I've been studying music theory for a while, so this wasn't new. But it was so well presented that I felt I had a lightbulb moment in my understanding. Merci.
That little chart you add at about eleven minutes into the video is super excellent, really worth a thousand words. Thank you for sharing that and for this video.
I could be wrong, but it seems like the chart at 10:28 isn't entirely accurate. Can't the V go to the three and the IV go to the ii, for example? Can the vi go to the iii?
Why not put iii & vi into the same bracket (like IV & ii). What is the prohibiting factor to NOT go from V/vii diminished to iii (only vi)? Those chord changes sound OK to me... In addition, the chart would be more symmetric (which would appeal to me 😁). Nice channel BTW. Thx & Subbed :)
Great questions! Yes, iii & vi could be in same bracket, but with the iii in the top position only, but it would be somewhat cluttered with three (3) arrows present (entering, leaving, and within such a bracket) so the version shown is a more legible presentation. Also, the diagram can grow more complex beyond what is shown at this stage, and so the given illustration provides room for future expansion. V/vii can indeed go to not only vi in a classic "deceptive cadence," but also any other chord that is unexpected, a surprise, hence the name deceptive cadence "DC"; however, especially the V --> vi cadence is the most widely found "common practice" (Baroque/J.S. Bach) ocurrence of a deceptive cadence, and so it is emphasized. Lastly, the diagram is missing a very important arrow that simply connects IV to ii , which is very much allowed within these traditional guidelines even at this primary stage. Another way to look at this is that preferred chord-root movements are as follows: up/down by 5ths, down by 3rds, and up by a step; chord-root movement down by 5ths is great starting point for experimenting and insight into the flowchart diagram.
