You can use the V-I for root movement, and use modal interchange to any parallel mode over the I. Wagner or the romantics before him have some great examples.
Wow. I just discovered this channel and it's great. It's just a little over my head, but I'm ready for the next level. Thank you for your excellent content Rob.
Can you explain V-I in one key is different when refer V-I in cycle of 5th Like F is fifth of Bb in cycle of 5th but. In still got the blue They use F is fifth of B. What is different of these 2 fifth ?
Only when the distance between the two chords is a perfect fifth we can speak of a functional harmonic V-I relationship. The Fmaj7 and Bm7b5 chord in Still Got The Blues is part of a so called "diatonic chain of fifths", which means that the whole progression stays in one key. In this case the relation is not always a perfect fifth, but due to the chain movement it still feels like proper V-I relationship.
This is soooo hard to understand, you guys are all sooo smart! You are talking about V-l but it turns into a perfect 4th!! What happened to the perfect 5th? Someone stole a note! Then the V-l relationship?? What does that mean.
Playing a V7 to a I or i is called the "Authentic Cadence", it's hundreds of years old and is universally recognized as the most effective way to establish a chord as the tonic (the I chord)
If you are interested in learning some of the basic theory stuff (like me) - and you like podcasts, then I would strongly recommend Music Student 101. The other place where I am studying is Christopher Brellochs (aka Dr. B) on UA-cam - he has an entire series where he covers music theory in a classroom setting starting with the fundamentals, and he's outstanding.
I find it somehow wrong that Garry Moore was sued for a progression that is hundreds of years old and a melody that comes directly from that progression - and he lost the case and had to pay
THANK YOU ROB ...........THE BEST TEACHER ON YOU TUBE...THIS LESSON IS AWESOME
Thanks Nick. Great comment!
superb as always, thanks Rob!!
Thanks you Krudler!
You can use the V-I for root movement, and use modal interchange to any parallel mode over the I. Wagner or the romantics before him have some great examples.
Thank you for this contribution!
As the video title suggests...it is indeed crystal clear!!...Keep doing videos Rob...Full support..
Thanks Shiva!
Wow. I just discovered this channel and it's great. It's just a little over my head, but I'm ready for the next level. Thank you for your excellent content Rob.
enjoyed watching this
Rob you are incredible teaching music harmony! Thanks!
As always Rob you are great. Another excellent video and composing tool. Take care dear friend and thanks for all you do!!!
Hi my friend! Thanks Jose. I appreciate you comments and support man! Regards to you and your family.
Awesome lesson! Cheers
Can you explain V-I in one key is different when refer V-I in cycle of 5th
Like F is fifth of Bb in cycle of 5th but. In still got the blue They use F is fifth of B. What is different of these 2 fifth ?
Only when the distance between the two chords is a perfect fifth we can speak of a functional harmonic V-I relationship. The Fmaj7 and Bm7b5 chord in Still Got The Blues is part of a so called "diatonic chain of fifths", which means that the whole progression stays in one key. In this case the relation is not always a perfect fifth, but due to the chain movement it still feels like proper V-I relationship.
@@QJamTracks so it is clearer about perfect fifth and chain of movement V-I in song. You are such a great teacher! Thanks
3:49 Maybe I misunderstood you because I don't speak English well. But in this fragment, the names of the notes are written the other way around.
5:07 We're Bach to the tonic
LOL
im seriously scared this guy is dead he hasnt uploaded for 2 months and he's my favorite teacher on youtube
I hope he is just taking a break. I see some activity on his Gitaarschool Rob van Hal page on Facebook.
Make a video on turnarounds
Thanks for the suggestion Brendon! I'll put it on my list.
@@QJamTracks Thanks for replying bro
add awaken by YES
those goddamn....TRITONES!!!!!!
This is soooo hard to understand, you guys are all sooo smart! You are talking about V-l but it turns into a perfect 4th!! What happened to the perfect 5th? Someone stole a note! Then the V-l relationship?? What does that mean.
Down a fifth or up a fourth, you always end up in the same place
Thx Dan, helps a little.
Playing a V7 to a I or i is called the "Authentic Cadence", it's hundreds of years old and is universally recognized as the most effective way to establish a chord as the tonic (the I chord)
If you are interested in learning some of the basic theory stuff (like me) - and you like podcasts, then I would strongly recommend Music Student 101. The other place where I am studying is Christopher Brellochs (aka Dr. B) on UA-cam - he has an entire series where he covers music theory in a classroom setting starting with the fundamentals, and he's outstanding.
@@edzielinski Thank you Ed! Trying to learn on your own is tuff!!
I find it somehow wrong that Garry Moore was sued for a progression that is hundreds of years old and a melody that comes directly from that progression - and he lost the case and had to pay
C Lydian-C F#
C Ionian-F B
C Mixolydian- E Bb
C Dorian- Eb A
C Aeolian- D Ab
C Phrygian- Db G
C Locrian- C Gb
Still got the blues= Autumn leaves. You and Jens Larson dampen your necks. Why is that?
I use the string damper more for recording to avoid unwanted noise.