Does anyone else find that Sus2 and Sus4 chords can be very useful, since there's no third? For example, substituting for a Major or Minor chord, or transitioning between Major and Minor chords.
This channel is a goldmine of music information! Top production too. Love how wide ranged the cross references are, spanning different genres. Please make more of these. This channel deserves way way more views and subscribers. Wishing you guys all the best!
This has to be one of the best video on harmony on RU-vid. The way you approach it reminds me of Victor Wootens book the Musical lesson where he says something to the effect of - it's important to feel the music rather than play the "right" note.
We appreciate it, thank you. I struggled with this video - it is a very hard subject to go into, as people's knowledge of the rudiments varies so widely. You may like our third video on Chords (modulation) elsewhere on the channel. Thanks for your comment and good luck EO
In 3 movements of Petrouchka, Stravinsky finishes with one chord: C+F# (C major together with F# major). Here the tension is actually the base / home / resolution.
My only question/ worry when substituting chords in a progression is how does that affect the melody? I guess the melody will need to adjust it's notes to match the out of key chords so there aren't clashes?
Thank you - it's our pleasure. A lot of people gave us their time to make it happen. Yes - melodies may need to be tweaked to accommodate an altered chord. But that is sometimes the fun part - you end up with a melody that has is less 'white note' . See willy nelson's Crazy as a classic example. Good luck with your musical adventures.....
Two more examples of songs with interesting chord choices: "Great Lake Canoe" by Gino Vannelli and "So Long, Frank Lloyd Wright" by Simon and Garfunkel.
For the secondary dominant I'm confused. You counted down 5 white keys from the secondary dominant. Is it 5 semitones we should count, or 5 notes within the current scale to find the expected release chord?
My apologies - not sure exactly which moment you are talking about. Quite possible I made a mistake. Dominant of C = G. So If you are playing a G and are thinking "what is this the secondary dominant of?" count 5 semitones up to get the release chord (C) .... hope that makes sense! EO
Thanks Corserine - I cannot find where the mistake is. If you can spare the time to share the time stamp, that would be really helpful. I may be able;e to rectify it somehow. EO
@@EarOpener i think its where yo're playing in C major but choose the secondary dominant D7 without really explaining why you were subbing in D7 for G7 - I had a "hang on a minute" moment. I get it, but some folks wont and I think that needed explaining a bit better. For folks reading this: a D7 works bc its a perfect 5th up from G7
I wish this was 10x longer. Music theory info is cool, but just tells you facts--not how to use them. This is some major musical engineering going on here.
Thanks David. Yes, the video could have been much longer - the subject is kind of endless! I'll be doing at least one more episode on harmony in the new year. Thanks for the feedback. EO
