Thank you so much for this. I generally make synthy sound based music but having tried to cover a couple of Folk and classical pieces I have really started thinking about harmony and actual musical composition. This level is exactly what I need to start thinking about 4 part harmonies.
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.
This is a great tutorial on the importance of avoiding the sorts of compositional problems you might be finding with certain DAW midi chord devices, thanks so much for this great compositional advice. 😊
Yeah the major 3rd is so aggressive (powerful) as it’s possibly in danger of being a leading tone or if doubled (double trouble), it somehow vaguely threatens to be treated as a tonic (just a thought:).. This is a great lesson here and thanks again.
A pleasure. We do have videos on the channel on two part writing but we could certainly provide more. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Keyboard Harmony - Get the rest of this course here! www.mmcourses.co.uk/p/keyboard-harmony-course
4 роки тому+2
Great video, but I wonder about the consecutive fifths between tenor and alto in your I-V solution; are they allowed just because they occur between middle voices?
Very nice again. The C to G, if the G was G7, could you not follow the E with an F and no doubling of the G, although the latter isn't consecutive! Thanks again, brill.
Thanks for this video (and all your others, too), it's to the point and highly instructive as usual. I'm not a keyboard player by any stretch of the imagination, but I do compose electronic music, and feel that a good knowledge of music theory is essential to get the best out of my compositions. My question is this: Are perfect fourth (5 semitones) and perfect fifth (7 semitones) melodic intervals to be avoided in music composition? I've heard other educators say that these intervals should be avoided in melodies and bass lines because they have a certain resonance that can make it hard for the ear to detect the change of note (or something like that). However, I find these intervals cropping up in my music all the time, and spend a lot of time trying to fix them with passing notes and the like, but I would love to get your take on this question if possible. Thanks, and keep up the great work :-)
I wouldn’t worry about those as melodic intervals. The only thing you might consider is when you have wider melodic leaps it’s often a good idea then to step back inside them. The issue about consecutive 5ths is harmonic rather than melodic.
Was inverting the II by moving the bass to F not in the scope of this video? I'm glad in a way to hear you make the point about consecutives, because I've often wondered how well-defined the "voices" in a keyboard part are, in practical use. One of these days I'm going to write a piece that uses consecutive/parallel 5ths, and goes hard on them, because I quite like the sound ;-)
Using llb is a perfectly reasonable option. As for the rules, the great thing about knowing them is then knowing when to break them. Vaughan Williams, for example, writes plenty of consecutive 5ths and they sound great. Debussy is another example of a composer who loves to write consecutives.
It’s a conventional “rule” of harmony that dates back to the 1600’s. Of course, every rule is there to be broken and certain musical styles feature that.
The fitfh in a powerchord is not an independent voice, but rather a thickening of the melody, so it doesn't really break the rules. If both guitarists in a band were to play different voices, but end up doing consequtive fifths, it would be another story, so no, the rule makes total sense in its context and Metal guitarists aren't being edgy by playing powerchords.
I was practicing harmony and there was a knock at the door. The Music Police told me that my neighbour called them for rules violations. I was sentenced and have to watch Music Matters videos to avoid jail time.
The opening chords to Knowing Me, Knowing You? Ulvaeus would fail ABRSM Grade 5! But I don't think he would be too worried. I have found that ABRSM and Trinity piano examiners can be very pompous and very annoying, HOWEVER, there is something in consecutive 5ths. Often it suggests there is deeper problem. If you are writing in a pop or such style, be particularly wary of any consecutive 5th/8ves (or for example things like 5ths/8ves that appear on the same beats in consecutive bars) between the melody and bass. Just something I have learned. Thanks Music Matters for these fantastic videos. I wish my harmony teachers were like you!
Thank you so much for this. I generally make synthy sound based music but having tried to cover a couple of Folk and classical pieces I have really started thinking about harmony and actual musical composition. This level is exactly what I need to start thinking about 4 part harmonies.
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.
This man is so good at teaching these musical concepts! Such A GOLD!!!
You’re most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
This is a great tutorial on the importance of avoiding the sorts of compositional problems you might be finding with certain DAW midi chord devices, thanks so much for this great compositional advice. 😊
I’m glad it’s helpful. Much more at www.mmcourses.co.uk
Thank you Sir..Absolutely helpful
Glad it’s useful. Much more at www.mmcourses.co.uk
Yeah the major 3rd is so aggressive (powerful) as it’s possibly in danger of being a leading tone or if doubled (double trouble), it somehow vaguely threatens to be treated as a tonic (just a thought:).. This is a great lesson here and thanks again.
A pleasure. Hope you’re well.
very good video..i wonder if u could make video about how to create tension and when using consonants and dissonant..thanks
Okay. Will put on the list. Thanks for your comment.
Thank a lot for all these guidance could you sir make a video on two parts harmony
A pleasure. We do have videos on the channel on two part writing but we could certainly provide more. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Keyboard Harmony - Get the rest of this course here!
www.mmcourses.co.uk/p/keyboard-harmony-course
Great video, but I wonder about the consecutive fifths between tenor and alto in your I-V solution; are they allowed just because they occur between middle voices?
Well spotted. They are there to see who notices! They are of course incorrect.
what a great video right there
Glad it’s useful much more at www.mmcourses.co.uk
Very nice again. The C to G, if the G was G7, could you not follow the E with an F and no doubling of the G, although the latter isn't consecutive! Thanks again, brill.
That’s another possibility
Thanks for this video (and all your others, too), it's to the point and highly instructive as usual. I'm not a keyboard player by any stretch of the imagination, but I do compose electronic music, and feel that a good knowledge of music theory is essential to get the best out of my compositions. My question is this: Are perfect fourth (5 semitones) and perfect fifth (7 semitones) melodic intervals to be avoided in music composition? I've heard other educators say that these intervals should be avoided in melodies and bass lines because they have a certain resonance that can make it hard for the ear to detect the change of note (or something like that). However, I find these intervals cropping up in my music all the time, and spend a lot of time trying to fix them with passing notes and the like, but I would love to get your take on this question if possible. Thanks, and keep up the great work :-)
I wouldn’t worry about those as melodic intervals. The only thing you might consider is when you have wider melodic leaps it’s often a good idea then to step back inside them. The issue about consecutive 5ths is harmonic rather than melodic.
@@MusicMattersGB Much appreciated and thank you for taking time to answer my question :-) It really helps a lot!
Nigel Merrick a pleasure
Was inverting the II by moving the bass to F not in the scope of this video? I'm glad in a way to hear you make the point about consecutives, because I've often wondered how well-defined the "voices" in a keyboard part are, in practical use.
One of these days I'm going to write a piece that uses consecutive/parallel 5ths, and goes hard on them, because I quite like the sound ;-)
Using llb is a perfectly reasonable option. As for the rules, the great thing about knowing them is then knowing when to break them. Vaughan Williams, for example, writes plenty of consecutive 5ths and they sound great. Debussy is another example of a composer who loves to write consecutives.
Music Matters: "Avoid consequtive fifths"
Every rock and metal guitarist: "Uhh, what?"
It’s a conventional “rule” of harmony that dates back to the 1600’s. Of course, every rule is there to be broken and certain musical styles feature that.
Traditional Chinese music are full of consequtive fifths !
The fitfh in a powerchord is not an independent voice, but rather a thickening of the melody, so it doesn't really break the rules. If both guitarists in a band were to play different voices, but end up doing consequtive fifths, it would be another story, so no, the rule makes total sense in its context and Metal guitarists aren't being edgy by playing powerchords.
Absolutely
what about the common tone between I - V?
Yes. There is a common note.
23 comments?! Man you deserve better than this
Many thanks. Much more at www.mmcourses.co.uk
nice!
😀
it could be a IIc, A-A-F-D ?
😀
@@MusicMattersGB what about A-F-A-D ? is it correct ?
That looks like a D minor chord
I was practicing harmony and there was a knock at the door. The Music Police told me that my neighbour called them for rules violations. I was sentenced and have to watch Music Matters videos to avoid jail time.
😀
The consecutive octaves and perfect fifths sound like Abba 😂
😀
The opening chords to Knowing Me, Knowing You? Ulvaeus would fail ABRSM Grade 5! But I don't think he would be too worried. I have found that ABRSM and Trinity piano examiners can be very pompous and very annoying, HOWEVER, there is something in consecutive 5ths. Often it suggests there is deeper problem. If you are writing in a pop or such style, be particularly wary of any consecutive 5th/8ves (or for example things like 5ths/8ves that appear on the same beats in consecutive bars) between the melody and bass. Just something I have learned. Thanks Music Matters for these fantastic videos. I wish my harmony teachers were like you!
That’s kind. Thank you.