delightful exercise. Instead of leaving the sopranos on a minim "A" in the penultimate bar, I substituted 2 quavers and a crochet A-G-A. Sopranos had an interesting line going. It seemed a shame to stop them dead in their tracks just before the final semi-breve. Looking forward to next Saturday's Maestro's live-streams!
"Inessential notes" is an apt description of my life. 😁 I marvel at your skill in setting up these demonstrations so that they so clearly illustrate your points.
Very helpful. Actually I stopped this once I saw the example, then copied it and worked out a couple of "solutions" myself. I actually thought it was two separate lines at first - all one example - but eventually realised it was only a 4 bar example, not an 8 bar one. However it can work as several phrases put together. Another option is to use triplets to get more rhythmic variety. Finallly I changed the last chord slightly by raising the soprano G to a B. Might be an idea to suggest for others to "have a go" before carrying on with your suggestions. It was good to see what you did with the material after I'd tried.
I enjoyed it a lot, like Your other lessons. I've profitted immense. Thank You very much. I would like to pass an idea. I've learned that harmonsations of the Baroque and Galant period were based mostly on the Rule of the Octave. I would like to learn how chorals or other period pieces are build, applying the Rule of the Ocatave on a bass melody.
Gareth, and yet again except this time you were a week early. Guess what I'm working on this week in Music Theory and Composition 3, that's right, non-chord tones.
I learn(ed already) so much with all your YT videos for free... You have always a very precisely goal and a calm approach and a very nice voice in a way that expresses every thought about how to do things with arguments that always make sense. All your lessons gives us all a very deep insight in the head of a composing music composer. And this as something that composerrs often not allowed us because by being afraid to break their music composing code. You are very generous and a top componist and a master music educator to lift us up to another level. Thank you very much, Sir. I think I speak for many of the watchers/listeners of all your videos.
Hi Gareth - once again a very helpful video - I was pleased to be reminded on the rules of 7th falling, 3rd rising. Could the repeated D in sop line bar 2 be enhanced with a neighbour tone? You didn't mention escape / echapee notes - please what "rules" apply to use of these embellishments? Thanks
My problem with the passing tone quavers in the tenor is that there is already a passing tone in the bass, and the accented tenor B clashes with it, which really is a recipe for sounding congested. Cutting the A short so that the B is unaccented and the C is then a crotchet would probably sound smoother. Also, you probably shouldn't make the last beat of the alto line in bar 2 a lower passing note, because you'd then have parallel 5ths with the bass going into bar 3.
I find much of the decision whether and where to use passing tones depends on the text. Creating a melody that bests fits the text often automatically suggests (if not demands) passing tones.
Some notes are clearly part of the melody but they are labelled as appogiatura why is that so and how do I understand it better ? Thank you 🙏it is a fundamental note and not a melodic decoration
@@MusicMattersGB sorry to further clarify previously , what I can’t understand is , when you look at a piece and the note in question is clearly part of the essential melody but it’s labelled as a non chord tone like the appogiatura. Pls provide me your valuable opinion. Thank you so much
