That’s great. See www.mmcourses.co.uk for our 24 courses, for information on joining our special Music Matters Maestros group, and for one to one teaching.
very useful; I liked the Chopin style, lyrical and lovely; and possible to augment with lots of virtuoso ornamentation. There is this ios program called harmyWiz you just put in your melody and the program lays down up to six different styles of accompaniment; but, as usual in music, this is only a tiny part of the process' but fascinating to show how style affects the mood of the piece. But I am fascinated by the German method where a simple four note motiff can evolve into a movement of a symphony lasting up to an hour long, extraordinary.
I have a doubt while writing accompaniment shall we play the accompaniment notes after playing the melody notes or shall we write it simulataneously or a mixture of both and should there be dynamics involved like should i lower the volume down while playing the melody and little higher while playing individually?
It’s really up to you. It’s often a good idea to make the tune a little louder. You can organise the accompaniment in simultaneous chords or in flowing notes for example. See our Creative song writing course at www.mmcourses.co.uk
Love your videos! I have a question: In another video of yours, you advice against consecutive 5ths and octaves. Should I also try to avoid them when I'm spacing out chords, like you're doing here? Because that seems to get in the way of repeating the arpeggio pattern between chords. (it can't be as predictable then as desired) Hope my question makes sense.
Hi. You can repeat arpeggio patterns but when you’re writing four part conventional harmony we’re trying to avoid a perfect 5th or octave between two parts followed by the same interval between the same pair of parts.
@@MusicMattersGB Thank you. Perhaps I should clarify that I'm playing the chord notes in the left hand and refer to them as "the arpeggio" when I spread them out over time. In order to sound good, it seems important that the pattern doesn't become too complicated so as to demand much attention by the listener. That's why I pretty much always play the root first and then the fifth above it, to clearly outline the chord. (The next note can then be either the root note an octave above or the 3rd of the chord.) I repeat this for each chord in the progression with little variation... in other words, by doing so, I guess I'm filling my music to the brim with consecutive 5ths and octaves?
@@MusicMattersGB Ok, thank you for sharing your knowledge so generously. You are my favourite music teacher on all of youtube and I look forward to watch more of your videos.
Hello and thank you for teaching us :) Your accompaniment (the one with the bass in the left hand and the block chords in the right hand) has all the melody notes in the top voice. Is this always good practice? What happens when the melody is a bit lower? Would your accompaniment then have the melody in the middle voices? I am trying to do an accompaniment like this but my melody sits about a 5th lower then yours and I voiced the chords lower, is this ok?
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I love how you fill short videos with so much to learn! I learn something helpful every video!
That’s great. See www.mmcourses.co.uk for our 24 courses, for information on joining our special Music Matters Maestros group, and for one to one teaching.
Thank you very much sir,I Love it!
A pleasure. See www.mmcourses.co.uk for much more.
Most interesting and very enlightening. Thank you.
+Richard Masters
Very kind. See www.mmcourses.co.uk for much more
Marvellous tips! Love it! Thank you.
That’s most kind. Have a look at www.mmcourses.co.uk for details of our online courses and information about Music Matters Maestros.
Very useful! You're a great teacher!
+Soul Muse
That's very kind. See www.mmcourses.co.uk for much more.
+Soul Muse
You're very kind.
Great video and helpful. Thank you for sharing it with us 👏🎶
A pleasure. Much more at www.mmcourses.co.uk
I have to figure out a stop time number for tap dance. Can you do a short video explaining stop time
We could put that on the list for the future.
A very good video - as usual. Thank you!
That’s very kind. See www.mmcourses.co.uk for much more and to sign up to our newsletter
very useful; I liked the Chopin style, lyrical and lovely; and possible to augment with lots of virtuoso ornamentation. There is this ios program called harmyWiz you just put in your melody and the program lays down up to six different styles of accompaniment; but, as usual in music, this is only a tiny part of the process' but fascinating to show how style affects the mood of the piece. But I am fascinated by the German method where a simple four note motiff can evolve into a movement of a symphony lasting up to an hour long, extraordinary.
Glad it’s useful and thanks for your kind comments. See www.mmcourses.co.uk for much more.
What’s the German method you’re talking about?
I have a doubt while writing accompaniment shall we play the accompaniment notes after playing the melody notes or shall we write it simulataneously or a mixture of both and should there be dynamics involved like should i lower the volume down while playing the melody and little higher while playing individually?
It’s really up to you. It’s often a good idea to make the tune a little louder. You can organise the accompaniment in simultaneous chords or in flowing notes for example. See our Creative song writing course at www.mmcourses.co.uk
Great ! ☘️☺️❤️🎹🙏
Thanks for your positive feedback. Enjoy! Much more at www.mmcourses.co.uk
Love your videos! I have a question: In another video of yours, you advice against consecutive 5ths and octaves. Should I also try to avoid them when I'm spacing out chords, like you're doing here? Because that seems to get in the way of repeating the arpeggio pattern between chords. (it can't be as predictable then as desired) Hope my question makes sense.
Hi. You can repeat arpeggio patterns but when you’re writing four part conventional harmony we’re trying to avoid a perfect 5th or octave between two parts followed by the same interval between the same pair of parts.
@@MusicMattersGB Thank you. Perhaps I should clarify that I'm playing the chord notes in the left hand and refer to them as "the arpeggio" when I spread them out over time. In order to sound good, it seems important that the pattern doesn't become too complicated so as to demand much attention by the listener. That's why I pretty much always play the root first and then the fifth above it, to clearly outline the chord. (The next note can then be either the root note an octave above or the 3rd of the chord.) I repeat this for each chord in the progression with little variation... in other words, by doing so, I guess I'm filling my music to the brim with consecutive 5ths and octaves?
If it’s the pattern you’re happy with go for it.
@@MusicMattersGB Ok, thank you for sharing your knowledge so generously. You are my favourite music teacher on all of youtube and I look forward to watch more of your videos.
thank you sir
A pleasure. See www.mmcourses.co.uk for much more.
Hello and thank you for teaching us :) Your accompaniment (the one with the bass in the left hand and the block chords in the right hand) has all the melody notes in the top voice. Is this always good practice? What happens when the melody is a bit lower? Would your accompaniment then have the melody in the middle voices? I am trying to do an accompaniment like this but my melody sits about a 5th lower then yours and I voiced the chords lower, is this ok?
It’s absolutely fine to have the melody anywhere in the texture. Thanks for your positive feedback