Your teaching are so dense and clear I take notes to remember. In Sweden when I learnt to play chords on the guitarr I learnt to write major as big letter and minor as a small. A or a. For more clarity we use am. But Maybe I should learn the roman letters instead.
That system is fine and is always used on lead sheets. It’s great for defining the chord and in playing terms is easier than Roman Numerals. The advantage of the Roman Numeral system is in telling you which chord is being used in a particular key.
I think the extended notation is helpful if you’re a visual learner. I know that seeing those little lower case ii and iii and upper case IV and V helped me remember what’s minor and what’s major when I was first starting out. You can always learn later that it’s different in a minor key but you need a starting point.
Great presentation. But why did you use harmonic minor for the demonstration instead of natural minor? In natural minor chord V would be a minor chord with notes G, B flat and C, right?
Obviously there are different forms of the minor scale. In the ‘classical’ tradition we have generally used the harmonic minor scale to determine harmony. Of course the natural minor is perfectly valid but the nature of the chords is different.
Obviously there are different forms of the minor scale. In the ‘classical’ tradition we have generally used the harmonic minor scale to determine harmony. Of course the natural minor is perfectly valid but the nature of the chords is different. Yes in natural minor V is minor.
Obviously there are different forms of the minor scale. In the ‘classical’ tradition we have generally used the harmonic minor scale to determine harmony. Of course the natural minor is perfectly valid but the nature of the chords is different. Yes in natural minor V is minor.
Because when you use combinations of different scales, it'll basically create different chords or chords will sometimes get INSERTED. it's label as ACCIDENTAL because different musicians use/borrow from different scales and apply them different ways..... Example...Im on the Guitar... Im going to play ( Db Maj7 barr shape or inverted F min) But Im going to BARR completely cross so I can play the C Note as my ROOT. The G is in the second octave....the notes are finger like this C, Ab C F, G ( C Harmonic MAJOR = C ionian b6 ( Ab) Then Im simply going to alter the BASS notes...Db, Ab, C. when Im playing the Db or Ab note...Im NOT picking the high G note on E string. The Db Maj7 could be the N6 chord of C MAJOR Then Im simply going to pick the F min chord ..1st fret ( Lyd b3 of C Harmonic MAJOR) Then simply play Db Maj dyad while my index is barr at the 1st fret. It'll simply a Db maj7 chord. ( N6 of C MAJOR) it's just different voicing. then while still barring the 1st fret...play C Major dyad. it'll create C AUG add 11 chord... I might also hammer the low Ab note on the E string with my Pinky. Then lift my index to play the B note...which will leave the Eb note It'll actually create Ab min triad add b4/13 ( yes...a sort of b3 and maj3) Im descending to the Bb dim chord...as my target ( in theory...I could said...I use the full diminished H/W vamped over the 2, 4, b6, 7 chord to obtain the Ab minor chord. becuase you can stack MAJOR , min, DOMINANT, half or full diminished every b3 interval) Then im going to play Bb dim....as diminish version of N6 chord of A min Then Im going to play the Ab7 as the GERMAN 6 chord of C MAJOR Into the C, Ab, C, F, G chord picking pattern... i might finger the Db note slightly...or you can see it simply as Ab7 into Db maj7 The song is in C MAJOR/Amin as the parent KEY Play different part of the song using ONLY notes in the C MAJOR scale. Finger notes differently D, b3, b7.....against the open B/E Then E min7 at the NUT. Then play the F note on the LOW E string....then the F octave with my pinky Then G Maj Then A min chord Then borrow from the A melodic min ( F# note) Play E min add 9 ( finger the E on A string....F# on D string) and LOW E Then D Maj dyad against open G B E Then simply play the Db note below the F# note ( Db, F# G B ) Then Ab, C, F#.....against the Open G B ( ITALIAN ish chord) Then hammer the D note on A string with my pinky Then D, F# , C.....against the open B... (it's sort of FRENCH ish...but D7) Then G Maj Barr Then F Maj to C MAJOR I used ALL 12 notes....( NOT ALL at the sametime, thou.lol) I think it's COOL to APPLY music theory to write cool/pretty music. Many other subjects in life I know that...I DONT use or apply them.lol
Perhaps it would be useful to explain the concept of whole tone and half-tone in a major (Ionian) key - w, w, h, w, w, w, h - the guitar is not so visual compared to a keyboard, as every fret is a half-tone apart.
Why don’t you do the more complex stuff anymore? I am hoping to become a member when I get my money out of the bank to hopefully explore more complex stuff. I was hoping you would go into extended Roman with diminished and augmented chords.
That’s a perfectly valid reason for using extended. Some people prefer to focus on chords rather than get bogged down with the nature of chords so for them basic does the job.
Me too. Extended conveys more information, faster. Basic can throw me if I come across it unexpectedly and mistake the upper case for major. when in fact the actual chord may not be. I'd argue that campaigning for using a single system and for choosing the most comprehensive system, will ultimately benefit the most of us best.
Hi great video! Just wanted to confirm, from 4:46, you labelled the 7th triad as a diminished, while you said the key was in c major. Am I wrong in assuming that you meant c harmonic minor?
Never mind, I got up to 9:10 and everything was clear now. Correct me if i’m wrong, the type of the triad is relative to the bass note of the chord, rather than the overall key. Right?
I think I use a mixture of these combined with either figured bass or chord symbol terminology to analyse further details beyond basic triadic chord color but I haven’t landed on one congruent and consistent system and often end up being confused. That is, I will use a system when analyzing a piece and keep it somehow consistent throughout that specific analysis explain a lot of my choices in the introduction or foot notes, but then use another system when analysing another piece. Someday I might use basic plain numerals with chord terminology, some day with figured bass, some day extended with figured bass, someday ‘b’ and ‘#’ in front of the numeral to indicate alterations from the major scale (ex write bIII indtead of III even if we are in a minor key or #IV to indicate a lydian mode - like i would probably think of the augumented sixth chord always being in bVI regardless of being in a major or minor key) some day just plain basic or extended roman numerals without figured bass or chord terminology (except maybe 7 - but then I might be confused when reading it back wether I meant dominant seven or 7 in figured bass sense where the 7 would be 7 up the scale from whatever root note you are dealig with - ex m7b5) And we haven’t even talked about the whole thing like II vs IV subdominant discussion like the IVadd6 vs ii65 and the whole tjing wether a add6 chor should and could ne concidered a root chord in itself or a forst inversion of a 7-chord. (Here in denmark in functional harmony aplied to classical repertoire we talk about ‘S6’ meaning a fourth scaledegree subdominant with an added sixth - and maybe even an omitted fifth on top of that !) I guess there is not one tool that can fit every situation and one has to use the tools one see fit for the given context style genre and situation. I have studied both classical and jazz theory and personally I think I primarily use either basic or extended roman with chord terminologi for jazz/pop and extended with figured bass for classical with a few basic chord terminology. However I prefer uppercase lowercase aestetics to distinct major from minor but at the same time the practicality and congruency from the basic roman (when combined with chord terminology like M, m, dim, sus, 7, b9 etc- especialy when dealing with jazz chords and classical harmony when it is extra spicy - for instance I guess it would be weird to write iim in classical analysis as it would be like saying minor to times in a row - however I do see myself doing just that on multiple occations in jazz harmony) What system do you prefer if one can say that - and to what extinct do you think it works? To what extinct do you use chord symbol terminology or figured bass to accompany it/them? (As I recall, you use both chord terminology and figured bass in many of your videos like ‘o’ for diminished and ‘7’ for dominant 7-chords and figured bass for the inversions ) How do you think about altered scale degrees? Always alterations of major scale or alterations of whatever mode you are in? I don’t understand how one would differenciate between minor and diminished and between major and augumented with the extended roman numerals if there were no aditional information besides the roman numerals themself. I guess the point here is to convey the very basic information about the degree and in case of the extended roman the basic information of major or minor triad and then fill out the rest in your mind based on knowledge from the key in the case of diminished and augumented (like one would do with figured bass) but then again one would need a more complex system if one were to analyse more complex and chromatic music with stuff like modal interchange, borrowed chords, chromatic inner lines, altered chords, secondary dominants etc. and capture and convey that information in the numerals. (Actually maybe even to distinguish between natural, melodic and harmonic minor.) So that in the end one would be able to get the grand picture of the harmony by looking at the roman numerals alone - like reading a chord leadsheet but open to any key.
I think it’s perfectly useful to switch between systems depending on what works best in a particular situation. We also need to consider how a chord functions in order for example to distinguish between an added 6th or a first inversion 7th chord.
@@MusicMattersGB Thank you for taking the time to read and reply reply to my looong comment 😊 I think I understand, however I am still a bit confused😅 So I guess the ii65 vs IV thing would be a good example to focus on. I guess one could say in jazz for instance (and perhaps later classical music) and ofcours in part of a longer chain of fifths you could talk about II V I being the norm. But if you see a traditional IV V I tonal cadence in classical music but with an added sixth on the subdominant would you then call it IV6? (or maybe uppercase 6?) If so, how would you distinguish the chord symbol terminology from the chord inversion terminology borrowed from figured bass (like in C it is a F6 and not a F triad in first inversion). Maybe it has to do with where you write the 6 in relation to the numeral?
As to inversions, here the U.K. system has advantages. We use a b c for root position, first inversion, second inversion. The other issue is really all about chord function. In Baroque music, for example, the function is II7b V I rather than F6 V I. In jazz it may well be F6.
I am given asked what is the Roman numeral analysis for the given harmony, which include: B#-D#-F# triad. They say the answer is vii/iii chord A Major. How did they get A major? According to A major there is no B#, but then I realize that these are enharmonic equivalents B# is also a C, D# is also a Eb and F# is also a Eb, but not sure if this helps me determine that it is in the key of A. Also I see that the the third scale degree in A major is C-E-G which seem to relate to the enharmonic equivalents and not sure where the vii is referring to because the vii in A major is G-B-D and not F unless I turned it into a 7th chord.
I've sort of given up on Roman numerals, as there are so many common situations where they are difficult to apply (for example, brief tonicizations). Chord notation seems less ambiguous and more flexible. D/F# has only one meaning, regardless of context! In your minor key example (C minor), you have to know in advance if you're in the natural minor or the harmonic minor to know what III or VII means. Can you motivate the use of Roman numeral analysis?
You make a good point but the big advantage of Roman Numeral analysis is knowing which chord you’re using within the given key and in immediately seeing chord progressions. In the Western tradition since 1600 the harmonic minor is the standard starting place for harmony but of course one has to be on the look out for other forms of the minor. Even though modulations/ secondary dominants etc need to be recognised the Roman Numerals help ensure a pivot chord is present when required. I think a free mental interchange between numerals, figured bass and lead sheet is a very useful combination.
@MusicMattersGB also I've a doubt in similar contrary motion.. they mentioned about perfect 5ths and octaves shouldn't be there for writing a bass line. Can you please explain that sir?? Nowhere I got a clear video or explanation for it.. how this bass and treble clef notes should move and calculation of perfect 5th and octaves intervals for the same
Have a look at the Music Matters videos on the subject but basically in conventional four part harmony try to avoid any pair of parts moving in perfect 5ths or perfect octaves.
06:00 Roman numerals have a horrible disadvantage in that they are hard to write and hard to read. Which is why no other discipline uses them anymore, they have been banished from use by everyone; except musicians, for unfathomable reasons (actually more like political reasons, since the original educators wanted to emulate and glorify Rome, and depreciate Greece). The Sciences use Greek alphabet for the simple reason that the letters are distinguishable, easy to write, and are single characters. This "Basic Roman" in music should be banished as well. Any student's or educator's Roman notation markup on a typical Bach score will easily show that the notation is a horrible method, it is messy to write, nearly impossible to read. Then there is the problem that lowercase Roman is difficult to distinguish from uppercase Roman (v or V, or iv or IV). If notating is needed then it would be far better to simply use numbers with a hat ('hat'means a carat, ^, on top) or numbers with a dot (used frequently in math, or even two dots, to distinguish some sets from other sets) or numbers in a circle, ①. Figured bass notation already uses numbers with a slash to distinguish between normal third or raised third. This use of Romans in music is one of the worst systems imaginable. But even worse than that, is when musicians use this "Basic Roman" when "Extended Roman" is expected, so the student is always left confused, to wonder if the III should really be III or if it should be iii. If employing these horrible Roman numerals at all, then the "Extended Roman" should always be used, but really, Roman should never be used at all.
Whether you like them or not, or prefer an alternative, they do fulfill a very useful function in that they make it very clear where we are within the key and flag up chord progressions very clearly. Lead sheet chord symbols, figured bass, and Roman Numerals each tell us something different, which is why it’s good to be fluent in each.
@@markE946 i have been in music theory classes where the professor requests a student to read, aloud, the chord progression in roman numerals and it is frequent for students to read "iv" as "six, uh I mean four" and visa versa but less common to read "vi" as "four umm I mean six" (nothing to do with dyslexia it is a common mistake), this is definitely a problem, among other reading problems, if you don't see it then pay more attention to the various reading and writing problems it causes. Including on this channel when the videos use uppercase Roman when lowercase Roman is expected.
Don’t forget that in Basic Roman all the chords are in uppercase. As for confusing IV with VI that usually happens because those chords have two notes in common. Once people become fluent in reading/ thinking in Roman Numerals I’ve never seen a difficulty in the many students I’ve taught over the decades. The key is familiarity. At the end of the day use the system that works best for you.
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This channel is genuinely one of the best music resources on UA-cam.
That’s most kind. Much more at www.mmcourses.co.uk
Even though I think I'll know what you're going to cover, you always teach me something new. Another great lesson. Thank you.
Same.
Thanks for your continued support
😀
I purchased so many books on music theory. they don't explain this material thank you so much your channel is amazing.
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Maestro Gareth you are point as ever with your description !
You’re most kind
@@MusicMattersGB Like all the maestros I’ve come across you are just like them, humble ! 🫡
Thank you
This is my favorite channel ever, You are the best teacher ❤️❤️❤️
You’re most kind. Much more at www.mmcourses.co.uk
Thanks!! Really good explanations as always!!
A pleasure
Your teaching are so dense and clear I take notes to remember. In Sweden when I learnt to play chords on the guitarr I learnt to write major as big letter and minor as a small. A or a. For more clarity we use am. But Maybe I should learn the roman letters instead.
That system is fine and is always used on lead sheets. It’s great for defining the chord and in playing terms is easier than Roman Numerals. The advantage of the Roman Numeral system is in telling you which chord is being used in a particular key.
I think the extended notation is helpful if you’re a visual learner. I know that seeing those little lower case ii and iii and upper case IV and V helped me remember what’s minor and what’s major when I was first starting out. You can always learn later that it’s different in a minor key but you need a starting point.
😀
I agree with js. I like Gareth's intent to keep it simple, however clarity comes from full understanding.
😀
Great presentation.
But why did you use harmonic minor for the demonstration instead of natural minor?
In natural minor chord V would be a minor chord with notes G, B flat and C, right?
Obviously there are different forms of the minor scale. In the ‘classical’ tradition we have generally used the harmonic minor scale to determine harmony. Of course the natural minor is perfectly valid but the nature of the chords is different.
Obviously there are different forms of the minor scale. In the ‘classical’ tradition we have generally used the harmonic minor scale to determine harmony. Of course the natural minor is perfectly valid but the nature of the chords is different. Yes in natural minor V is minor.
Obviously there are different forms of the minor scale. In the ‘classical’ tradition we have generally used the harmonic minor scale to determine harmony. Of course the natural minor is perfectly valid but the nature of the chords is different. Yes in natural minor V is minor.
Because when you use combinations of different scales, it'll basically
create different chords or chords will sometimes get INSERTED.
it's label as ACCIDENTAL because different musicians use/borrow from
different scales and apply them different ways.....
Example...Im on the Guitar...
Im going to play ( Db Maj7 barr shape or inverted F min)
But Im going to BARR completely cross so I can play the C Note as my ROOT.
The G is in the second octave....the notes are finger like this
C, Ab C F, G ( C Harmonic MAJOR = C ionian b6 ( Ab)
Then Im simply going to alter the BASS notes...Db, Ab, C.
when Im playing the Db or Ab note...Im NOT picking the high G note on E string.
The Db Maj7 could be the N6 chord of C MAJOR
Then Im simply going to pick the F min chord ..1st fret
( Lyd b3 of C Harmonic MAJOR)
Then simply play Db Maj dyad while my index is barr at the 1st fret.
It'll simply a Db maj7 chord. ( N6 of C MAJOR)
it's just different voicing.
then while still barring the 1st fret...play C Major dyad.
it'll create C AUG add 11 chord...
I might also hammer the low Ab note on the E string with my Pinky.
Then lift my index to play the B note...which will leave the Eb note
It'll actually create Ab min triad add b4/13 ( yes...a sort of b3 and maj3)
Im descending to the Bb dim chord...as my target
( in theory...I could said...I use the full diminished H/W vamped
over the 2, 4, b6, 7 chord to obtain the Ab minor chord.
becuase you can stack MAJOR , min, DOMINANT, half or full diminished
every b3 interval)
Then im going to play Bb dim....as diminish version of N6 chord of A min
Then Im going to play the Ab7 as the GERMAN 6 chord of C MAJOR
Into the C, Ab, C, F, G chord picking pattern...
i might finger the Db note slightly...or you can see it simply
as Ab7 into Db maj7
The song is in C MAJOR/Amin as the parent KEY
Play different part of the song using ONLY notes in the C MAJOR scale.
Finger notes differently
D, b3, b7.....against the open B/E
Then E min7 at the NUT.
Then play the F note on the LOW E string....then the F octave with my pinky
Then G Maj
Then A min chord
Then borrow from the A melodic min ( F# note)
Play E min add 9 ( finger the E on A string....F# on D string) and LOW E
Then D Maj dyad against open G B E
Then simply play the Db note below the F# note ( Db, F# G B )
Then Ab, C, F#.....against the Open G B ( ITALIAN ish chord)
Then hammer the D note on A string with my pinky
Then D, F# , C.....against the open B... (it's sort of FRENCH ish...but D7)
Then G Maj Barr
Then F Maj to C MAJOR
I used ALL 12 notes....( NOT ALL at the sametime, thou.lol)
I think it's COOL to APPLY music theory to write cool/pretty music.
Many other subjects in life I know that...I DONT use or apply them.lol
Perhaps it would be useful to explain the concept of whole tone and half-tone in a major (Ionian) key - w, w, h, w, w, w, h - the guitar is not so visual compared to a keyboard, as every fret is a half-tone apart.
I agree that’s important. We’ve covered it in a number of videos but always good to remind ourselves.
Why don’t you do the more complex stuff anymore? I am hoping to become a member when I get my money out of the bank to hopefully explore more complex stuff. I was hoping you would go into extended Roman with diminished and augmented chords.
We try to do a mixture of more advanced and more elementary things to reflect what people ask for. We look forward to you joining us as a member.
@@MusicMattersGB I'm sorry if that come off as rude.
Not at all!
I prefer Extended Roman as it's handy to know the quality of the chord. Basic is a bit like typing a word ALL IN CAPITALS and feels lacking somehow.
That’s a perfectly valid reason for using extended. Some people prefer to focus on chords rather than get bogged down with the nature of chords so for them basic does the job.
Me too. Extended conveys more information, faster.
Basic can throw me if I come across it unexpectedly and mistake the upper case for major. when in fact the actual chord may not be.
I'd argue that campaigning for using a single system and for choosing the most comprehensive system, will ultimately benefit the most of us best.
😀
😀
😀
thanks! Great lecture!
A pleasure. Much more at www.mmcourses.co.uk
Hi great video!
Just wanted to confirm, from 4:46, you labelled the 7th triad as a diminished, while you said the key was in c major. Am I wrong in assuming that you meant c harmonic minor?
Never mind, I got up to 9:10 and everything was clear now. Correct me if i’m wrong, the type of the triad is relative to the bass note of the chord, rather than the overall key. Right?
Absolutely
@@MusicMattersGB Ok thanks so much! This video really helped.
That’s great. Much more at www.mmcourses.co.uk
I think I use a mixture of these combined with either figured bass or chord symbol terminology to analyse further details beyond basic triadic chord color but I haven’t landed on one congruent and consistent system and often end up being confused. That is, I will use a system when analyzing a piece and keep it somehow consistent throughout that specific analysis explain a lot of my choices in the introduction or foot notes, but then use another system when analysing another piece. Someday I might use basic plain numerals with chord terminology, some day with figured bass, some day extended with figured bass, someday ‘b’ and ‘#’ in front of the numeral to indicate alterations from the major scale (ex write bIII indtead of III even if we are in a minor key or #IV to indicate a lydian mode - like i would probably think of the augumented sixth chord always being in bVI regardless of being in a major or minor key) some day just plain basic or extended roman numerals without figured bass or chord terminology (except maybe 7 - but then I might be confused when reading it back wether I meant dominant seven or 7 in figured bass sense where the 7 would be 7 up the scale from whatever root note you are dealig with - ex m7b5)
And we haven’t even talked about the whole thing like II vs IV subdominant discussion like the IVadd6 vs ii65 and the whole tjing wether a add6 chor should and could ne concidered a root chord in itself or a forst inversion of a 7-chord. (Here in denmark in functional harmony aplied to classical repertoire we talk about ‘S6’ meaning a fourth scaledegree subdominant with an added sixth - and maybe even an omitted fifth on top of that !)
I guess there is not one tool that can fit every situation and one has to use the tools one see fit for the given context style genre and situation.
I have studied both classical and jazz theory and personally I think I primarily use either basic or extended roman with chord terminologi for jazz/pop and extended with figured bass for classical with a few basic chord terminology. However I prefer uppercase lowercase aestetics to distinct major from minor but at the same time the practicality and congruency from the basic roman (when combined with chord terminology like M, m, dim, sus, 7, b9 etc- especialy when dealing with jazz chords and classical harmony when it is extra spicy - for instance I guess it would be weird to write iim in classical analysis as it would be like saying minor to times in a row - however I do see myself doing just that on multiple occations in jazz harmony)
What system do you prefer if one can say that - and to what extinct do you think it works? To what extinct do you use chord symbol terminology or figured bass to accompany it/them? (As I recall, you use both chord terminology and figured bass in many of your videos like ‘o’ for diminished and ‘7’ for dominant 7-chords and figured bass for the inversions )
How do you think about altered scale degrees? Always alterations of major scale or alterations of whatever mode you are in?
I don’t understand how one would differenciate between minor and diminished and between major and augumented with the extended roman numerals if there were no aditional information besides the roman numerals themself. I guess the point here is to convey the very basic information about the degree and in case of the extended roman the basic information of major or minor triad and then fill out the rest in your mind based on knowledge from the key in the case of diminished and augumented (like one would do with figured bass) but then again one would need a more complex system if one were to analyse more complex and chromatic music with stuff like modal interchange, borrowed chords, chromatic inner lines, altered chords, secondary dominants etc. and capture and convey that information in the numerals. (Actually maybe even to distinguish between natural, melodic and harmonic minor.) So that in the end one would be able to get the grand picture of the harmony by looking at the roman numerals alone - like reading a chord leadsheet but open to any key.
I think it’s perfectly useful to switch between systems depending on what works best in a particular situation. We also need to consider how a chord functions in order for example to distinguish between an added 6th or a first inversion 7th chord.
@@MusicMattersGB Thank you for taking the time to read and reply reply to my looong comment 😊 I think I understand, however I am still a bit confused😅
So I guess the ii65 vs IV thing would be a good example to focus on. I guess one could say in jazz for instance (and perhaps later classical music) and ofcours in part of a longer chain of fifths you could talk about II V I being the norm. But if you see a traditional IV V I tonal cadence in classical music but with an added sixth on the subdominant would you then call it IV6? (or maybe uppercase 6?)
If so, how would you distinguish the chord symbol terminology from the chord inversion terminology borrowed from figured bass (like in C it is a F6 and not a F triad in first inversion). Maybe it has to do with where you write the 6 in relation to the numeral?
As to inversions, here the U.K. system has advantages. We use a b c for root position, first inversion, second inversion. The other issue is really all about chord function. In Baroque music, for example, the function is II7b V I rather than F6 V I. In jazz it may well be F6.
How do i use roman numerals to spell F minor chord with G note in the bass? In key of C.
In C minor you could label that IV/G
I am given asked what is the Roman numeral analysis for the given harmony, which include: B#-D#-F# triad. They say the answer is vii/iii chord A Major. How did they get A major? According to A major there is no B#, but then I realize that these are enharmonic equivalents B# is also a C, D# is also a Eb and F# is also a Eb, but not sure if this helps me determine that it is in the key of A. Also I see that the the third scale degree in A major is C-E-G which seem to relate to the enharmonic equivalents and not sure where the vii is referring to because the vii in A major is G-B-D and not F unless I turned it into a 7th chord.
B#D#F# is VII in the key of C# (major or minor).
I've sort of given up on Roman numerals, as there are so many common situations where they are difficult to apply (for example, brief tonicizations). Chord notation seems less ambiguous and more flexible. D/F# has only one meaning, regardless of context! In your minor key example (C minor), you have to know in advance if you're in the natural minor or the harmonic minor to know what III or VII means. Can you motivate the use of Roman numeral analysis?
You make a good point but the big advantage of Roman Numeral analysis is knowing which chord you’re using within the given key and in immediately seeing chord progressions. In the Western tradition since 1600 the harmonic minor is the standard starting place for harmony but of course one has to be on the look out for other forms of the minor. Even though modulations/ secondary dominants etc need to be recognised the Roman Numerals help ensure a pivot chord is present when required. I think a free mental interchange between numerals, figured bass and lead sheet is a very useful combination.
AWESOME !!!!!!!
Glad it’s helpful. Much more at www.mmcourses.co.uk
So nice sir.. thankyou so much..
A pleasure. Much more at www.mmcourses.co.uk
@MusicMattersGB yeah sir, I'm reading.
@MusicMattersGB also I've a doubt in similar contrary motion.. they mentioned about perfect 5ths and octaves shouldn't be there for writing a bass line.
Can you please explain that sir?? Nowhere I got a clear video or explanation for it.. how this bass and treble clef notes should move and calculation of perfect 5th and octaves intervals for the same
😀
Have a look at the Music Matters videos on the subject but basically in conventional four part harmony try to avoid any pair of parts moving in perfect 5ths or perfect octaves.
Merci.
A pleasure
Extended is the way to go imo but good video
😀
How convenient!
Glad it’s helpful
@@MusicMattersGB : Very much so, #Gareth! Thx for your expert guidance! @BorisJohnson give this man a cigar!
To me, is more simple using the extend system, but my language came from Latin, so maybe is because that.
If it works for you that’s great
06:00 Roman numerals have a horrible disadvantage in that they are hard to write and hard to read. Which is why no other discipline uses them anymore, they have been banished from use by everyone; except musicians, for unfathomable reasons (actually more like political reasons, since the original educators wanted to emulate and glorify Rome, and depreciate Greece). The Sciences use Greek alphabet for the simple reason that the letters are distinguishable, easy to write, and are single characters. This "Basic Roman" in music should be banished as well. Any student's or educator's Roman notation markup on a typical Bach score will easily show that the notation is a horrible method, it is messy to write, nearly impossible to read. Then there is the problem that lowercase Roman is difficult to distinguish from uppercase Roman (v or V, or iv or IV). If notating is needed then it would be far better to simply use numbers with a hat ('hat'means a carat, ^, on top) or numbers with a dot (used frequently in math, or even two dots, to distinguish some sets from other sets) or numbers in a circle, ①. Figured bass notation already uses numbers with a slash to distinguish between normal third or raised third. This use of Romans in music is one of the worst systems imaginable. But even worse than that, is when musicians use this "Basic Roman" when "Extended Roman" is expected, so the student is always left confused, to wonder if the III should really be III or if it should be iii. If employing these horrible Roman numerals at all, then the "Extended Roman" should always be used, but really, Roman should never be used at all.
Whether you like them or not, or prefer an alternative, they do fulfill a very useful function in that they make it very clear where we are within the key and flag up chord progressions very clearly. Lead sheet chord symbols, figured bass, and Roman Numerals each tell us something different, which is why it’s good to be fluent in each.
I have to disagree with you on this, roman numerals are incredibly easy to read, whether upper or lower case in music
Yes Mark, that’s what I think
@@markE946 i have been in music theory classes where the professor requests a student to read, aloud, the chord progression in roman numerals and it is frequent for students to read "iv" as "six, uh I mean four" and visa versa but less common to read "vi" as "four umm I mean six" (nothing to do with dyslexia it is a common mistake), this is definitely a problem, among other reading problems, if you don't see it then pay more attention to the various reading and writing problems it causes. Including on this channel when the videos use uppercase Roman when lowercase Roman is expected.
Don’t forget that in Basic Roman all the chords are in uppercase. As for confusing IV with VI that usually happens because those chords have two notes in common. Once people become fluent in reading/ thinking in Roman Numerals I’ve never seen a difficulty in the many students I’ve taught over the decades. The key is familiarity. At the end of the day use the system that works best for you.
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