Identifying Inessential Notes - Music Composition

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This music composition lesson explains inessential notes, otherwise known as non-chord tones. Passing notes, passing tones, auxiliary notes, neighbour tones, anticipatory notes, and suspensions are explained. The video then takes you through a piece of music explaining how all the notes of a piece can be justified as essential and non-essential notes. This video is a must for composers and performers, as well as for those who want to analyse music accurately.
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🕘 Timestamps
0:00 - Introduction to Identifying inessential notes
0:47 - The difference between harmony notes and inessential notes
10:59 - Identifying inessential notes in music
19:57 - Conclusion
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Опубликовано:

10 июл 2024

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Комментарии : 71

@MusicMattersGB 2 года назад

Learn Music Online - Check out our courses here! www.mmcourses.co.uk/courses

@lawrencetaylor4101 3 дня назад

I’ve been playing the piano for two years and found your channel very early. I’ve watched your music theory videos even when I didn’t understand anything. And now my musical knowledge is superior to my keyboard talents. Good things come to those who wait, and study, and listen. Merci.

@MusicMattersGB 3 дня назад

Bravo. Keep up the good work.

@steverox8141 2 года назад

These videos are helping us a lot. All the love and respect Mr. Gareth Green. LOVE FROM INDIA 💖

@MusicMattersGB 2 года назад

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.

@jayducharme 2 года назад

That certainly helped. Thank you. I still wasn't too sure about suspensions; now that's much clearer.

@MusicMattersGB 2 года назад

Excellent

@jamisbillson4872 2 года назад

Brilliant tutorial mate. Thank you.

@MusicMattersGB 2 года назад

@elierouhana1181 2 года назад

Thank you 💐

@MusicMattersGB 2 года назад

A pleasure. Thanks for your support

@marion_roberts 2 года назад

A nice lesson for composers stumped at writing melodies.

@MusicMattersGB 2 года назад

@vkslakshmandindigul251 2 года назад

VERY USEFUL INFORMATIONS ...THANK YOU SIR

@MusicMattersGB 2 года назад

@updown5238 2 года назад

Great stuff! thank you :)

@MusicMattersGB 2 года назад

A pleasure

@someguy5261 2 года назад

Gareth, my man, you're just looking better and better aren't ya? If you ever need a video idea I reckon lots of us would appreciate an addendum to the galant schemata video you did at some point since so much was, understandably, left unsaid regarding how those stock progressions applied to part writing and cadential cliches

@MusicMattersGB 2 года назад

Good idea. Thanks

@Mehaar 2 года назад

thank you for this

@MusicMattersGB 2 года назад

@MoaDeep909 2 года назад

great teaching

@MusicMattersGB 2 года назад

@salarx6506 2 года назад

Really Really thaaanks

@MusicMattersGB 2 года назад

@markchapman6800 2 года назад

I would argue that in bar 3, beat 2, there is either a change of chord on the second quaver, or even that the soprano C is the "actual" albeit consonant passing note, given the bass motion II-V-VI, and the dominant 7th on the second quaver being a stronger chord than the IIIb on the beat. Cheers.

@AtomizedSound 2 года назад

Hmm I can kinda see that argument in what you are saying

@MusicMattersGB 2 года назад

IIIb V7 is an authentic way of reading that beat even though it makes for fast harmonic rhythm. It feels more like double passing notes but Bach often writes corners that can be understood in two or more ways. I believe he does that on purpose. Or you could see the first of the pairs of quavers as appoggiaturas on to the second of the pairs, which then become harmony notes belonging to V7.

@joshuabruner9676 2 года назад

9:02 interesting the FE also happen to be neighbor notes in this example.

@MusicMattersGB 2 года назад

😀

@Dave-nm8uk 2 года назад

Good video as usual. Interesting but very much within a tonal context. I wondered about two things. 1. If we take a standard triad - CEGC and then fill in the gap between G and C with A and B those notes would not be technically passing tones surely - but I would expect them to work. 2. It is sometimes possible - maybe quite often - to use chromatic harmonies - by using notes which are out of the key. Perhaps that possibility has been disregarded for this video, as many people will want to work with standard keys and tonality, or be sitting exams which test this kind of thing, but it would be interesting to know what the role of "out of key" notes would be in the same way. In jazz they might just be considered as colour tones - if the harmonies otherwise worked OK.

@MusicMattersGB 2 года назад

Good points. On your first one A and B could be passing notes if used melodically. If used harmonically they would generate a clustered dissonance which is fine in the right context. We have other videos on chromatic harmony, which may be of interest.

@darkengine5931 2 года назад

I'm wondering about much the same thing but if the chord is C7, that would include B as an essential note and bridge the GAB/567 gap, yes? I frequently find songs I love which bridge such gaps from 5th to 7th with what appear to be two notes which don't fit in any of these categories if we consider the chord as a triad, but not as a seventh where one note (7th) turns into an essential note and the other a passing note (6th).

@MusicMattersGB 2 года назад

😀

@Felven 2 года назад

When I sit down at the piano and try to write stuff I often find myself getting stuck with 4 chord loops like you would typically find in pop songs. Whats a good way to break out of this and make more complex musical ideas?

@MusicMattersGB 2 года назад

We have plenty of videos on the channel covering that.

@LesterBrunt 2 года назад

There are many ways to go about it. You can do it by writing 2 4 bar loops and figuring out how to connect them. Or you can go the figured bass way. Have a 8 bar bass line and harmonize it. Sometimes it is also just a matter of forcing it. Sometimes you are working on some progression so long that it is hard to not hear it on a loop and if you the go to something else it sounds weird. As long as it follows the basic of harmony it should work just fine. And start using dominant 7 chords if you haven’t already. If you use them at the end of phrases you can do clever things to redirect to another key. Same with circle of fifths progressions. You can go really abstract and chromatic with them

@MusicMattersGB 2 года назад

😀

@Felven 2 года назад

@@LesterBrunt i totally relate to when you said "it is hard to not hear it on a loop and if you the go to something else it sounds weird" and its so frustrating! thank you so much for the tips, ill work on it!

@MusicMattersGB 2 года назад

😀

@frabajille 2 года назад

Thanks a lot for this, great explanation. I have a question for you regarding auxiliary notes. Say I'm in the key of C, and y go for a chord of D minor. In the melody I play the harmony notes (D,F,A) and I want to do an auxiliary note up over A, in this case my auxiliary note should be A sharp, because it is 6ths in the chord of D minor? Or should I go to B, because B is part of the key the song is in (which is C) and A sharp is not? Thanks

@MusicMattersGB 2 года назад

Usually you would adopt the accidentals that belong to the key signature but it’s also possible to use a chromatic auxiliary note, when you use a note outside the key. At the end of the day, go for the sound that works best.

@malcolmabdilla6586 2 года назад

In contemporary music and jazz, how would you differentiate between an inessential note and a chord extension? (since the 'non-chord' tones in classical music may be used as chord extensions) Thanks in advance!

@MusicMattersGB 2 года назад

In a chord extension the extended notes are part of the chord and are therefore essential. It’s notes moving alongside that don’t belong to the chord extension that will be inessential.

@joshuabruner9676 2 года назад

5:32 by you must move stepwise and not leap when using a passing tone, does it mean the notes you play have to be at most one whole step apart from one another, and one half step only in the cases of B and E?

@MusicMattersGB 2 года назад

Whole step or half step in every case

@disinformationworld9378 2 года назад

Watch out for the consecutive fifths tenor/bass bar 3-4

@MusicMattersGB 2 года назад

Hi. If you mean from 2-3 some scholars count these as consecutive while many allow them because of the contrary motion.

@johnwest6690 2 года назад

What do you mean by "consecutive fifths"? I'm looking at bar 3 and 4 and neither use repeating fifths

@oneeyemonster3262 2 года назад

B MAJOR/G#min....isnt a common KEY to play on the Guitar But Im going to play the A chord as the N6 chord of G# min. ( for REFERENCE) Im going to play B 3, 7 , 8 12 ( the F# or 5th is in the second octave) Then simply F# Maj barre chord..less the bar against open B and E ( F#7 add 11) Then...Im going to play A sus 9 chord at the nut.. Then Alter pick different BASS notes A sus9/F...A sus9/E...A sus9/C It dosnt sound quirky..but rather soothing/dreammy Then the B Maj7 again ( basically I, V) For another Cadence...Im simply going to play D Maj7 ( barre on 2nd fret) E min ( at the Nut).............It could be E lyd #2 or Lyd b3 A sus9/F...A usus9/C F# MAJOR barr B Maj ..barre ( without picking that high F# note) Then Im going to play.... A Maj7...at the nut Slide up 2 frets to play inverted D# min. Play the D# with my pinky on the A string. arpeggiate it...D# min add b9 ( D# phrygian) Then G# min...at the 4th fret. I could play E min F Maj C AUG against open B and E F# Maj B Major.. or trick you ear even more.. Play B Maj7 Barr at the 7th fret...less the barr,,against the open B and E then play E , 3, 7 agsint open B and E Then A Maj7 at the 5th fret...less the Barr....alter pick between E on the 7th fret and open A Then simply SLIDE the simple chord shape to E Maj7 at the NUT Then F# Maj.....B MAJOR You know me...Ill play D min or A# maj7 ( Bb maj7) to F min chord then F# Maj B Maj or C AUG F min Bb/A# dim B MAJOR :-P

@MusicMattersGB 2 года назад

😀

@oneeyemonster3262 2 года назад

@@MusicMattersGB I know it might be weird to some people That I play D Maj7 while in B MAJOR. ( b3 chord degree) But it's in one of the most famous songs LONGER by Dan Folgerberg. It's in G MAJOR/Emin G Maj C Maj D sus C Maj ( repeat) Bb MAJ A min G Maj ....C Maj D Maj. The b6 chord degree....I learned that from learning It's a wonderful world. It also help me learn how to play Just Between you and me.. by April Wine. ( the mystery chord ) It;s also in G MAJOR/Emin There's a cadence in the song. Eb Maj D Maj B min A min Both of those chords act like aux note or passing chords/notes... Bb maj to A min Eb Maj to D Maj. While in B Maj....I could had use C Maj7 as the N6 chord But I just wanted to play play E min ( different chord colors) I also could play D# min triad ( 6 fret A string) against open B and E Then stack the A note below it....on low E string. It would simply be ( N6) A with a TRITONE D # min/A I could had easily play that as a passing chord D# into E lydian ish E Maj or E min chord. so If I went... D Maj7 C Maj7 F Maj G Maj F# Maj into B MAJOR most people would be like WTF key is he in ??? G Maj is the b6 chord degree.lol Tritone SUB or N6 chord.. Then Above or below the V chord...Pre DOMINANT :-P Follow instruction in this video lesson and apply it.