in the example you play C -> E7 -> F -> C When I heard that progression I loved it so much then I recognized that it uses a major third in the Scale of C and I had played with that before but I felt like the progression should have gone differently so I made it C -> E7 -> F -> Fm and that sounds so good to me.
Well Voice leading is just theorie of harmony. it's Ok. but........ what about the third chord using a 2nd inversion that next make a leap from C to G?? Rules say this isn't good. Maybe a bass leading in this case like C-D-C or C-B--C would be better. Or it ist all just matter of personal taste?
G# into A....C Maj E7 Amin/F G7 into C. All Im going to do is play the A min..the play the F note below it. A min/F or I can play F Maj traid....with F, A stack below it. Then Play C Maj into F min Bb min, G Maj , C Maj Then D min G Maj C Maj E7 A min..ect The G# note is just from the A Harmonic min ....G# or C Harmonic MAJOR = Ab ( ion b6) C Maj F min G Maj into C MAJOR or C Maj F min E7 into A min....( F min = lydian #2 or lydian b3) it's just E into F It's more helpful if you learn more scales... such as A melodic min...it;'s just A min.....D7, E7 or just a simple MAJOR chord. C Maj DMaj/F# G Maj E min F min7/Ab...Fmin7/F#...G Maj into C MAJOR it's easy to play the F min7 chord on the guitar.. Then you simply play the Ab note with your pinky....then the F# with middle finger.. Playing from above and below...into the G MAJOR... or B min...is the ii chord of A melodic min... once you introduce the F# note.. it's just F# aeo b5 ( you can play F # blues )..ect F #min B min.....E7 A min ( ii, V, i).....or play F#7 into B min (CHORD) then...simply play G Major into C MAJOR. There's BILLLIONS of songs...with I, V, Vi, iii......Vi, iii, IV, V... or simple E7 into A min
this was the absolute best voice leading video on UA-cam, i had no idea what this concept was before hand and other vidoes did not make sense. The audio was clear, the explanation was concise and made sense with plenty of examples. Visually simple and appealing, easy to associate what you say with your visual and auditory examples. Editing was awesome. Seriously this video was perfect and I came out of it with realy understanding and you have my sub. Keep it up :)
Well made video. One suggestion would be to name the chords (ex. E7) and also give roman numeral notation, to put them in context a bit more. And like another commenter said, these common practice period rules are useful only to a point. For example, it's descriptively useful to know that parallel fifths can sound hollow. But if one were to write every chord progression using this particular style from a very particular time period, well, everything would sound like baroque/classical. If you're writing music for a Hollywood action movie trailer, you don't want it to sound like a Bach chorale.
@@andershusmo5235 Lol. You could definitely get part of the way there with some of the cadences. Like i64 - Vsus4 - V -i could be made to sound huge and epic if orchestrated right.
As a self-taught composer I have some remarks on the thing about parallel fifths and octaves. Most "intro to harmony/counterpoint" sources in the classical world will indeed tell you these are absolutely forbidden with very few exceptions. That's because they are teaching the common-practice harmony in fashion from circa 1700 to 1900 (which is what we normally think of when we hear "classical"). If you're writing a strict pastiche of that style then, yes, you'd do well to respect the patterns of the style and avoid parallel 5ths and 8ves. But if you're not specifically aiming to write in the style of Bach, Beethoven, Chopin, et al., then the so-called "rules" of common practice harmony become not strict laws but merely non-binding descriptions. Just like any other musical element, fifths and octaves have a certain effect, and to write good music you have to know when to use that effect to your advantage and when it is detrimental.
This is a very good point. I think what should be emphasized is what the reasoning behind that style guideline is, like Odd Quartet did here in the video. That is, if two voices go in parallell fifths or octaves, they will sound less like two individual voices and more like one, since fifths and octaves are such consonant intervals. What to do with this information is entirely up to the composer. So it's still valuable to learn the classical style, since you as a composer may wish to write music with distinct voices - classical voice leading principles are useful far outside the domain of classical music. But you're best equipped with the added knowledge that you can obviously do things differently if you're aiming for something different.
Parallel fifths and octaves sound absolutely terrible. You "can" use them yes, but I see no reason to use them, it always sounds like an absolutely dreadful "THONK" that completely overrides anything else you have going on with the music. Even if you're looking for an intentionally unpleasant effect, there are way more beautiful ways of achieving that than parallel consonances, such as dissonances. They're not rules for the sake of having rules, they're rules because they sound atrocious.
@@shayukilol8887 I mean, sound is subjective tbh. I can make a sound playing a parallel fifth that you'd absolutely adore, it's a matter of sound design, i.e. which instrument you use, effects, eqing, etc.
I really appreciate how in deapth you went and it has helped tremendously. I only wish that it was written in SATB choral format, but I understand that you may have done that on purpose for clarity. Thank you.
Im trying to Understand that theory based on the sound of what you're saying. So you're saying basically that you try to avoid carrying the same 5th of a chord with the same root to 5th motion or a different chord?
In music's realm where notes align, Melody and harmony entwine. Distinct, yet bound in sweet embrace, They form a union, an artful chase. Melody, the tune that takes its flight, Singing clear, in the soft moonlight. Harmony, the chords that gently sway, In tandem dance, a musical display. A verse unfolds, a story told, In notes and chords, the tale unfolds. Harmonic context, a supporting hand, Guiding the melody through the land. Emotions rise in a structured scheme, The melody's dream, the harmony's gleam. Indivisible, they seamlessly weave, A unified expression, where hearts believe. In summary's embrace, the music's kiss, Where melody and harmony find their bliss. Connected intricately, in rhythmic glee, A coherent expression, eternally free.
Interesting video. Merci. And an interesting discussion in the comments section. I’m learning two part Bach Chorales and will move on to three and four part. After that I will work on seventh chords, then upper extensions. When I’ve mastered my keyboard skills, I can move onto Taylor Swift.
At 3:50 why not keep the E in the bass and move the E in treble clef to a D instead? Seems weird to have a 9 in the bass while having the root in the upper clef
Great question! In general, you would like to keep the root in the bass. So C for the C major chord. D is not a ninth. It is the seventh of the E major chord. They use D instead of E because it is better voiceleading and because the E7 chord would miss the seventh without the D.
Most helpful. I had heard the term used repeatedly without explanation. At least now I have some idea what people are talking about when they use the term.
I think you're oversimplifying. For example your second chord, after you changed the bass to D, the only way it could go is down to C because that's where the 7th needed to resolve to. You just explained some random things that might or might not have made sense and justified moving downwards with it to resolve it correctly, which seems like you're cutting corners with your explanations. "The 7th is in the bass so it needs to resolve downwards with a step" would have been the accurate thing to say. Also, generally you don't have an upwards-moving melody for the cadence, but this was written like a cadence which is odd.
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This helped me a lot, thank you so much! I couldn't grasp the concept on other videos, but I did for yours. Thank you!
Brilliantly explained. Thank you!
This video was amazing, I had to go back over a few things to understand more clearly but in the end I got there! Thanks, subbed.
Super nice and clear. Thank you.
in the example you play C -> E7 -> F -> C When I heard that progression I loved it so much then I recognized that it uses a major third in the Scale of C and I had played with that before but I felt like the progression should have gone differently so I made it C -> E7 -> F -> Fm and that sounds so good to me.
Ddim7 Bdim7 Em9 after maybe?
Most annoying chord progressions in history
Thank you very much!
Well Voice leading is just theorie of harmony. it's Ok. but........ what about the third chord using a 2nd inversion that next make a leap from C to G?? Rules say this isn't good. Maybe a bass leading in this case like C-D-C or C-B--C would be better. Or it ist all just matter of personal taste?
would have been so much better if it was visualized with a keyboard its more universal
G# into A....C Maj E7 Amin/F G7 into C.
All Im going to do is play the A min..the play the F note below it. A min/F
or I can play F Maj traid....with F, A stack below it.
Then Play C Maj into F min Bb min, G Maj , C Maj
Then D min G Maj C Maj E7 A min..ect
The G# note is just from the A Harmonic min ....G#
or C Harmonic MAJOR = Ab ( ion b6)
C Maj F min G Maj into C MAJOR
or
C Maj F min E7 into A min....( F min = lydian #2 or lydian b3)
it's just E into F
It's more helpful if you learn more scales...
such as A melodic min...it;'s just A min.....D7, E7 or just a simple MAJOR chord.
C Maj DMaj/F# G Maj E min
F min7/Ab...Fmin7/F#...G Maj into C MAJOR
it's easy to play the F min7 chord on the guitar..
Then you simply play the Ab note with your pinky....then the F# with middle finger..
Playing from above and below...into the G MAJOR...
or B min...is the ii chord of A melodic min...
once you introduce the F# note..
it's just F# aeo b5 ( you can play F # blues )..ect
F #min B min.....E7 A min ( ii, V, i).....or play F#7 into B min (CHORD)
then...simply play G Major into C MAJOR.
There's BILLLIONS of songs...with I, V, Vi, iii......Vi, iii, IV, V...
or simple E7 into A min
this was the absolute best voice leading video on UA-cam, i had no idea what this concept was before hand and other vidoes did not make sense. The audio was clear, the explanation was concise and made sense with plenty of examples. Visually simple and appealing, easy to associate what you say with your visual and auditory examples. Editing was awesome. Seriously this video was perfect and I came out of it with realy understanding and you have my sub. Keep it up :)
👏👏👏
Well made video. One suggestion would be to name the chords (ex. E7) and also give roman numeral notation, to put them in context a bit more. And like another commenter said, these common practice period rules are useful only to a point. For example, it's descriptively useful to know that parallel fifths can sound hollow. But if one were to write every chord progression using this particular style from a very particular time period, well, everything would sound like baroque/classical. If you're writing music for a Hollywood action movie trailer, you don't want it to sound like a Bach chorale.
Now I want a Hollywood action movie trailer that sounds like a Bach chorale.
@@andershusmo5235 Lol. You could definitely get part of the way there with some of the cadences. Like i64 - Vsus4 - V -i could be made to sound huge and epic if orchestrated right.
What function is the E7? Is that III7?
As a self-taught composer I have some remarks on the thing about parallel fifths and octaves. Most "intro to harmony/counterpoint" sources in the classical world will indeed tell you these are absolutely forbidden with very few exceptions. That's because they are teaching the common-practice harmony in fashion from circa 1700 to 1900 (which is what we normally think of when we hear "classical"). If you're writing a strict pastiche of that style then, yes, you'd do well to respect the patterns of the style and avoid parallel 5ths and 8ves.
But if you're not specifically aiming to write in the style of Bach, Beethoven, Chopin, et al., then the so-called "rules" of common practice harmony become not strict laws but merely non-binding descriptions. Just like any other musical element, fifths and octaves have a certain effect, and to write good music you have to know when to use that effect to your advantage and when it is detrimental.
@Paul Mina Storm you missed the point entirely
This is a very good point. I think what should be emphasized is what the reasoning behind that style guideline is, like Odd Quartet did here in the video. That is, if two voices go in parallell fifths or octaves, they will sound less like two individual voices and more like one, since fifths and octaves are such consonant intervals. What to do with this information is entirely up to the composer. So it's still valuable to learn the classical style, since you as a composer may wish to write music with distinct voices - classical voice leading principles are useful far outside the domain of classical music. But you're best equipped with the added knowledge that you can obviously do things differently if you're aiming for something different.
Parallel fifths and octaves sound absolutely terrible. You "can" use them yes, but I see no reason to use them, it always sounds like an absolutely dreadful "THONK" that completely overrides anything else you have going on with the music. Even if you're looking for an intentionally unpleasant effect, there are way more beautiful ways of achieving that than parallel consonances, such as dissonances.
They're not rules for the sake of having rules, they're rules because they sound atrocious.
@Paul Mina Storm Completely missed the point.
@@shayukilol8887 I mean, sound is subjective tbh. I can make a sound playing a parallel fifth that you'd absolutely adore, it's a matter of sound design, i.e. which instrument you use, effects, eqing, etc.
I really appreciate how in deapth you went and it has helped tremendously. I only wish that it was written in SATB choral format, but I understand that you may have done that on purpose for clarity. Thank you.
5:08 Cough, cough *metallica* cough
Cough, cough literally all of rock and metal cough
best vid for music ever
helped me alot
Wow you really explain this easy to understand thank you 😊
Ive been taught this many times, this video just made it click thank you so much
Im trying to Understand that theory based on the sound of what you're saying. So you're saying basically that you try to avoid carrying the same 5th of a chord with the same root to 5th motion or a different chord?
he's trying to avoid 2 perfect fifths in general, or two octave. These are intervals
Thank you so much for this valuable content thank 🙏 sooooo much
In music's realm where notes align,
Melody and harmony entwine.
Distinct, yet bound in sweet embrace,
They form a union, an artful chase.
Melody, the tune that takes its flight,
Singing clear, in the soft moonlight.
Harmony, the chords that gently sway,
In tandem dance, a musical display.
A verse unfolds, a story told,
In notes and chords, the tale unfolds.
Harmonic context, a supporting hand,
Guiding the melody through the land.
Emotions rise in a structured scheme,
The melody's dream, the harmony's gleam.
Indivisible, they seamlessly weave,
A unified expression, where hearts believe.
In summary's embrace, the music's kiss,
Where melody and harmony find their bliss.
Connected intricately, in rhythmic glee,
A coherent expression, eternally free.
Best video on voice leading. Needs more views. Thank you for your work!
Interesting video. Merci.
And an interesting discussion in the comments section. I’m learning two part Bach Chorales and will move on to three and four part. After that I will work on seventh chords, then upper extensions.
When I’ve mastered my keyboard skills, I can move onto Taylor Swift.
Sloppy first problem discussed was not solved. Reading the script you simply did you fixed it. You never realized there was no parallel 5th
Perfect, thank you !
There you go😂
At 3:50 why not keep the E in the bass and move the E in treble clef to a D instead? Seems weird to have a 9 in the bass while having the root in the upper clef
Great question! In general, you would like to keep the root in the bass. So C for the C major chord. D is not a ninth. It is the seventh of the E major chord. They use D instead of E because it is better voiceleading and because the E7 chord would miss the seventh without the D.
man that cake and raw ingredients analogy was on point! niceee
Most helpful. I had heard the term used repeatedly without explanation. At least now I have some idea what people are talking about when they use the term.
was anyone else expecting something amazing after the under construction part only to be let down? lol
Very well explained and very usefull for a beginner componist.
Well done, nice video.
The best voice leading video for beginners on UA-cam!
So inversions and voice leading are two different things?
voice leading is so complicated🙄🙄🙄
But the F chord is in second inversion....
I wish this was on keyboard or Piano roall
thank you for your post! very helpful!
Thank you!!!
Great video!!
7:46 gec :)
This video is gold
Subscribed 👌
I think you're oversimplifying. For example your second chord, after you changed the bass to D, the only way it could go is down to C because that's where the 7th needed to resolve to. You just explained some random things that might or might not have made sense and justified moving downwards with it to resolve it correctly, which seems like you're cutting corners with your explanations. "The 7th is in the bass so it needs to resolve downwards with a step" would have been the accurate thing to say.
Also, generally you don't have an upwards-moving melody for the cadence, but this was written like a cadence which is odd.
Does the idea that parallel 5ths are a no-no mean that most rock and roll is a no-no, given the heavy reliance on progressions of power chords?