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?
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 .
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.
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 ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin 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 ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin 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 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
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. 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 ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin 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 ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin 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 ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
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.
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))!
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 ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin 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 ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
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
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!
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!
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!
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!
@@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.
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 ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
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 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.
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.
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?
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.
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!
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
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
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.
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.
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 ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Yes it owes much to the style of Reger! Glad you’re enjoying it. 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.
@@MusicMattersGB I've bookmarked your website. I can't afford your courses unfortunately, but will definitely keep it in mind. Your free videos are very valuable resource though! I hope there will be more, especially on this very topic, late romantic chromatic/extended harmony. Thanks for your work!
@@MusicMattersGB I actually just got wondering if you are aware of the Schillinger system of composition? His books are extremely comprehensive (almost 1000 pages in total) and very difficult to understand at first because he introduces a lot of strange notations and mathematical relations and he does not use mainstream analysis methods. But from what I understand, his methods are by and large compatible with the mainstream approach. I also heard from people who've studied his system that they're of great practical value, especially as a means of quickly generating interesting rhythms/motives/harmonic progressions to use in your music. I feel like it could be very beneficial to have a good teacher (such as you) give a condensed overview of these ideas using more familiar notation and providing some links to mainstream theory (especially the harmonic aspects) to put it all into context. I'd be very happy about that coverage, free or paid, but of course, if you're not already familiar with the system, I wouldn't expect you or anyone to read through those laborious volumes, lol. Keep it up!
