This is a good presentation of the cadences. However, it would be helpful in this presentation to use the correct Roman Numerals for minor chords and not the major Roman Numeral references across the board.
i guess im asking randomly but does anybody know a tool to log back into an Instagram account? I was stupid lost the password. I would love any tips you can offer me.
@Jaylen Kylen thanks for your reply. I got to the site through google and im in the hacking process now. Looks like it's gonna take quite some time so I will get back to you later when my account password hopefully is recovered.
Repent and trust in Jesus. We all deserve Hell for our sins, such as lying lusting coveting and more. We can't save ourselves, but Jesus can save us. He died on the cross to save us for our sins and rose from the grave defeating death and Hell. You must put your faith in him only. He is the only way to Heaven. Repent and trust in Jesus. Romans 6:23 John 3:16❤😊❤❤
This is the first time I fully understand cadences. I had piano lessons till grade 4 or 5 but i don't understand cadences even though it is in our book. Thank you Sir. Your analogy using nursery rhyme helps.
That's an issue of counterpoint, not of harmony, but I have to agree that the voice leading was horrible - there's barely a single example in the repertoire for which this theory is made where the melody does what it does in this video, and that's not just because it's bad theory; it's musically bad. The movement of the melody doesn't suggest even a temporary point of rest. Take out the commentary and many listeners wouldn't think some of these examples were cadences at all.
Very helpful. I never knew about such things when I wrote my music, now this will help me have an understanding of how I want to point the directions of my songs. Thanks!
Can you help me ,please. It's very urgent, tomorrow I have exams. What type cadence is it? Chord B flat, A , D , G to E flat, G, B flat, E flat. The home key is E flat major. Thank you
5:49 - There are parallel octaves between the alto and bass in the V - vi half cadence. There are also parallel fifths between the tenor and bass. All four parts are going up. A worse piece of four part writing would be hard to find. That's why you should never get music theory lessons off the internet.
NOTES FOR SELF perfect: ends on I (V-I) (string finish) plagal: IV-I (gentle finish) unfinished: never ends on I: -> imperfect/half cadence (I-V, II-V, IV-V) -> interrupted/deceptive: unexpected (ex V-VI)
In the minor keys, why is the V chord not minor so that all chords in the progression/cadence remain diatonic? I understand how a V major chord has the major 7 that wants to resolve back to the root nicely, but am wondering if there’s any other reasoning that can deepen my understanding. Thanks yall!
You've got part of the answer already. In some sense, keys are a relatively modern invention in the history of western music. The modern understanding of keys leads to an understanding of composition that's quite different from what was used before. One such consequence of this new understanding is that music is viewed through the framing of chords, but earlier understandings are framed through single melodic lines. The V chord is major because its third is raised (obviously). When thinking of each of the four notes of the chord in this video's example as four separate melodies, the melody that features the B natural as the second to last note leads up to the C because it is a semitone away from the C. The B natural is closer to the C above it than the note below it, which creates a sonic effect of "leading" to the C. If the V chord had a Bb or minor third, there would be a semitone between the Bb and the note below it (Or at least there should be. The video features an Ab before the B natural which doesn't really make sense in real music. You can think of it like bad grammar), and a whole tone with the note above it (that is the C). Therefore, the Bb would actually lead away from the C and not towards it and would not be able to create a proper cadence or ending. You can look at other notes in the melodies of these cadences to see this working. One particularly satisfying example is the so-called minor deceptive cadence, where the bass note moves up from scale degree 5 to scale degree 6, which is a semitone above. The video doesn't demonstrate this, but in actual music this flat scale degree 6 usually moves back down to scale degree 5 which sounds very cool and powerful in the right contexts. I recommend looking some of these up and I can give you some examples if you like. It is not necessary for music to remain "diatonic". That term doesn't really mean very much as far as I'm concerned because it's an invention that came along with the idea of keys. You can think of western tonal music as being 'progress based'. By progress based, I mean that all of the notes in a piece are progressing or driving the music towards the final notes. This is how classical music tells a narrative or story without using words. Anyway, I hope that's interesting for you. I'm an undergraduate student of music and it's currently early morning where I am. No one's up and I can't sleep so I found myself on RU-vid. If you're studying for school exams, don't worry about what I've said. The information in this video is probably all that you need. If you're a more developed musician, I hope none of what I said was in any sense patronising. But, the lack of a broader knowledge on the topic amongst musicians bugs me sometimes and this was a half-good excuse for me to vent some frustration. If you or anyone else reading is interested in things that I've said, I'm very happy to discuss it. Thank you for coming to my Ted Talk. :))
@@paddysmusic3503 I think it's to do with natural vs harmonic/or/melodic minor and is just a stylistic choice... I personally think for the sake of clarity of instruction they should have stuck with natural minor, so that they don't have students wondering why they threw in accidentals without any explanation.. because then what you're really doing is changing keys.
@@kdl0 i wouldn't say it's stylistic. The three scales are doing quite different things and in my opinion this is never explained clearly enough. If you think about what they're doing in terms of voice-leading. Natural minor targets the 5th scale degree falling down from the 8th scale degree (melodic minor does the opposite) The harmonic minor provides an upper semitone embellishment on the 5th scale degree and then a lower one on the 8th. This leaves harmonic minor without a link between degree 5 and degree 8 which means it doesn't make structural sense to play through it as a full scale unless you properly articulate the different elements. Scales obviously have utility in performance practice and in reading. But as a composer i don't like seeing them used as a way to loosely teach composition. Everything should be broken down into voice leading which admittedly is more complex but was the way music was constructed until pretty recently.
Can you help me ,please. It's very urgent, tomorrow I have exams. What type cadence is it? Chord B flat, A , D , G to E flat, G, B flat, E flat. The home key is E flat major. Thank you
Apart from your voice leading mistakes, which others already have pointed out, there is a rhythmic aspect of cadences that you don't mention. The standard rule is, that the V chord, the dominant, comes on a weak measure or part of a measure and then resolves to the I chord, the tonic, on a strong measure or part of a measure. You have it the other way around. Although there are plenty of cases where this rule is not followed, it is still the standard rule and it makes the cadence feel more final.
I’m just now learning theory and stuff so I wanted to ask you, what do you mean by weak and strong part of the measure? To my current understand strong parts would be 1 and 3 of a 4 beat measure with weak being 2 and 4
@@TheTacticalMess In 4/4 the 1 is the strongest beat, the 3 is the second strongest (that is weaker) and 2 and 4 are the weakest. Thus, if you have two chords per measure, the subdominant chord should come on beat one, the dominant on beat three and the tonic on beat one of the next measure in a traditional cadence. This can be upscaled. In a four bar sequence, the first measure is the strongest, the third the second strongest and measure 2 and 4 are weaker. Thus, in a traditional cadence, the subdominant comes on the first measure, the dominant on the second and the tonic on the third measure. This is the basic rule, but There are plenty of exceptions.
Important note on chord symbols: I hope you enjoy this video giving a basic introduction to cadences. A couple of points to note: Both the minor chords and the major chords are shown in capital Roman numerals. Whilst this is an accepted approach in traditional notation (see ABRSM Guide to Music Theory Book II for examples of the use of this notation), it may have been more helpful for me to use lower case for the minor chords as is often the case - many apologies if this has caused any confusion. Also, please note that for simplicity I have chosen to use “block chords” and not followed the usual traditional conventions of voice leading in 4 part writing (e.g. parallel 5ths/octaves, etc..) in the examples. If you are working on advanced 4-part harmonisations for an examination (e.g. chorales) then you will be marked down for this if you do the same. I will try and do another video on part writing soon to cover this topic. Hope this helps.
But the key points you wanted to make about why things sound finished and unfinished were there and very well explained, thanks for a good teaching video.
Excellent video. Where do diminished and augmented chords fit into cadences. I know that they are often used as transition chords between the chords of the cadences you mentioned. Do you have list of ways that dim and aug chords can be used as transition chords in these cadences?
These progressions are full of errors which would easily be spotted by a primary level Harmony student! Please, don't make tutorial videos on subjects of which you have only an inkling of knowledge. THIS MISLEADS STUDENTS. I will not list all your errors, because they are so numerous.
Why in tardnation is the music sheet blured? No one is seeing this video during the exam and trying to cheat. How did this get so many views? This is non informative. If you are actually trying to help people, show the sheet music and don't blur it, what's the point creating this video
can I just say that the person talking sounds exactly like the narrator in slay the princess, I may be tripping though. Maybe because of this, I was able to focus more clearly
You didn't cover perfect authentic vs imperfect authentic. Perfect authentic: must be the V not a substitute; both chords must must be in the root position; I (or i in minor) must have the Tonic in soprano. Imperfect authentic: those three rules not met. Other than that, it was a great explanation.
Here after watching MLP Season 2 finale. There's a song in it where a doppelganger character sings in a deceptive cadence and the real one sings in a perfect cadence and I just had to know what that means lol.
Why did you play major chord on V in minor 5:O3 ? It's minor chord as well, isn't it? (it builds up of 1.minor 2.diminished 3. major 4.minor 5.minor 6.major 7.major)
Thank you for your question. Chord V in a minor key depends on whether you are playing in the natural or harmonic minor. In the natural minor chord V is a minor. However, in the harmonic minor scale the 7th note (leading note) is raised by a semitone (half step) and so chord V becomes a major chord. I chose to use the harmonic minor in the example as I feel it gives a strong sense of the “sound” of the cadence. Hope this helps. All the best!
Interesting but very difficult to hear, please record with better volume. It's ok if the needle goes into saturation once and a while just not all the time.
And a cadence must consist of at least three chords that contain all three harmonic functions-subdominant, dominant and tonic. If only two of the functions are present, it’s a close.
Two other cadences often heard are iv -> I and flat VI [aka the Peggy Sue chord] -> flat VII [aka IV of IV] -> I (e.g. in Beatles "P.S. I Love You." Bb - C - D)
2:52 "been standing most my life, living in a gangsta's paradise" There's one take away, that gangstas paradise is built around a minor perfect cadence.
