This was 23 minutes of non-stop insights and "aha" moments. I got more out of this video in that time than hours of others on similar musical topics. Just about perfect in every way. Thanks so much!
That’s very kind. 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 ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I think I’m on my third watching of this particular lesson, mostly for the inspiration I seem to pick up from your approach and style. Very refreshing and relaxing. Thank you!
Another wonderful lesson. I like very much the practice of designating inversions root, B and C, rather than root, 6, and 6/4. It’s more concise, which means one can think more quickly when composing or improvising Thank you!
That’s most kind. 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 ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
This 23 minutes video explains more than an-inch-thick-text-book could when I studied HARMONY in class!! And it is in the comfort of home, thank you so very much!!
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 ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Great video... I have played piano, saxophone, organ for decades, but never had a theory class. I basically learn this stuff by myself, but I have listened to a lecture like this. Thx
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 ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Hi gareth hope you are doing well today, Do you have a video on Voiceleading, Smooth chord changes, You are the only music teacher that explains clear and better about this stuffs, Thanks!
Thanks. Contrary motion is always something that strengthens your harmony. P.S. A tip for the future too - all our videos have captions so turned those on if you can't quite make something out. 😀
I had this existential moment regarding composing in minor today. It started when I looked for a Renaissance progression to use, found The Romanesca, III-VII-i-V-III-VII-i-V-i. Ok, great. Tried going ahead using Harmonic Minor - sounded terrible! Researched a bit more, found it is in Natural Minor/Aeolian. (mostly see my reply to myself below...) The existential moment came from crashing and burning while trying harmonic, then researching to find the right scale or chords. Many sources wanted to give just the roman numerals, no chord types, no scale types. Like it was just implicit, I should know this. I ended up gripping my head saying to myself, we've only got 7 chords if we stay in key using harmonic minor.... why use the raised 7th and then have landmines in our set of available harmony like the augmented 3rd and the diminished 7th when you've got that nice major 3rd and 7th in Natural Minor/Aeolian? And might we ever use the raised 6th to build harmony based on melodic minor? And for all these questions, I meant, when picking a minor key and sticking with it, not for modulation. And then, wondering what would feel instinctively right to me, I grabbed my guitar and played some rock/folk stuff and came to the conclusion that in those genres, the 7th only gets raised in minor for V except some pretty rare occasions. And now I've come full circle to - see what sounds good to you. But sometimes it can be educational to determinedly adopt an established convention and stick with it to the end of a project.
Aaaand actually I feel dumb now and realize the renaissance people are doing the same thing as the modern rock folk people and raising the 7th for V but not VII nor III
@@MusicMattersGB haha agreed, and I smacked my forehead, because i kind of already knew all this. I read a couple years back about John Renborn (of Pentangle) doing research into traditional folk songs of Appalachia and elsewhere... he found MANY of the songs were actually 500 year old Renaissance songs! (and of course both the folk and rock we have now came from those roots) We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time. Through the unknown, unremembered gate When the last of earth left to discover Is that which was the beginning; At the source of the longest river The voice of the hidden waterfall And the children in the apple-tree Not known, because not looked for But heard, half-heard, in the stillness Between two waves of the sea. (TS Eliot)
Could you please do videos on basic forms: binary, ternary, and rounded binary and larger forms: fugue, sonata, rondo, sonata-rondo, and theme and variations
I don’t know if you already have a video on this, but it would help me to have a video on what notes sound good to play in the harmony. For example, in the first measure you choose to use an octave with an a on the top instead of D F# A. Or in the last measure you use F# D for chord Ic, instead of all three chord tones, F# B D. It seems like there are rules of thumb to what sounds good besides using the exact tri-tone chord.
Mr. Music Matters, would it be possible for you to devise a series in which you take a melody (or melodic basis) and harmonise it simply to begin with (e.g. using I, IV & V only) and then, with each new video, introduce a new aspect of CPP harmony with increasingly advanced techniques?
it'll make more sense..if you learn more scales..aside from the MAJOR/minor scale.. It's just easier to COUNT from B min,...as B Harmonic min b2 ( C lyd #6 or C lyd #5, #6) vi...ii ..iii has the same intervals as I, IV, %...it's just visually easier to see and play on the fretboard becuase the lower strings are tune to perfect 4th... it' just depends....rather then play B min G Maj7 F#7 into B minor all the time I'll play B min C maj7 F# min B min...Then E7 A# dim into B min... Rather then B min E min A7 into D Maj The E7 ( lyd domintnat) is the IV of B melodic min There's other options/ways/sounds to play back to the B min chord. Use the C chord as a PIVOT ( reference PIVOT chord) C Maj7 F min F# min B min.. or I can even alter the C Maj7 to C min or min/maj7..or C dim ( C ly #2, #6) C min F min F#7 into B min Cdim C# min F#7 into B min C Maj G min F min A# dim into B min or C min G min F min A# dim into B min or C #4 8, #9..the 5th ( G note) is stack below and octave above slide down 2 frets....( same fingering) A# note as the ROOT Then play C Maj F# min B min..... Becuase I dont want to play F#7 into B min all the time .. or I dont want to play dominant chords all the time. It'll even do this ..it's just different sounds to me. C aug E maj7 F# min A Maj or A7 into D MAJOR... if you,,,rack your brain too much...you'll notice..the notes of E Maj7 as has B , maj 3, 6...in it. somtimes..it'll even play B7 into E min F# min B min or B7 into E min A7 into D MAJOR
Hi , thanks for the video, very informative. is there a way to have these written , as in pdf files or something ? i'd be glad to have them as pdf files! thanks!
We don’t provide PDF’s in relation to UA-cam videos because it’s a video format, which is why we often write information on the board as part of the video. Our online courses contain more supporting detail at www.mmcourses.co.uk
Pretty good tutorial. I used to be really familiar with major keys, but minor keys were always a little painful to write. I'm at the moment trying to write and experience fugal writing. Do you have courses about fugues? Greetings from Germany
@@MusicMattersGB thank you. I hav one question. How do These courses work? Do I get a link or an Email, because I can't find anything about that on your Website. Thank you 🎶😄
That might be helpful but there are too many videos out there. We try to cover a broad base so there’s something for everyone at every level. There’s plenty of sequential material at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Like all your video's, very clear and informative. I am currently trying to undertand harmony and how it is constructed and this video goes a long way in helping that. But whenever I pick up an existing score (simpler the better) I can get so far in understanding what they have done then hit a chord progression or harmonisation that does not make sense. Ok it's an art not a science so I have to allow for that, but do you have any videos that take an existing score and analyse what the author has done to produce the harmony. I'm talking simple beginner harmony here. Many thanks.
I’m seeing all uppercase Roman numerals. In D major an E minor chord would be shown as ii. I’m seeing II, which is an uppercase Roman numeral which normally indicates major, not minor which is what you are implying is to be played. Is this a European thing?
There are two internationally recognised systems - Basic Roman and Extended Roman. To keep things simple I am using Basic Roman here i.e. all uppercase. In Extended Roman one makes the distinction you describe between major and minor chords.
Thanks for your response. After I commented I explored playing the E chord as a major chord and it does work. It becomes E7 in support of the D melody note. The E7 leads to A in the next measure. I’m going to research the origin of the Roman numeral system. It may have started with all uppercase. It may be a more advanced way of thinking by not locking in the secondary chords as having to be minor. In jazz turnarounds the secondary chords can be played as minor or major. I’m thinking the same thing can apply to classical music during resolution. I will get back to you in a week with what I found out. Thanks for the great videos. I know I’ll be watching many more !
The Basic Roman method is used in the interests of simplicity but you do draw attention to the fact that the tonality of chords is not as fixed as some believe, especially in minor keys.
I wish you had made You Tube videos 60 years ago. It would have changed my life. I wouldn't dare dream of asking for 63 years ago, since I would have been a child prodigy, that could have ruined my life.
Learn Music Online - Check out our courses here!
www.mmcourses.co.uk/courses
This was 23 minutes of non-stop insights and "aha" moments. I got more out of this video in that time than hours of others on similar musical topics. Just about perfect in every way. Thanks so much!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
I’m laughing every time I start watching now. “Hi,Hi,Hi,Hi,Hi!!”
😀😀😀
Haha, me too! Congrats on 100k subs!
😀
THESE ARE FANTASTIC VIDEO'S.
EXTREMELY HELPFUL. I'M SO GRATEFUL. THANK YOU.
It’s a pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
If one doesn't understand this stuff after this class, better to stop. How talented is this master. Congrats!
That’s very kind. 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 ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Wow! Gareth you are such great teacher, with your simple but powerful whiteboard approach.Thank you so much.
You’re most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Best hi-er ever :) Great stuff as always.
I think I’m on my third watching of this particular lesson, mostly for the inspiration I seem to pick up from your approach and style. Very refreshing and relaxing. Thank you!
That’s most kind. Thanks
Another wonderful lesson.
I like very much the practice of designating inversions root, B and C, rather than root, 6, and 6/4.
It’s more concise, which means one can think more quickly when composing or improvising
Thank you!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
your videos are the only ones on theory that I don't mind watching over and over again....
That’s most kind
What a great teacher you are!
That’s most kind. 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 ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I love these videos. This is demonstrating which question we should ask ourselves and how to answer them. Wonderfull teacher.
Most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
This example actually sounds so Mozartian, it's so great. That Neapolitan Chord, and also the phrasing, between minor and major. It's so good!!!
You’re most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Thanks for the nice lesson, very clearly presented and explained, as usual!
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Very helpful! Congrats on 100k subscribers!
Thank you.
This 23 minutes video explains more than an-inch-thick-text-book could when I studied HARMONY in class!! And it is in the comfort of home, thank you so very much!!
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 ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Just Love what you do, a Great teacher. Hello from So. Cali in the USA
That’s most kind. Many thanks. Much more at www.mmcourses.co.uk
Thanks that was great, I have been learning to play the piano for two years now and this really fills in some background.
That’s great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Great video... I have played piano, saxophone, organ for decades, but never had a theory class. I basically learn this stuff by myself, but I have listened to a lecture like this. Thx
That’s great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
The best music theory video on YT!
Exactly what I was looking for!
Thank You!!!
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 ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Another very valuable lesson. And an elegant example. Thanks!
😀
Thank you very much. You are an excellent teacher.
That’s very kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Thanx, Maestro 🌹🌹🌹
Enjoy our channel. Have a look at www.mmcourses.co.uk for details of our online courses and of our exciting Maestros programme.
Hi gareth hope you are doing well today, Do you have a video on Voiceleading, Smooth chord changes, You are the only music teacher that explains clear and better about this stuffs, Thanks!
Hi. I’m doing well thanks. See our videos on chord progressions.
Fantastic educational video. Thank you Gareth! :)
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Perfect!
A pleasure. Much more at www.mmcourses.co.uk
Genius teacher at work. Just missed the bit at 10:37. Contrary motion - always something that??
Thanks. Contrary motion is always something that strengthens your harmony.
P.S. A tip for the future too - all our videos have captions so turned those on if you can't quite make something out. 😀
Thank you for sharing!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Is guy is a legend
You’re very kind. Much more at www.mmcourses.co.uk
Just a heads up for american viewers!
"imperfect cadence"=half cadence
"interrupted cadence"=deceptive cadence.
Thanks a lot for this!
Helpful translation. Thanks.
I like hearing the first phrase in D major and then the modulation to B minor.
😀
Awesome as usual!
Most kind. Much more at www.mmcourses.co.uk
I had this existential moment regarding composing in minor today. It started when I looked for a Renaissance progression to use, found The Romanesca, III-VII-i-V-III-VII-i-V-i. Ok, great. Tried going ahead using Harmonic Minor - sounded terrible! Researched a bit more, found it is in Natural Minor/Aeolian. (mostly see my reply to myself below...)
The existential moment came from crashing and burning while trying harmonic, then researching to find the right scale or chords. Many sources wanted to give just the roman numerals, no chord types, no scale types. Like it was just implicit, I should know this.
I ended up gripping my head saying to myself, we've only got 7 chords if we stay in key using harmonic minor.... why use the raised 7th and then have landmines in our set of available harmony like the augmented 3rd and the diminished 7th when you've got that nice major 3rd and 7th in Natural Minor/Aeolian? And might we ever use the raised 6th to build harmony based on melodic minor? And for all these questions, I meant, when picking a minor key and sticking with it, not for modulation.
And then, wondering what would feel instinctively right to me, I grabbed my guitar and played some rock/folk stuff and came to the conclusion that in those genres, the 7th only gets raised in minor for V except some pretty rare occasions. And now I've come full circle to - see what sounds good to you. But sometimes it can be educational to determinedly adopt an established convention and stick with it to the end of a project.
Aaaand actually I feel dumb now and realize the renaissance people are doing the same thing as the modern rock folk people and raising the 7th for V but not VII nor III
It’s funny how certain things just keep coming around throughout history
@@MusicMattersGB haha agreed, and I smacked my forehead, because i kind of already knew all this. I read a couple years back about John Renborn (of Pentangle) doing research into traditional folk songs of Appalachia and elsewhere... he found MANY of the songs were actually 500 year old Renaissance songs! (and of course both the folk and rock we have now came from those roots)
We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
Through the unknown, unremembered gate
When the last of earth left to discover
Is that which was the beginning;
At the source of the longest river
The voice of the hidden waterfall
And the children in the apple-tree
Not known, because not looked for
But heard, half-heard, in the stillness
Between two waves of the sea.
(TS Eliot)
Wonderful extract there
Could you please do videos on basic forms: binary, ternary, and rounded binary and larger forms: fugue, sonata, rondo, sonata-rondo, and theme and variations
Yes. That project is on the list.
I don’t know if you already have a video on this, but it would help me to have a video on what notes sound good to play in the harmony. For example, in the first measure you choose to use an octave with an a on the top instead of D F# A. Or in the last measure you use F# D for chord Ic, instead of all three chord tones, F# B D. It seems like there are rules of thumb to what sounds good besides using the exact tri-tone chord.
Ok. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
yes
😀
thank you very much!!!!!!!!!
A pleasure. Hope you’re well.
Mr. Music Matters, would it be possible for you to devise a series in which you take a melody (or melodic basis) and harmonise it simply to begin with (e.g. using I, IV & V only) and then, with each new video, introduce a new aspect of CPP harmony with increasingly advanced techniques?
Good idea. We have many harmonisation videos and there are step by step harmony lessons in our Theory courses at www.mmcourses.co.uk
it'll make more sense..if you learn more scales..aside from the MAJOR/minor scale..
It's just easier to COUNT from B min,...as B Harmonic min b2 ( C lyd #6 or C lyd #5, #6)
vi...ii ..iii has the same intervals as I, IV, %...it's just visually easier to see and play
on the fretboard becuase the lower strings are tune to perfect 4th...
it' just depends....rather then play B min G Maj7 F#7 into B minor all the time
I'll play B min C maj7 F# min B min...Then E7 A# dim into B min...
Rather then B min E min A7 into D Maj
The E7 ( lyd domintnat) is the IV of B melodic min
There's other options/ways/sounds to play back to the B min chord.
Use the C chord as a PIVOT ( reference PIVOT chord)
C Maj7 F min F# min B min..
or
I can even alter the C Maj7 to C min or min/maj7..or C dim ( C ly #2, #6)
C min F min F#7 into B min
Cdim C# min F#7 into B min
C Maj G min F min A# dim into B min
or
C min G min F min A# dim into B min
or
C #4 8, #9..the 5th ( G note) is stack below and octave above
slide down 2 frets....( same fingering) A# note as the ROOT
Then play C Maj F# min B min.....
Becuase I dont want to play F#7 into B min all the time ..
or I dont want to play dominant chords all the time.
It'll even do this ..it's just different sounds to me.
C aug E maj7 F# min A Maj or A7 into D MAJOR...
if you,,,rack your brain too much...you'll notice..the notes of E Maj7
as has B , maj 3, 6...in it.
somtimes..it'll even play B7 into E min F# min B min
or B7 into E min A7 into D MAJOR
Plenty of detail there.
Hi , thanks for the video, very informative.
is there a way to have these written , as in pdf files or something ?
i'd be glad to have them as pdf files!
thanks!
We don’t provide PDF’s in relation to UA-cam videos because it’s a video format, which is why we often write information on the board as part of the video. Our online courses contain more supporting detail at www.mmcourses.co.uk
Pretty good tutorial. I used to be really familiar with major keys, but minor keys were always a little painful to write.
I'm at the moment trying to write and experience fugal writing. Do you have courses about fugues?
Greetings from Germany
Have a look at this
www.mmcourses.co.uk/p/music-matters-webinar-how-to-write-a-fugue
@@MusicMattersGB thank you. I hav one question. How do These courses work? Do I get a link or an Email, because I can't find anything about that on your Website.
Thank you 🎶😄
Click on the course and you’ll get a link that you can access for life.
Hell Teacher, I have one question, I am wondering about the Key of Am, why there is G# in this Key? And how it forms a E chord? Thanks
In the harmonic minor scale we raise the 7th degree by a semitone - hence the G#. The E chord contains a G#.
it would be nice if those videos were ordered by difficulty. or is it already ?
That might be helpful but there are too many videos out there. We try to cover a broad base so there’s something for everyone at every level. There’s plenty of sequential material at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Like all your video's, very clear and informative. I am currently trying to undertand harmony and how it is constructed and this video goes a long way in helping that. But whenever I pick up an existing score (simpler the better) I can get so far in understanding what they have done then hit a chord progression or harmonisation that does not make sense. Ok it's an art not a science so I have to allow for that, but do you have any videos that take an existing score and analyse what the author has done to produce the harmony. I'm talking simple beginner harmony here. Many thanks.
Have a look at our harmonic analysis courses at www.mmcourses.co.uk where you will find a Bach Prelude & Fugue and a Beethoven Sonata.
Absolutely
Flattened supersonic, goodness me! 🤣
😀
I’m seeing all uppercase Roman numerals. In D major an E minor chord would be shown as ii. I’m seeing II, which is an uppercase Roman numeral which normally indicates major, not minor which is what you are implying is to be played. Is this a European thing?
There are two internationally recognised systems - Basic Roman and Extended Roman. To keep things simple I am using Basic Roman here i.e. all uppercase. In Extended Roman one makes the distinction you describe between major and minor chords.
Thanks for your response. After I commented I explored playing the E chord as a major chord and it does work. It becomes E7 in support of the D melody note. The E7 leads to A in the next measure. I’m going to research the origin of the Roman numeral system. It may have started with all uppercase. It may be a more advanced way of thinking by not locking in the secondary chords as having to be minor. In jazz turnarounds the secondary chords can be played as minor or major. I’m thinking the same thing can apply to classical music during resolution. I will get back to you in a week with what I found out. Thanks for the great videos. I know I’ll be watching many more !
The Basic Roman method is used in the interests of simplicity but you do draw attention to the fact that the tonality of chords is not as fixed as some believe, especially in minor keys.
I thought chord 11-13 was a modern chord not used in classical music
It’s much more often used in certain more modern styles but it’s interesting that it features in earlier styles, often used in different ways.
I wish you had made You Tube videos 60 years ago. It would have changed my life.
I wouldn't dare dream of asking for 63 years ago, since I would have been a child prodigy, that could have ruined my life.
😀
:)
😀