I love that the melodies of the examples in all of your videos may look simple and unassuming but when harmony is applied effectively it brings out the beauty!
You are a great instructor of music. I studied at Joe Fava Music School in my youth I give them all the credit for what I know. But you guys have filled the void in my quest to learn more things about music and I will be checking out your online courses. Once again FANTASTIC JOB!!!
In fact, it would be great to have a website with all of your video catalog. Even if someone could find the same lessons for free, as is currently the case, I think many would gladly welcome a pay-to-access site, for a reasonable fee, distinguished from the current free offering, on the basis of specific lessons offered and organized according to specific lesson plans and objectives. I learned theory, harmony and counterpart lessons from long out of publication books originally published around 1911. Each of those books was very thin. Similar subject matter today, especially after all of the publisher mandated update editions, have produced almost encyclopedia sized books which seem to obscure what might otherwise be basic information sought to be taught. In my opinion, it’s generally difficult to find the kind of information your channel provides in one place. It would benefit aspiring musicians, music listeners and the public, in general, to have even greater access to the information you provide in manner outlined above. In addition, you’ll never run out of topics to present, pieces to analyze and examples to hear.
That’s a very interesting idea. We do have the videos organised in playlists which should help people find their way around the material. The main reason we haven’t done what your suggesting is that on UA-cam we’re not presenting complete A-Z courses. Rather these are a series of one off videos. If anyone wants A-Z courses they’re all available at www.mmcourses.co.uk
Great video. I've always been fond of using secondary dominants and diminished sevenths. The first phrase of your example sounds a lot like John Dowland's "Now, O now my needs must part" (one my favorites of his). Thanks so much!
Great video! Very practical especially tying in 4 part harmony into it all. I am very glad you touched on the voice leading issues. I also really liked the "secondary diminished 7" idea. I never thought about how the V7/IV is a very interesting secondary dominant since the 7th of the V7/IV (in this case F) excludes the "new sharp" of the original key. And simultaneously the V/IV is basically the same chord as the Tonic chord of the original key except that one note difference in the 7th. But at the same time G7 to C is something our ears recognize as the perfect cadence to C. I find it extremely fascinating how these nuances can bring such a difference in how we perceive the harmony. Music is just too interesting.
@@MusicMattersGB I was just thinking about that earlier. Sure seems like it! I'll happily let you know you have taught me a tremendous amount about music and I do not know where I'd be without your videos.
Slightly related. The 5 of a minor key is also a 5 in a different key. So if you were to use chord 5 in A minor that's also chord 5 in A major which would be very interesting for modulation purposes.
True for harmonic and melodic minor, but not natural, technically … yes? Though ‘minor key’ really refers to whatever use/borrowing you like, as between these 3 minor scales, as I understand it … ?
Hi Gareth. It would be awsome if you could indicate in the description which course has theses tutorials so If I wanted to go in depth then I would actually found the course. Cheers
Kind of a "dumb" question but related to what you said about the d-flat major. Can't I do a sequence of secondary chords in a different key and go back to my home key on a common chord between my new key and original key? I mean isn't secondary dominant like a momentary modulation?
Hi there ! If we are in a minor key ... Is that technically good to use the five (major) dominant to do for example the V7 of iii, or the V7 of III, or the V7 of iv ?
@@MusicMattersGB Interesting! Thanks a lot Gareth! I like hanging out in melodic minor/blues pentatonic (some harmonic minor) for writing ambient/blues rock guitar tunes...going to play with this idea.
Back in high school (when, according to my kids, dinosaurs roamed the earth), in a moment of silliness, a few members of our choir mistook the word figgy for the word “filthy”. To this day, I can’t hear or sing the song without laughing.
Learn Music Online - Check out our courses here!
www.mmcourses.co.uk/courses
The calmest method of teaching on the internet.
You’re most generous
I love that the melodies of the examples in all of your videos may look simple and unassuming but when harmony is applied effectively it brings out the beauty!
You’re most kind. Much more at www.mmcourses.co.uk
I understand secondary dominants and have consciously used them to compose, but you have opened up a new door with the final bar. Great stuff!
Glad it’s helpful
Top-notch teaching, as always. Thanks a lot for your time and dedication.
A pleasure. Plenty more at www.mmcourses.co.uk
What a vivd exposition, Gareth Green! I'm rounding my musical knowledge, thanks to your so stimulating lectures. Grateful thanks.
A pleasure. Much more at www.mmcourses.co.uk
You are a great instructor of music. I studied at Joe Fava Music School in my youth I give them all the credit for what I know. But you guys have filled the void in my quest to learn more things about music and I will be checking out your online courses. Once again FANTASTIC JOB!!!
You’re most kind. Thanks for your support
Another great lesson and demonstration! Thanks, Gareth!
A pleasure. Glad it’s useful
In fact, it would be great to have a website with all of your video catalog. Even if someone could find the same lessons for free, as is currently the case, I think many would gladly welcome a pay-to-access site, for a reasonable fee, distinguished from the current free offering, on the basis of specific lessons offered and organized according to specific lesson plans and objectives. I learned theory, harmony and counterpart lessons from long out of publication books originally published around 1911. Each of those books was very thin. Similar subject matter today, especially after all of the publisher mandated update editions, have produced almost encyclopedia sized books which seem to obscure what might otherwise be basic information sought to be taught. In my opinion, it’s generally difficult to find the kind of information your channel provides in one place. It would benefit aspiring musicians, music listeners and the public, in general, to have even greater access to the information you provide in manner outlined above. In addition, you’ll never run out of topics to present, pieces to analyze and examples to hear.
That’s a very interesting idea. We do have the videos organised in playlists which should help people find their way around the material. The main reason we haven’t done what your suggesting is that on UA-cam we’re not presenting complete A-Z courses. Rather these are a series of one off videos. If anyone wants A-Z courses they’re all available at www.mmcourses.co.uk
Great video. I've always been fond of using secondary dominants and diminished sevenths. The first phrase of your example sounds a lot like John Dowland's "Now, O now my needs must part" (one my favorites of his). Thanks so much!
I’d not thought of the Dowland connection but see exactly what you mean. The 7ths are great, I agree.
Absolutely brilliantly explained!
Most kind. Much more at www.mmcourses.co.uk
Class application for me. And great help to unlock this mystery☺️.I was always wanting to use it since I came to know secondary dominant. Keep it up🎉
Thanks. Much more at www.mmcourses.co.uk
This is excellent. Really useful. So glad I joined up.
Glad it’s helpful. Much more at www.mmcourses.co.uk
Great video! Very practical especially tying in 4 part harmony into it all. I am very glad you touched on the voice leading issues. I also really liked the "secondary diminished 7" idea. I never thought about how the V7/IV is a very interesting secondary dominant since the 7th of the V7/IV (in this case F) excludes the "new sharp" of the original key. And simultaneously the V/IV is basically the same chord as the Tonic chord of the original key except that one note difference in the 7th. But at the same time G7 to C is something our ears recognize as the perfect cadence to C.
I find it extremely fascinating how these nuances can bring such a difference in how we perceive the harmony. Music is just too interesting.
It generates a lifetime fascination.
@@MusicMattersGB I was just thinking about that earlier. Sure seems like it! I'll happily let you know you have taught me a tremendous amount about music and I do not know where I'd be without your videos.
That’s great. Have a look at all our resources at www.mmcourses.co.uk
Courses and the Maestros programme.
Will do. I am looking forward to joining the maestros when I have some more cash coming in. In between jobs at the moment. :)
We look forward to welcoming you to Maestros.
Slightly related. The 5 of a minor key is also a 5 in a different key. So if you were to use chord 5 in A minor that's also chord 5 in A major which would be very interesting for modulation purposes.
Absolutely. The dominant chord is the same for its tonic major and tonic minor
True for harmonic and melodic minor, but not natural, technically … yes? Though ‘minor key’ really refers to whatever use/borrowing you like, as between these 3 minor scales, as I understand it … ?
Yes. V is major for the tonic major and tonic minor in the harmonic form. Obviously it’s minor in the natural minor or descending melodic minor.
Another great tool for my musical toolbox! Thank you.
A pleasure
Very nice thank you. I like the diminished 7th.
Great chord
Hi Gareth. It would be awsome if you could indicate in the description which course has theses tutorials so If I wanted to go in depth then I would actually found the course. Cheers
Have a look at our Advanced Theory course or our Keyboard Harmony course. Enjoy!
Can non chord tones be used in secondary dominant?
Yes you can decorate a secondary dominant
Kind of a "dumb" question but related to what you said about the d-flat major. Can't I do a sequence of secondary chords in a different key and go back to my home key on a common chord between my new key and original key? I mean isn't secondary dominant like a momentary modulation?
It is a bit.
Finally understood it!!
Excellent
Thank you!
A pleasure. Have a look at www.mmcourses.co.uk for our full courses.
I cant help the fact that i was brought up to be a church organist 😂😂😂😂😅😅😅😅
Good one 7:32
😀
!! !! !! !! !! THIS IS WHY I SUBSCRIBED !!!!!!!!!!!!!!!!!! ^_^
Good to have you with us.
Hi there !
If we are in a minor key ... Is that technically good to use the five (major) dominant to do for example the V7 of iii, or the V7 of III, or the V7 of iv ?
Yes. It works very well to use the major V from the harmonic minor scale.
@@MusicMattersGB Interesting! Thanks a lot Gareth! I like hanging out in melodic minor/blues pentatonic (some harmonic minor) for writing ambient/blues rock guitar tunes...going to play with this idea.
It’s very interesting to investigate the possibilities from all the minor scale formats
thank god for you
You’re very kind
❤
😀
Secondary mediants don't get the love that they deserve.
😀
Version 2 sounds more Christmassy... which requires figgy pudding.
Sounds tasty!
Back in high school (when, according to my kids, dinosaurs roamed the earth), in a moment of silliness, a few members of our choir mistook the word figgy for the word “filthy”. To this day, I can’t hear or sing the song without laughing.
@@carlstenger5893 You're not in a choir, Carl... you've gotten yourself stuck in a quagmire!
😀