harmonic inversions instead of the inferior American and European figured bass!!! You can actually employ numerous pivot chords in tritone modulations, so for example the flat supertonic of C major/a minor becomes chord Vb in G flat/F sharp major/e flat/d sharp minor and the tritone substitution in dominant sevenths between the keys! Another example is employing five-part dominant minor ninths so for instance in a minor the ascending notes E, D, F, G sharp, B is transformed to e flat minor with B flat, D, F, A fat, C flat with only the bass note moving . Or a dominant major ninth in C major, (G, B, D, F, A) to a dominant minor thirteenth in f sharp minor, (C sharp, B, D, E sharp, A), (which can also be done via a dominant minor eleventh in a minor, (E, B, D, F, A))!
Excellent presentation of how to travel between two distant and seemingly unrelated keys. But there was a missed opportunity for one more wonderful suspension: from the last Ab in the Alto / measure 5, to a 4-3 (Ab-G) suspension in measure 6. Ahhhh! That would have been a very satisfying conclusion to a rich harmonic progression!
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.
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 - worth watching more than once I think. Is it always important to use the "correct" notation - with - for example A sharp written rather than B flat? In other words I guess always trying to write notes with an assumed key - there are several examples in this video. People who write by trying out ideas at a keyboard may use enharmonically equivalent notation - perhaps because they don't quite know what they are doing - or are not working within reference keys. Thank you - this is brilliant!
Hi there! Thank you kindly for all you do🤍 I have a question: when you are sitting at the piano and you are pulling in on contrary motion with keys in front of you, how do you best carry your physical body comfortably? I know some say sit straight up & pull your body away but it feels awkward & uncomfortable at times. Do you have any suggestions?
@@MusicMattersGB Thank you so much for your splendid and rigourous videos. It is mentally challenging to translate my "do, re, mi, fa" scales into "a,b,c,d..." but you are a wonderful teacher.
Thanks Gareth for another video! You mentioned suspensions. Is 9-8 suspension the same as 2-1 suspension ? The interval between Ab to Bb is a second interval. Am I right ? Thanks!
I have a related question: Per my research, suspensions seem to be limited to 9-8, 7-6, 4-3, and 2-3. Could we have a suspension in 8-7, 6-5, 5-4, and 3-2 ? Many thanks, Gareth!
Your examples in the first list are accurate. The second list is unlikely because the note of resolution ends up being dissonant and you need the resolution note to be consonant.
Your way of explaining is really admirable! Congratulations for the good work. But i have a objection for the dim7 chord on the end of 2d bar. Tenor sings F-->Eb and Soprano sings Cb-->Bb (2d to 3d bar). As far as i know it is considered parallel 5ths for the shake of conventional harmony. So it is considered a mistake (i know that perfect 5th going to diminished fifth is allowed, but diminished fifth going to perfect fifth is still considered parallel fifths).
@@MusicMattersGB ok i understand! I am a teacher from greece watching your videos to take ideas of how to teach and explain easy for me things to students. But here , we consider this a mistake (diminished to perfect fifths) although a minor one. Thats all, thanks for your response!
This is in the context of a 6/4 5/3 progression. That progression can be decorated by moving to the note below the note of resolution before the resolution note. In this case I’m doing that and including chromatic alteration.
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.
That’s great. 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.
What a beautiful little composition. Instasub! Suggestion: Maybe you could start by playing the melody, then play the finished result, then work towards building it from scratch. A viewer would also be curious how the melody was improvised in the first place.
I love your videos I dont want to sound presicous but of you could maybe use some relevant (aka) modern piece of music to find relevance (I understand the copyright bs) but for newbies "like me" would make all the difference. Other channels rely solely on popular music to get there point across *ala beato* but your method of explanation is easier for me imho. Definitely subbed nonetheless. Great work
Fair comment. We are always conscious of copyright issues plus we have followers from so many different musical traditions which makes it tricky to find examples relevant to everyone but we’ve got some videos out there based on real pieces of music.
Thanks. That's the best video of your's that I've seen. Very interesting. Coming from a jazz background I think of things a little differently yet I'd have come to some of the same conclusions. In particular the Bb7b9 that you mentioned but didn't use (nearly - you just omitted out the root) and your augmented 6th chord which I think about completely differently. I'd call it a B7 and justify it as a b5 substitute of an F7 - secondary dominant of the Bb chord Both B7 and F7 contain the same, though enharmonically different, tritone - therefore can be interchanged.
Thanks for the suggestion, we've started adding a pdf to some of our latest videos with the sheet music available to download but will also look into that option too.
Hey, i would really like to dive into this stuff, harmony is my favorite thing about music and im a songwriter, i just dont like chords in the scale, for me they sound so predictable and kinda lame and i love more experimental harmony that actually sounds good and consonant, can you recommend me a book to study and know to do these types of chromatic harmonization? thanks!
That’s most kind. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme. In particular have a look at this course which is much clearer than the text books. www.mmcourses.co.uk/p/advanced-music-theory-grades-6-7-8
Such a great teacher of music. If any artist would spend a minute learning this and not your newest DAW or program music would be much richer and last a life time just like the music did years past and still today. You can take any Steve Wonder song from the 70's and its as rich today as the time he made it. Learn music people
Yes. There are 12 notes before you return to the starting note. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Learn Music Online - Check out our courses here!
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Music Matters thank you for all your videos, they are very useful for me
edit: english is hard
That’s great. Many thanks. All the best. Gareth and Alex.
In Which courses is this ?
Have a look at www.mmcourses.co.uk
Really, thank you: you're the best music theory pedagogue I've ever encountered. And you have a very straightforward and friendly teaching style (which was not the case with my own grumpy counterpoint teacher). Many thanks and I hope to hear more.
That’s most kind. Much more at www.mmcourses.co.uk
Dear music matters,
I am one of the people who really enjoy these kind of videos, but I have a little request to make if it’s possible. I am visually impaired. So if you can play the melody instead of showing it on the board as well, this would be very helpful to me to understand what you are talking about. Thank you for your effort
That’s a very appropriate request. Thank you.
That was really so good. It's a very good revision for me. What a wonderful teacher you are. Thanks so much
That’s most kind. Much more at www.mmcourses.co.uk
Wow. You are really good at what you do. Keep it up. Could you please consider a topic on mediant and chromatic mediant relationships and how they can be used in harmony?
Sure. Have a look at our video on the submediant shift.
Absolutely marvellous teaching. This is stretching me nicely. Thank you so much.
Many thanks. See www.mmcourses.co.uk for much more, including details of our 24 online courses and of Music Matters Maestros.
Amazing how following the rules achieves such a musical result. Found your basic harmony video yesterday and it took me right back to O-level music. Can't believe how much I remembered! This one obviously takes it up a notch, but I could almost see where you were going. And for once, as an alto, I was grateful for the f repeated notes. Many thanks 😊
Many thanks. See www.mmcourses.co.uk for much more, including details of our 24 online courses and of Music Matters Maestros.
Love Gaerth's presentations. Had I a theory instructor like him when I was younger, (positive and laid-back), it would've made a WORLD of difference. But, that was decades ago, this is now. Thanks for sharing your knowledge and talent, Gaerth. I'm VERY grateful. Merry Christmas and Happy Holidays to you, and Alex.
A pleasure. Merry Christmas to you too
@@MusicMattersGB Thank you, sir. :)
😀
I absolutely love this. Because this is pure composition. Not hearing it, but following rules. Nowadays, every man and his dog is composing on apps just by listening and playing around. I mean, it works, but, this goes to show if you know the basics, you dont need the gimmicks.
Glad you’re enjoying it. We might as well embrace all that technology offers but there’s certainly no substitute for technique and, in my view, technique assists creativity. See www.mmcourses.co.uk for details of our 24 online courses, how to join Music Matters Maestros, and to find out about our marking and accompaniment services
.
I just discovered your channel and I love it!!! I’ve been watching your videos for pure enjoyment, as well as the refresher of it all!
That’s great. Welcome aboard. Much more at www.mmcourses.co.uk
Your videos are so super helpful, it's such a shame you aren't more famous, everyone would benefit from your videos. Your smile always makes me happy, love your videos, it helps me a lot with my school compositions. Thanks a lot and I wish you well.
Many thanks. That’s really kind. See www.mmcourses.co.uk for much more, including details of our 24 online courses and of Music Matters Maestros.
Thank you! This resolved what my ears heard years ago listening to some hymnal & classical..
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.
22:03 just saving this because maybe i need it one day
28:31 WOW im just grade 4 really interested in these videos and im just amazed about the terms there... i have heard about "neapolitan sixth" things but i've never heard anything like this! just one note it changes name
32:17 IM JUST WOWED AT THIS POINT modulating to a random key in JUST ONE-TWO bars doesn't sound rushing but instead flows so smooth.... music is a really interesting concept. THANK YOU for making this videos, now i can be a little more "advanced" and knowledgeable about music because of your videos hehe, THANK YOU
😀
Thank you for the highly detailed lesson, lots of good information!
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've been playing piano for 2 1/2 years, and knew nothing, zero about music theory. Luckily I found your channel, and learned a lot. And I learned my limitations. I decided to quit watching videos about jazz exercises (though I've practiced them) and extensions and sevenths. I decided to master triads. Actually master is a funny word, since I think that comes with decades, or centuries of playing. I'll just say I'm better. And I'm starting to branch out. I believe you've talked about the Dohnanyi exercises once, and I've seen Dr. Kate Boyd also show them. But they move up chromatically I thought they sounded better using the circle of fifths, or fourths. I'm starting to practice those exercises, and it's getting better. I noticed that in every key they end up in a Diminished Chord. So I devised an exercise where I move from a diminished chord and move from each degree in the chord and move to either a root, third, fifth or major seventh. When I've learned that, the next step is to move to Dominant Sevenths, n'est-ce pas? Oh, right, then it would be minor keys, then melodic and harmonic minors.
It seems that the task is quite challenging, so I should quit writing and get to practicing.
I followed this video quite happily, and only a little nervous sweating, until you got to the Augmented Sixth chord. That's too advanced for me...for now.
You and Alex have a great channel, and I thank you for every video in your catalogue.
Merci beaucoup.
That’s most kind. You’re doing a great job. Keep going!
Thank you so much for your teaching. You have helped me a great deal with my piano bar and strolling accordion playing. Please keep these videos coming.
Thank you. We will do our best to keep going.
Thank you for these superior video tutorials!
I’ve been thinking a lot about counterpart - working out the Fux exercises - so this was extremely helpful. All of them are good!
Best regards,
David M White, PhD
That’s most kind. See www.mmcourses.co.uk for much more.
I’m really getting so much from every video! Thank you!! 🎶
That’s great. Much more at www.mmcourses.co.uk
I like the idea of looking "at the total picture" when harmonizing a melody!
Yes. I think it’s a helpful thing to do.
Very cool to see this worked out on the whiteboard, like a thriller!
Glad you enjoy it. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Brilliant use of enharmonic notes and the "german sixth" chord, Gareth! wonderful video!
Glad it’s helpful.
love your channel!! thanks, we need more people like you! keep up the great work
That’s most kind. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
An entire music theory dissertation contained in one lesson here. Info reminder on aug 6 chords gratefully received..
Glad it’s helpful.
Wonderful demonstration. Thankyou.
A pleasure. Much more at www.mmcourses.co.uk
Discovered this channel recently and I love the way you explain things. I'll be watching more of your videos in the near future! Thanks again :)
That’s great. Welcome! Much more at www.mmcourses.co.uk
Good job! I never got quite this far in college. I celebrated starting my senior year of college by switching my major from vocal performance to history so I never encountered anything like this.
Glad it’s helpful. See www.mmcourses.co.uk for much more.
fantastic, essential! a remarkably concise lesson loaded with great tips! Thank you very much.
That’s very kind. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our Maestros programme.
it's very particularly nice.With nonharmonic tones-Negative chords of the circle of the fifths-Thanks
😀
As a major in Conducting, having already finished my studies of the common practice period harmony, i can say this video is a perfect synthesis of several of these techniques. Keep it up!
That’s most kind. Much more at www.mmcourses.co.uk
Wow !!! amazing lesson! thank you Sir
A pleasure. Much more at www.mmcourses.co.uk
Excellent work and delivery
That’s most kind
Exactly what I searched for. Great explanation. Could you do a video on how to come up with such chromatic melodys or on creating a melody on a chromatic harmony chord progression?
Will put that on the list. Many thanks. See www.mmcourses.co.uk for much more, including details of our 24 online courses and of Music Matters Maes
tros.
if you listen or learn stairway to heaven...
The lowest notes of each chord are descending chromatically
A min...G# aug, C Maj ( G 5th) ...D Maj/F#...FMaj7..G Maj. A min
That's becuase the vi and vii chord of A melodic min are dim.
F Maj F#dim G Maj G# dim A min
The Outro solo...Basically the samething ( just in a different PITCH/key
B min/D Major...( it's just the arpeggios are being played backwards.)
B min...A# dim
A Maj G# dim
G Maj F# #2, #5 or F# b3, b6
E min F Maj
it's just on the SECOND HALF of the scale.
You can trying insert a dim chord tween D doiran D# dim E phryigan
C Maj C# dim D min
A min A#dim into B minor....C Maj...D # dim Dmin
it'll be sort of the same thing
D min...D#dim E min F maj F# dim G Maj...
In other words...the note degree that's NOT in the MAJOR scale.
b2, b3, b5, b6, b7.....insert them as diminished.
Or Later on you could sub the N6 with a minor chord...
example....A Harmonic min b2 ( Bb Lydian #6)
Bb Maj....
Bb lydian #2, #6.....in a nutshell....use that as a pivot minor chord.
Bb min....Eb min F Min ( simple 1, 4, 5 in minor)
The F min..is lydian b3 or iv of C Harmonic MAJOR
or F lydian #2 of A Harmonic min)
Bb min....Eb min F min G7 into C MAJOR
different cadence....
or Bb min as phryian chord.... Bb min Eb MINOR...Ab min G7 into C Maj.
or Bb min as dorian ish...........Bb min Eb7 Ab MAJ G7 into C MAJOR
or Bb min as dorian b2 Bb min Eb7 Ab min G7 into C MAJOR
or Bb min C min F min/AbMaj G7 into C MAJOR
or sub the Bb with Maj..as different 1 or 4 or 5 chord ( keep it simple)
Bb Maj Eb maj F Maj G7 into C MAJOR...ect
Bb Maj Eb MAJ Ab Maj G7 into C MAJOR
Bb Maj C Maj F Maj G7 into C MAJOR
Another great video; you're one of the best sources of musical knowledge around. Thank you for the hard work! I'm especially interested in modulating between distant keys, and this offers some really nice insight. The usual progressions work fine and dandy, but they can be a bit predictable!
A pleasure. See www.mmcourses.co.uk for much more.
youre the best youtube teachers,,,especially HARMONY
That’s most kind. Much more at www.mmcourses.co.uk
Fantastic tutorial. thank you.
A pleasure. Much more at www.mmcourses.co.uk
Excellent...notes to challenge and make me think
That’s most kind. Much more to help you at www.mmcourses.co.uk
Thank you so much!!
A pleasure
Excellent video (lockdown 2021).
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
A thing of beauty !!
😀
Love the simple explanation..
Thanks. Much more at www.mmcourses.co.uk
Legendary, very useful & helpful. Thankyou
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
Thank you very much! Incredibly useful video that came around at the perfect time! However, I would suggest that you turn the volume of the piano down a bit!
Thank you. I’m surprised about the piano volume comment - that’s a first for us.
I like how you use the British way of describing the harmonic inversions instead of the inferior American and European figured bass!!! You can actually employ numerous pivot chords in tritone modulations, so for example the flat supertonic of C major/a minor becomes chord Vb in G flat/F sharp major/e flat/d sharp minor and the tritone substitution in dominant sevenths between the keys! Another example is employing five-part dominant minor ninths so for instance in a minor the ascending notes E, D, F, G sharp, B is transformed to e flat minor with B flat, D, F, A fat, C flat with only the bass note moving . Or a dominant major ninth in C major, (G, B, D, F, A) to a dominant minor thirteenth in f sharp minor, (C sharp, B, D, E sharp, A), (which can also be done via a dominant minor eleventh in a minor, (E, B, D, F, A))!
😀
This is so helpful, thank you!
A pleasure. Thanks for your support.
Excellent presentation of how to travel between two distant and seemingly unrelated keys. But there was a missed opportunity for one more wonderful suspension: from the last Ab in the Alto / measure 5, to a 4-3 (Ab-G) suspension in measure 6. Ahhhh! That would have been a very satisfying conclusion to a rich harmonic progression!
Never miss a good suspension!
Music Matters. My thoughts exactly! Thanks for your excellent content in these videos.
😀
Great lesson many 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.
Bravo! Fantastic!
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.
as brilliant as always
Many thanks. See www.mmcourses.co.uk for much more, including details of our 24 online courses and of Music Matters Maestros.
Amazing video!! Thanks Gareth
Most kind.
Great information Garreth, many thanks.
A pleasure. See www.mmcourses.co.uk for much more.
Minute 8:46 I don't understand why V7c instead of just V7 where does the C comes from?
thankx
a is root position
b is first inversion
c is second inversion
@@MusicMattersGB oh okay, is it a generally accepted way of rappresenting the inversions or It is your own method of teaching them?
@@danieleoduro3829 It’s a real way to do it in some countries.
Absolutely. Many countries use the a b c method. Other countries use the 5/3, 6, 6/4 system.
Fine explanations.
Thank you
Fantastic! Many thanks, keep 'em coming
Many thanks. See www.mmcourses.co.uk for much more, including details of our 24 online courses and of Music Matters Maestros.
Thanks for this! I learned new things!
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.
Wooow that was impressive and you even got some laughs out of me with your great humour! :D Thank you a lot for this great content
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.
@@MusicMattersGB I plan to enroll to one of your courses soon :) I just need to figure out which one fits best for me.
A pleasure. Thanks for your comment. Let us know if you want help choosing a course.
Thanks Gareth this is just what I needed 👍
Many thanks. See www.mmcourses.co.uk for much more, including details of our 24 online courses and of Music Matters Maestros.
Excellent - worth watching more than once I think. Is it always important to use the "correct" notation - with - for example A sharp written rather than B flat? In other words I guess always trying to write notes with an assumed key - there are several examples in this video. People who write by trying out ideas at a keyboard may use enharmonically equivalent notation - perhaps because they don't quite know what they are doing - or are not working within reference keys.
Thank you - this is brilliant!
Thanks for your endorsement. It’s good that you reinforce the point about enharmonics.
Fantastic lesson ❤️😎
Most kind.
32:18 sounds like the intro to band of brothers (a really good show intro)
😀
That's the most mind blowing thing I've ever been exposed to. You oped so many doors at once
I’m glad it’s useful. Much more at www.mmcourses.co.uk
Amazing, great video!
It’s a pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
32:19
😀
Question: Why use letters for inversions rather than the figured bass style numerals? Is it preference?
Yes. Both systems are in common use although some countries prefer one over the other.
Hallo!!! Thank you so much Gareth!!! ❤️❤️❤️
Many thanks. See www.mmcourses.co.uk for much more, including details of our 24 online courses and of Music Matters Maestros.
Hi there! Thank you kindly for all you do🤍 I have a question: when you are sitting at the piano and you are pulling in on contrary motion with keys in front of you, how do you best carry your physical body comfortably? I know some say sit straight up & pull your body away but it feels awkward & uncomfortable at times.
Do you have any suggestions?
It sounds as if your body flexibility is working appropriately. Keep your wrists well placed, with arm flexibility, and upper body flexibility.
Very good explanation
Many thanks. See www.mmcourses.co.uk for much more, including details of our 24 online courses and of Music Matters Maestros.
Shock and flabbergast. This is amazing.
Glad it’s helpful. See www.mmcourses.co.uk for much more.
@@MusicMattersGB Thank you so much for your splendid and rigourous videos. It is mentally challenging to translate my "do, re, mi, fa" scales into "a,b,c,d..." but you are a wonderful teacher.
You’re very kind.
Thanks Gareth for another video! You mentioned suspensions. Is 9-8 suspension the same as 2-1 suspension ? The interval between Ab to Bb is a second interval. Am I right ? Thanks!
Yes. A 9-8 is effectively the same as a 2-1. We generally label it 9-8 because 2 usually signifies a suspension in the bass.
I have a related question: Per my research, suspensions seem to be limited to 9-8, 7-6, 4-3, and 2-3. Could we have a suspension in 8-7, 6-5, 5-4, and 3-2 ? Many thanks, Gareth!
Your examples in the first list are accurate. The second list is unlikely because the note of resolution ends up being dissonant and you need the resolution note to be consonant.
Your way of explaining is really admirable! Congratulations for the good work. But i have a objection for the dim7 chord on the end of 2d bar. Tenor sings F-->Eb and Soprano sings Cb-->Bb (2d to 3d bar). As far as i know it is considered parallel 5ths for the shake of conventional harmony. So it is considered a mistake (i know that perfect 5th going to diminished fifth is allowed, but diminished fifth going to perfect fifth is still considered parallel fifths).
Thanks for your positive feedback. It’s okay to mix perfect and diminished 5ths in either order. They are not considered consecutive
@@MusicMattersGB ok i understand! I am a teacher from greece watching your videos to take ideas of how to teach and explain easy for me things to students. But here , we consider this a mistake (diminished to perfect fifths) although a minor one. Thats all, thanks for your response!
@@iliadisgeorge That’s interesting that it’s different in Greece.
Hi !mr green🙏 why you used dim7 in root ? Why you didn't use it in first inversion??
You could use it in any inversion
I like this video. Good job.
That’s most kind. See www.mmcourses.co.uk for our 24 online courses and details of our Music Matters Maestros groups.
Could you please make a video about what Rhythmic dispersal is please
Ok. Will put it on the list.
@@MusicMattersGB thank you sir, also pandiatonisims 🙏
😀
2nd last bar: 1C to V7, you added E & C# in the alto and tenor voices, how do you name these non chord notes?
This is in the context of a 6/4 5/3 progression. That progression can be decorated by moving to the note below the note of resolution before the resolution note. In this case I’m doing that and including chromatic alteration.
@@MusicMattersGB is there another video which can give more examples of such?
Awesome!
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Another great video. ive never seen a channel with so few dislikes. and for good reason.
It’s a pleasure. Much more at www.mmcourses.co.uk
Wow I'm learning a lot
- Drummer in reform
That’s great. 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!
Glad you liked it!
Thank you sir
A pleasure. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
What a beautiful little composition. Instasub! Suggestion: Maybe you could start by playing the melody, then play the finished result, then work towards building it from scratch. A viewer would also be curious how the melody was improvised in the first place.
Good suggestion. You’ll see that format in a number of our other videos.
:I have a question
we are in major key which minor key we canborrow from
? melodic or harmonic or natural or it is Optional
thank you 🙏
You could borrow from any. It all depends on what works best in a given context.
I love your videos I dont want to sound presicous but of you could maybe use some relevant (aka) modern piece of music to find relevance (I understand the copyright bs) but for newbies "like me" would make all the difference. Other channels rely solely on popular music to get there point across *ala beato* but your method of explanation is easier for me imho. Definitely subbed nonetheless. Great work
Fair comment. We are always conscious of copyright issues plus we have followers from so many different musical traditions which makes it tricky to find examples relevant to everyone but we’ve got some videos out there based on real pieces of music.
Thanks. That's the best video of your's that I've seen. Very interesting.
Coming from a jazz background I think of things a little differently yet I'd have come to some of the same conclusions. In particular the Bb7b9 that you mentioned but didn't use (nearly - you just omitted out the root) and your augmented 6th chord which I think about completely differently. I'd call it a B7 and justify it as a b5 substitute of an F7 - secondary dominant of the Bb chord Both B7 and F7 contain the same, though enharmonically different, tritone - therefore can be interchanged.
Isn’t it great that musicians of different traditions find so much in common? Thanks for the affirmation.
Also, just an idea... maybe the finished piece could be uploaded to noteflight and linked in the description.
Thanks for the suggestion, we've started adding a pdf to some of our latest videos with the sheet music available to download but will also look into that option too.
Very good. Thanks. An analysis of Wagner's Tristan und Isolde would be a baptism of fire! Any chance?
Thanks for the endorsement. Tristan and Isolde certainly would be a huge project!
Actually, the complete work would be a bit ambitious, but maybe a brief discussion about the famous 'Tristan Chord'?
Ok
Excellent
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
Fantastic ....more of the same please
😀Much more at www.mmcourses.co.uk
D-flat to C is a half-step, sometimes you say 'by-step' when referring to a 1/2 step?
U.K. / U.S. terminology
I want to learn similar stuff. What courses should I have to do on mmcourses?
I would have a look at our theory courses. There’s a 1-8 bundle with a 30% discount. That will cover the ground you need.
@@MusicMattersGB thanks I will definitely grab the Course
Enjoy the course
What is the difference between a 9-8 suspension and a 2-1 suspension?
They are essentially the same thing but we tend to use 2 when the Bass note is suspended and 9 for notes suspended above the Bass.
Wait, measure 1-2 has (open) parallel fifths (tenor and bass melodies)
?
Are we working in traditional or modern theory?
Well spotted. Just there to see who notices!
Bar 3 beat 2 is an unprepared suspension in the tenor isnt it?
No suspension at that point.
Chang a few note values and that could be a very interesting Anglican chant :)
There’s a thought!
Hey, i would really like to dive into this stuff, harmony is my favorite thing about music and im a songwriter, i just dont like chords in the scale, for me they sound so predictable and kinda lame and i love more experimental harmony that actually sounds good and consonant, can you recommend me a book to study and know to do these types of chromatic harmonization? thanks!
That’s most kind. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme. In particular have a look at this course which is much clearer than the text books.
www.mmcourses.co.uk/p/advanced-music-theory-grades-6-7-8
great - what does c and b mean?
a is root position
b is first inversion
c is second inversion
@@MusicMattersGB AH - Thank you
😀
What do you mean by 1c chord?
a is root position
b is first inversion
c is second inversion
Teacher the song is ; G D F C Ebmaj7 . Whats the key?
That looks like a sequence moving through keys.
You made that look easy. That was not easy.
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Such a great teacher of music. If any artist would spend a minute learning this and not your newest DAW or program music would be much richer and last a life time just like the music did years past and still today. You can take any Steve Wonder song from the 70's and its as rich today as the time he made it. Learn music people
Many thanks. That’s very kind. See www.mmcourses.co.uk for much more, including details of our 24 online courses and of Music Matters Maestros.
cromatic scale using 12 key?
Yes. There are 12 notes before you return to the starting note.
Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
What a great math of the harmony!
It’s great to engage with.
indeed an extreme principle
😀