Extremely good lesson, didnt know inversions can influence the sound of a progression and add so much. Rather than just using the other diatonic chords, borrowed chords, secondary dominants and tritone subs. Really opens up the possibilities...
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It is good practice to work out chord progressions in pop songs. In this way you can see why songs work by e.g modulation from one key to another or returning the the original key. You can learn a lot by doing this. Also good for hearing/working out chords!
@@MusicMattersGB I've a piece I've had for years in C minor using and Fc and no matter what I did it sounded cheesy when I wrote a "B Section". The usual Ab > Bb back to Cm etc. I liked going to Ab to G major in the Harmonic minor with the Eb note on top. But still it didn't do the theme justice. I've played a few of these options thanks a lot. I'd love to see some comparisons to Classical by the better Pop writers like The Beatles and early/mid Elton John.
Once again, thanks for sharing! ---- To those who don't know "harmonic (!) minor scale" or "Aeolian ♮7 scale": it's a musical scale derived from the natural minor scale, with the minor seventh degree raised by one semitone to a major seventh, hence flat 3/5 but natural 7 (in the video: e flat, a flat and b natural).
Huge topic - everything’s valid ,I suppose it depends on the overall motive/scheme /where you are heading towards . The possibilities are endless esp considering this is only using tonic triads as a start . I’ve found this fascinating for years . Thank you Gareth - great !! All the best
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Thank you so much sir. You are the best teacher. Everytime I am down and lack inspiration, I watch your videos. That gives me endless opportunities to compose music. 🙏🙏
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@@MusicMattersGB which of your courses deepens the concepts presented in this video ? I already have a good knowledge of theory. Thks for the good work !!
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this is amazing! got to know a lot more about major and especially minor scale and more insights when I want to add my chord to some of my favourite songs. :p
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Yes. It’s great, especially on the approach to a Cadence. 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.
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Extremely useful. To be frank, I've subscribed to the 'banglo-us ' tradition which may seem a little weird to music teachers. But it works well for me.
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Thank you for the great lesson! Your chart really helps me think about what's available - all the different sonic possibilities! And thank you for the explanation between the US and UK systems but in this case, the UK system of letters is easier to remember! Thank you again!
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It is not surprising that you do not have an example with chord III, though it is tempting for beginner students to try to use it. Have you done a video on problems (and possibilities perhaps) with chord III (why it should be avoided)? Another issue is V - IV. Some teachers say this should be avoided. Do you take this line too?
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How do I get that keyboard reflected on screen....what is the technique or software used...?? Need for my online lessons.. Awaiting your valuable inputs Gareth sir...
great stuff, thanks a lot for that. ideas for future parts: including the use of the secondary chords, creating progressions beyond 3 or 4 chords, what are diminished and augmented triads/chords actually good for? .... could be an awesome series!
Very informative video. Although all the chords you discussed as chord progressions are diatonic. Could you perhaps do a video like this showing possible chord progressions involving chromatic harmony?
Yes the bass shifting down a semitone works well. Conventionally it’s about the second inversion because a 6/4 5/3 resolution is problematic with iiic moving to vii
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Hi Gareth. I had a chuckle when you mentioned the Shakespeare chord. That might have gone over some younger viewers heads. Getting back to the theory two things I found of interest were when you mention following the tonic chord with an inversion of the tonic chord. In this way you get movement while staying on the same chord. The second thing was when you mentioned using an inversion of the diminished chord. Could you follow up this video with using non Diatonic chords outside the Key. I only found out about this recently. I think you borrow chords from a parallel key. That indeed would be the logical follow up to this video. Thank you.
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I’ve just watched that. Unfortunately I said V instead of VI. Apologies. Just to clarify in a minor key (using the harmonic minor) V is major and VI is major.
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b means first inversion but a letter after the chord indicates the inversion while a flat sign before a chord would indicate a borrowed chord/ chromatic alteration.
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It is not an American convention, really, but derives from the practice of describing the intervals above some bass note. Take the chord C Major. C - E - G. In first inversion, that gives E - G - C, where C makes a general sixth interval against the E in the bass [E-F-G-A-B-C], & G makes a general third interval against the same bass note E [E-F-G]. Bear in mind that in a 6/3 chord, the 6 could actually sound below the 3, or vice versa, if compounds of the 6 or the 3 are taken into account. But, in the case of the C Major chord in first inversion, that bass note is E, & the 6 and the 3 above it are measured in relation to it, resulting in the general description of it as a "6/3" inversion. The same holds for the 6/4 or any similar description of an inversion you encounter. Look into "figured bass".
I call them first and second inversion, not 6-3, 6-4. I have to say I like the abc version more. Calling the first thing "root", the second thing "first", and the third thing " second" is what I've come to expect from the geniuses who created our musical terms.
Very helpful - as with many of your videos. Also useful is to know how to specify inversions in chord notation - used in some systems. C/E is a representation of Ib in C major, while C/G is Ic in C major. Cm/Eb is Ib in C minor. F/A is IVb in C major, while Fm/Ab is IVb in C minor (harmonic), and F/C is IVc in C major. V (Va) is just G, while Vb is G/B and Vc is G/D. II (or IIa - sometimes written ii in lowercase - to show minor) is Dm, IIb is Dm/F. VI (vi to show minor) is Am. Trickiest is VIIb - needs more thought. I think it's Bdim/D or sometimes shown as a chord Bo/D. All of these are assuming C as the tonic.
@@MusicMattersGB Thanks. I missed one or two - I think they're now fixed. It would get more difficult for other keys, but I'm assuming those who want to use the chord notation will figure it out. It's useful for some of the notation systems, and some will play back a voicing of the chords specified.
No. The melody and chords need to belong to each other for the most part but you don’t usually want the bass line tracking the melody which is what happens if the chords follow the melody.
Confused: In example #2, you're using the first inversion for chord V, though it's not labeled that. Other times also, you're using the inversion chords on the ones that aren't labeled as such. Why? If the freedom is always there to use other inversions instead of the exact notation, why use labels at all? Thanks!
I’ve just checked the inversions and they seem to be correct. Inversions are determined by the lowest sounding note of the chord. The other notes can be placed in any order.
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The Keyboard Harmony course is a practical application of the whole topic and yes, it certainly covers chord progressions and much else besides. If you click on the course there is a complete list of contents.
