You say that the deceptive motion inevitably leads to IV -> V -> I or ii -> V -> I. It often does, but I have seen the deceptive motion being used in modulations, particularly modulations to a minor key from a major key, like for example this: Bb: I -> V -> I -> V -> vi -> V/ii -> vii°/ii -> ii Cm: IV/IV -> IV -> IV/IV -> IV -> v -> V -> vii° -> i The first 4 chords in this progression are more typical of Bb than Cm, though I did put in how I would analyze that progression in a C minor tonic. vi is the bridging chord, the pivot chord, this is a very common way I see vi used is as a pivot from major to minor, often via a deceptive resolution of the V chord. And the last 3 chords are more typical of Cm, though I did include how I would analyze it in Bb. And the V -> vii° -> i is a thing I commonly see in minor, usually with seventh chords, but I've seen it with triads too. Another thing I very often see in minor is vii° completely substituting for the V chord. I rarely see it do that in major, usually in major it just extends the dominant zone.
Great points! This video is an introduction and sets some good expectations for the most common practices. But we can find lots of music that diverges from these norms. Your note on modulation is, of course, accurate - chords like vi, with weak functions, typically make excellent pivot chords.
Nice work! One thing, though... at 4:12 you say "It would be pretty unusual for ii to skip over V and go directly to I, but it would be very common for ii to take us to I". I know you meant to say "take us to V" but the incorrect narration will confuse some.
Could You made some videos about playing melodic ideas that suggest other ideas? When someone plays a melodic motif and before you hear the next phrase, you already know what it's going to sound like. ...sometimes when I listen someone's track/song I can separate individual elements which can be called the introduction, development, completion, passage between two themes etc I mean that every next phrase fit into previous,it is like...verse chorus/inhale exhale,break/passage and ending/relaxation. Each piece of this song fits together perfectly as if someone had cut the picture into pieces and then stuck them together :) My problem is: - how to build phrases which are question implying the answer? - how to build phrases which are suggestive of asking another question which suggests the next question etc etc before answer ? "The logic of improvised musical expression it is what characterizes all great musicians". ..."motives development". Phrasing typical for a particular style of music - another mysterious issues for me :)
It's been a long time but, what I believe helped me understand phrases much better is learning scale degree functionality to the max. I did that using the Functional Ear Trainer app (it's free!) for about 2 and a half years, using custom levels and stuff (although I recommend you train this alongside your other musical studies and practices). It helped me immensely, even if you do know how to hear the degrees, the app is great to enhance the feeling of resolution each note has on its scale, which is the basis (from what I can see) for understanding musical phrases, in terms of melody (and a bit of harmony) specifically.
Hi :) Could You explain to me,how can I create chord progression which has to rely on emphasize character of chosen scale? How it looks chords progression (in the key of C major)with ionian mood and how it looks chords progression with phrygian mood(in the key of C major)?? Each scale has its own characteristic chord progression?
Opiekun Dps Hi! That's a tough question, as mood often feels different to different people. With modal music - to which the ideas in this video don't strictly apply - one piece of advice I would offer is to emphasize the notes the separate the mode from others. So when writing in Lydian, emphasize the raised fourth scale degree. In Mixolydian, emphasize the lowered seventh, Phrygian, the lowered second, etc. This will help your music really come across as "modal."
Hmmm it is still difficult for me...how about this progression in the key of c: C,F,G7 - this progression have own character/mood? Which one?C,F,G7 is Ionian,lydian or mixolyd. progression? ..."emphasize the notes the separate the mode from others" Hm...ok,try with ionian scale . Characteristic notes - fourth and seventh degree (f & b) So,if I want to create Ionian progression,I should focus on those two sounds in chords? C 11 - c,e,g,b,d,f ( c is tonic for ionian sclae) F 11 - f,a,c,e,g,b G7 - b,f,b,d,g (first inversion) C 7+ (c,g,b,e,g) C11,F11,G7,C7+ = what mood we have in this progression? And why?
Hi! Again, these are difficult questions. The "mood" of a mode might feel very different from person to person. Telling which mode a progression is in - whether your progression is Ionian or Mixolydian or Lydian - depends on which pitch you emphasize the most. You can emphasize a pitch via a number of ways - repetition, bass line, melody line, voice leading, rhythm, and others. I'd recommend you try to find a different resource to better explain modal music. Good luck!
Don't often comment and I am cheap as hell, but the quality of this information makes me feel I should be paying for it. Great stuff Boss.
i like how you cut straight to point and also how you have a mini contents page to skip to specific parts
The only reason why I'm passing AP music theory 👍🏾
You say that the deceptive motion inevitably leads to IV -> V -> I or ii -> V -> I. It often does, but I have seen the deceptive motion being used in modulations, particularly modulations to a minor key from a major key, like for example this:
Bb: I -> V -> I -> V -> vi -> V/ii -> vii°/ii -> ii
Cm: IV/IV -> IV -> IV/IV -> IV -> v -> V -> vii° -> i
The first 4 chords in this progression are more typical of Bb than Cm, though I did put in how I would analyze that progression in a C minor tonic. vi is the bridging chord, the pivot chord, this is a very common way I see vi used is as a pivot from major to minor, often via a deceptive resolution of the V chord. And the last 3 chords are more typical of Cm, though I did include how I would analyze it in Bb. And the V -> vii° -> i is a thing I commonly see in minor, usually with seventh chords, but I've seen it with triads too. Another thing I very often see in minor is vii° completely substituting for the V chord. I rarely see it do that in major, usually in major it just extends the dominant zone.
Great points! This video is an introduction and sets some good expectations for the most common practices. But we can find lots of music that diverges from these norms. Your note on modulation is, of course, accurate - chords like vi, with weak functions, typically make excellent pivot chords.
Nice work! One thing, though... at 4:12 you say "It would be pretty unusual for ii to skip over V and go directly to I, but it would be very common for ii to take us to I". I know you meant to say "take us to V" but the incorrect narration will confuse some.
Hi David, thanks for the lesson. Great stuff. Can you please tell me which text book are you referring to?
Thank you so much. Save me the embarrassment of asking my prof about this again..
Could You made some videos about playing melodic ideas that suggest other ideas?
When someone plays a melodic motif and before you hear the next phrase, you already know what it's going to sound like.
...sometimes when I listen someone's track/song
I can separate individual elements which can be called the introduction, development, completion, passage between two themes etc
I mean that every next phrase fit into previous,it is like...verse chorus/inhale exhale,break/passage and ending/relaxation.
Each piece of this song fits together perfectly as if someone had cut the picture into pieces
and then stuck them together :)
My problem is:
- how to build phrases which are question
implying the answer?
- how to build phrases
which are suggestive of asking another question
which suggests the next question etc etc before answer ?
"The logic of improvised musical expression
it is what characterizes all great musicians".
..."motives development".
Phrasing typical for a particular style of music
- another mysterious issues for me :)
It's been a long time but, what I believe helped me understand phrases much better is learning scale degree functionality to the max. I did that using the Functional Ear Trainer app (it's free!) for about 2 and a half years, using custom levels and stuff (although I recommend you train this alongside your other musical studies and practices). It helped me immensely, even if you do know how to hear the degrees, the app is great to enhance the feeling of resolution each note has on its scale, which is the basis (from what I can see) for understanding musical phrases, in terms of melody (and a bit of harmony) specifically.
When iii goes to IV, is there a greater likelihood that that IV will then go directly to I instead of to V or to viio? Thanks.
Hmm, might depend on the style of music, but I generally don't think that is true.
Hi :)
Could You explain to me,how can I create chord progression
which has to rely on emphasize character of chosen scale?
How it looks chords progression (in the key of C major)with ionian mood
and how it looks chords progression with phrygian mood(in the key of C major)??
Each scale has its own characteristic chord progression?
Opiekun Dps Hi! That's a tough question, as mood often feels different to different people. With modal music - to which the ideas in this video don't strictly apply - one piece of advice I would offer is to emphasize the notes the separate the mode from others. So when writing in Lydian, emphasize the raised fourth scale degree. In Mixolydian, emphasize the lowered seventh, Phrygian, the lowered second, etc. This will help your music really come across as "modal."
Hmmm it is still difficult for me...how about this progression
in the key of c:
C,F,G7 - this progression have own character/mood?
Which one?C,F,G7 is Ionian,lydian or mixolyd. progression?
..."emphasize the notes the separate the mode from others"
Hm...ok,try with ionian scale .
Characteristic notes - fourth and seventh degree (f & b)
So,if I want to create Ionian progression,I should focus on those two sounds in chords?
C 11 - c,e,g,b,d,f ( c is tonic for ionian sclae)
F 11 - f,a,c,e,g,b
G7 - b,f,b,d,g (first inversion)
C 7+ (c,g,b,e,g)
C11,F11,G7,C7+ = what mood we have in this progression?
And why?
Or this
zapodaj.net/images/5986a5dc61718.png
Hi! Again, these are difficult questions. The "mood" of a mode might feel very different from person to person. Telling which mode a progression is in - whether your progression is Ionian or Mixolydian or Lydian - depends on which pitch you emphasize the most. You can emphasize a pitch via a number of ways - repetition, bass line, melody line, voice leading, rhythm, and others. I'd recommend you try to find a different resource to better explain modal music.
Good luck!
Thanks a lot !!!
Thanks!
Thought this was a math lesson xD