Before watching your series on chord progressions, I had always thought that progressions had to resolve back to the root. But V sounds just as complete to me. You help to show a lot more possibilities.
Great knowledge again.I have a question on harmonizing when there is an accidental on either party of SATB, also how to play left hand appergio when one of the SATB has an accidental
It’s a question of what the accidental is telling you eg are we modulating to a new key or are we in a minor key or is it a chromatic decoration? See our video on the subject
Trying to use chord III (going back to your earlier videos) just for a challenge, I thought it might work in the second inversion: ivb, iiib, iib, ib, with the bass moving by step. Perhaps that is a bit too forced though (anticipations in the upper line might help).
I learnt in class that VI to V is not allowed, and VI to i is not a great option because of the root moving up a major third. Have these 'rules' changed? I have always liked the sound of I going to iii when the soprano voice moves from tonic to leading tone (in a major key) but lost marks for it...
You don’t necessarily have to ditch the metre and tempo but quite right that these are additional decorative notes that embellish the underlying music.
@@MusicMattersGB I’ve noticed that there is sometimes a huge run of notes in one clef and the other clef will still be following the time signature, a good example of this is in the second part(measures 58-61) of Chopin Nocturne no. 20 in C sharp minor with the scales going quickly up and then back down yet the left hand remains stable with the time signature.
Two different systems evolved. Some favour one over the other, usually because that’s the one they’re more familiar with. There’s logic in both approaches.