Harmonizing repeated notes is one of my favorite things to do, or attempt to do. There’s nothing like free flowing melody and harmony underneath a pedal tone or repeated notes 🤤
I have been analysing a variety of music genres, and I'm discovering music using vague keys -- chord six starting progression. Personally, I'm experimenting with this because it's more interesting. It's funny, though, that you said there's nothing wrong with chord three but couldn't bring yourself to use it 😂. What I've recently learned is that there is freedom in music. Do what you want! Be free. Nuts to rules! Create, explore, have fun!
Bach certainly never composed using roman numerals or tonal theory, which is a false theory of music. I believe Bach always harmonized using the Bass line (filling notes in upwards, not starting with melody line downwards)... if it happens to turn out that his inner voices or top voice is the same note and provides such an example, then that is a secondary result..
In the Chorales Bach was harmonising the inherited Lutheran melodies but the figured bass approach from the bottom up is certainly the Baroque approach. Baroque composers thought figured bass rather than Roman Numerals but the latter is a very useful way for us to understand what is going on.
Another great video! Even when I feel like I know something I still watch you explain it and always learn something, plus a lot of times a new perspective on things. I think we both share a love for suspensions. I was very happy to see you explain the decorated suspension you mentioned in a previous video. Watching you harmonize the alto and tenor in about a minute was impressive! I would love to know what is going through your head while you do that. You always have very helpful tricks and ways of thinking. I would also love to hear why chord III in Major is so weak in the hierarchy. I have been taught that it is a fairly ambiguous chord that can have Subdominant function but sometimes Tonic function.
Thank you very much for this video. By the way, your tenor voice leading is an example where in the final cadence the leading note b does not go to c, and it works very well. A very famous example of repeated notes in the meoldy is the beginning of the second movement of Beethoven's symphony no.7.
Watching you work through these lessons is a delight. BTW, those G notes you started off with form the opening of the old hymn "Onward, Christian Soldiers" (usually with a little decoration in the second measure). Your end result is much more musically interesting.
Reminds me of that fine hymn Praise my soul the King of Heaven. The idea of a falling sequence of chords and bass under a series of identical notes appeals to me. It gives a nice forward movement. I don't know if I'm odd but when I compose a piece I rarely have just a string of notes as a melody to begin with. I usually have an idea of the initial melody, some form of harmony and a bass line in mind before entering a note into my computer. It just seems to work for me.
It is really good how you achieve the result with simple related chords. At first sight I assumed you would be adding some more distant chords such as a secondary dominant seventh, but you show it is not necessary to risk it sounding awkward by trying to force the harmony this way.
@@MusicMattersGB In your hands, it seems straight forward, but actually not so easy to achieve. Nonetheless your video does help make it that little bit easier.
repeated notes goes the tonic half note or one note down try the moonlight of Beethoven or feeling nothing more than feeling or something in the way of George Harrison see the repeated chords progression
In sound engineering there's a say that goes "mixes are not finished, but abandoned", meaning that there is a point when the more you put, kind diminish the final product, not add it more quality. Can you maybe talk about the same idea with harmony? Because sometimes I feel that I can adding more passing notes, and PSR, and extensions, etc, but not necessarly I'm making the harmony works better, on the contrary, kinda muddy my original idea. Hope you get what I mean, and sorry if already there is a video about that on the channel. Just an idea, best wishes!
I understand it is doable when the repeating note is a fifth, but I tried to do it when it was a tonic and it gets harder (the plagal cadence can or has to be used). When the repeating tone is a third it looks almost impossible though.
How come you don't resolve the B in the tenor voice to a C (the 3rd of the V chord to the 1st of the I chord) instead of ending like this on a I chord in root position with a doubled fifth?
@@MusicMattersGB Thanks for answering! My former music school taught us that the 3rd of a V chord should resolve to the 1st of a I chord even if the V chord doesn't have a 7th, and that doubling the root is the preferred option (unless there's an inversion) so that's why I wondered.
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Harmonizing repeated notes is one of my favorite things to do, or attempt to do. There’s nothing like free flowing melody and harmony underneath a pedal tone or repeated notes 🤤
Absolutely
I have been analysing a variety of music genres, and I'm discovering music using vague keys -- chord six starting progression. Personally, I'm experimenting with this because it's more interesting. It's funny, though, that you said there's nothing wrong with chord three but couldn't bring yourself to use it 😂. What I've recently learned is that there is freedom in music. Do what you want! Be free. Nuts to rules! Create, explore, have fun!
😀
Thank you so much for making these incredible, informative videos and for presenting them in a manner that is very easy to understand!
Just a wonderful and easy way to explain complex things. A master! Thank you
A pleasure. Much more at www.mmcourses.co.uk
Very Helpful! the 4-2-3 suspension / decorated suspension is something I'd not come across before - so thank you.
It’s useful
Love how you sing with the chords. Very interesting ideas with harmonizing those similar repeated notes.
Glad it’s helpful.
Bachs harmonization and variations of Dies sind die heilgen zehn Gebot (bwv 298, 635, 678, 679) are a very good example of this.
Bach certainly never composed using roman numerals or tonal theory, which is a false theory of music. I believe Bach always harmonized using the Bass line (filling notes in upwards, not starting with melody line downwards)... if it happens to turn out that his inner voices or top voice is the same note and provides such an example, then that is a secondary result..
In fact the solution shown in this video is Bach's typical starting bass line, {1}-{7}-{1}-{1} (using { }'s to notate as scale degrees)
In the Chorales Bach was harmonising the inherited Lutheran melodies but the figured bass approach from the bottom up is certainly the Baroque approach. Baroque composers thought figured bass rather than Roman Numerals but the latter is a very useful way for us to understand what is going on.
😀
I will never think of 6 g notes in the same boring way again. Txs
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Gareth, you're obviously a mind reader! Brilliant stuff, thanks very much 😊
You’re too kind!
Another great video! Even when I feel like I know something I still watch you explain it and always learn something, plus a lot of times a new perspective on things. I think we both share a love for suspensions. I was very happy to see you explain the decorated suspension you mentioned in a previous video. Watching you harmonize the alto and tenor in about a minute was impressive! I would love to know what is going through your head while you do that. You always have very helpful tricks and ways of thinking. I would also love to hear why chord III in Major is so weak in the hierarchy. I have been taught that it is a fairly ambiguous chord that can have Subdominant function but sometimes Tonic function.
That’s kind. iii is less frequently used than most other chords but yes, it can progress well to IV but also to vi.
Thank you very much for this video. By the way, your tenor voice leading is an example where in the final cadence the leading note b does not go to c, and it works very well.
A very famous example of repeated notes in the meoldy is the beginning of the second movement of Beethoven's symphony no.7.
Absolutely re the B. Beethoven 7 is a good example.
Watching you work through these lessons is a delight. BTW, those G notes you started off with form the opening of the old hymn "Onward, Christian Soldiers" (usually with a little decoration in the second measure). Your end result is much more musically interesting.
That’s most kind.
Congrats to 200k subs! 🎉❤
It is so good to watch those videos, I have learned so many thing!! Thank you so much, Mr. G. Green
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Reminds me of that fine hymn Praise my soul the King of Heaven. The idea of a falling sequence of chords and bass under a series of identical notes appeals to me. It gives a nice forward movement. I don't know if I'm odd but when I compose a piece I rarely have just a string of notes as a melody to begin with. I usually have an idea of the initial melody, some form of harmony and a bass line in mind before entering a note into my computer. It just seems to work for me.
That’s great.
Excellent video. Thank you Gareth
A pleasure. Much more at www.mmcourses.co.uk
If you have lyrics to sing. Harmonize it with the solfege of the vowel sounds with voice leading. I think that's why it's called voice leading.
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It is really good how you achieve the result with simple related chords. At first sight I assumed you would be adding some more distant chords such as a secondary dominant seventh, but you show it is not necessary to risk it sounding awkward by trying to force the harmony this way.
Often simple is best.
@@MusicMattersGB In your hands, it seems straight forward, but actually not so easy to achieve. Nonetheless your video does help make it that little bit easier.
Glad it’s helpful.
Thank you kindly🤍
A pleasure
Very useful and thought provoking video!
Glad it’s helpful. Much more at www.mmcourses.co.uk
Love this videos, are really inspiring! Thank you so much for sharing, best regards from Argentina!
It’s a pleasure
Thanks Sir,good you try harmony using chromatics with same reapited bars
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You should listen “Samba de uma nota só”, one-note samba. It’s a bossa nova song, that more than six note repetition, and it is simply astounding!!!!
Agreed
Thank you for another interesting lesson.
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repeated notes goes the tonic half note or one note down try the moonlight of Beethoven or feeling nothing more than feeling or something in the way of George Harrison see the repeated chords progression
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Wao! What a lesson... thanks alot sir.Very informative.
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Thanks a lot, as an idea, can you please do a same video with the repeated notes in bass part? Should be fun :))
Okay
love these harmony vids man ...cheers
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Great video, thx 🎶
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Brilliant!
A pleasure. Much more at www.mmcourses.co.uk
One Note Samba by Tom Jobim is a good example.
Absolutely
In sound engineering there's a say that goes "mixes are not finished, but abandoned", meaning that there is a point when the more you put, kind diminish the final product, not add it more quality. Can you maybe talk about the same idea with harmony? Because sometimes I feel that I can adding more passing notes, and PSR, and extensions, etc, but not necessarly I'm making the harmony works better, on the contrary, kinda muddy my original idea. Hope you get what I mean, and sorry if already there is a video about that on the channel. Just an idea, best wishes!
Good idea. Will plan something on those lines.
Thank you very interesting as usual !! Just a question: In the second bar, why the the B doesn't resolve on the C?
The B doesn’t particularly need to resolve to the C
Can I ask you to explain how you harmonise notes that are not in the chord such as approach notes, enclosure, chromatic passing notes etc.
Notes are either harmony notes/ chord tones or inessential notes/ non-chord tones. The former belong to chords; the latter don’t.
Yes I understand that but want to know methods of harmonising non-chord tones@@MusicMattersGB
@alanhowell3646 As soon as you harmonise a non-chord tone it’s no longer a non-chord tone.
Do you mind me asking what's happened to composer insights? Is it being left as is?
There is more recorded, we’ve just got to finish the editing on them.
I understand it is doable when the repeating note is a fifth, but I tried to do it when it was a tonic and it gets harder (the plagal cadence can or has to be used). When the repeating tone is a third it looks almost impossible though.
There’s another video coming out soon focused on repeated tonics.
How come you don't resolve the B in the tenor voice to a C (the 3rd of the V chord to the 1st of the I chord) instead of ending like this on a I chord in root position with a doubled fifth?
There’s no particular reason for the B to resolve to C and a chord with a doubled 5th is perfectly acceptable.
@@MusicMattersGB Thanks for answering! My former music school taught us that the 3rd of a V chord should resolve to the 1st of a I chord even if the V chord doesn't have a 7th, and that doubling the root is the preferred option (unless there's an inversion) so that's why I wondered.
It’s often what happens but it doesn’t have to.
So we write music in 4 real parts. What happens when we have more than 4 voices ? I know that exists duplication voices but, are there other kinds?
I would use add 6, 7, maj7 and 11…there are progressions that can use these.
See our video on writing in 5 parts. Duplication of notes and/ or extended chords.
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It almost like Bach's air in G piece
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The chord now change the tune.
Amazing isn’t it?
it looks to be an old video... anyway, thank you Sir
This is a very new video