I am 81 and just started composing on the piano 6 months ago having spent my whole life not having anything to do with music of any kind and when I started listening to Music Matters it was all Greek to me. I have a lot of catching up to do and I want to Thank Garreth for helping me
Now I understand musictheory for first time and secondary dominant I know now I play in churches and institutions and diverse fellowship Thank you Garreth
Excellent video! Your explanation of appoggiatura versus not appoggiatura is especially helpful. I'm glad you explained how measure 1 and measures 3-4 COULD BE either appoggiaturas or suspensions. The answer (of course) depends upon context. Thank you for making that clear. Another bit that you explained will doubtless help many of those (like me) that learned theory across the pond: You often refer to notes being a step away. In the "Ungrateful Colonies" version, when an instructor refers to "a step away", they mean "a whole step" (two semitones). When the instructor refers to note that is a semitone away from the previous note, they specify "half step". I quickly caught on to the difference in term use. I suspect that the majority of your 200,00 subscribers () have also. Nevertheless, your explanation will doubtless bring about an "Aha!" moment for a few of your viewers. Thanks so much for the very helpful video!
Awesome video! When i read the second line I interpreted them as sus and accented passing except the ones that couldn't be any other way, though they could all be described as app. Might some day explain escape tones, prepared by step into a dissonance then leap away in the opposite direction into a consonance. Always appreciate what you do! And is a great refresher.
I had an Idea last night for a trio for Violin, Piano, and Cello. Cello starts the discussion followed by Piano and shortly joined by violin. Do you have any thoughts on trios? What forms would one use for each movement? And are there any Classical Galant style/Era trios you'd recommend looking into? Also thank you so much for this video! Your content is always so helpful.
I love your videos, but we must have very different definitions of NCTs in the US. We were taught and teach that an app. is approached by leap and resolved by step in the opposite direction. I see the following in your example: bar 1 a 7-6 suspension; bar two an accented chromatic passing tone; bar three an app. and a passing tone. In the last bar, the NHT is in the bass (pedal tone) and beats one and two are chord tones from dom. - tonic progression, likely viiº-I. Also, in GP, is a suspension not always resolved downward? You mentioned that the B in the last bar could be a sus since it is prepared. Since it resolves upward, we would call it an escape tone. For those of us who learned NHTs in the US, could you please make a video on what defines an app. in GB and how all of these NHTs of such a different character in regard to the approach and resolution can all be called appoggiatura? Thank you for this, and for all the time you put in to so many outstanding and motivational videos. You are a gifted teacher.
There are certainly differences of approach on either side of the pond. Even cadences are treated differently, for example. As the channel grows I’m trying to explain things referencing the U.K. and U.S. systems.
It always amazes me how everything in lore of contemporary music styles has it's origins in classical music where it always seems to have an official Italian name. In jazz they have a different name for this I can't recall right now, but the idea is that while soloing you routinely approach your next target chord tone from a step/half step below or above, or both i.e. one note below the target chord tone and another above it before hitting it. Rock guitarists of course copied this idea extensively. But interestingly, as far as rock/blues guitar is concerned, another part of the lore is "it's not what you play, it's what you leave out". The idea being to leave space between phrases for other instruments to pop through with counter lines which tends to significantly jack up excitement and interest. Even just letting the drum pattern pop through for half a bar can be extraordinarily effective. BB King would play like that a lot leaving significant rests between phrases. For example for solo keyboard, consider Stevie Wonder's Superstitious with the super-funky riff in the left hand and the vocal melody in the right. Assuming you actually managed to get that riff properly in the pocket it might be considered close to a capital offense to obscure it during the breaks in the melody lines with unnecessary right hand decoration, elegant or otherwise.
Yes indeed. The approach above and below of a chord tone is referred to as an 'enclosure' by many Jazz musicians. It's not unusual to have more than one approach note. Sometimes three chromatic notes above or below are used and, if as part of a solo can have interesting consequences resulting in polyrhythmic effects between the solo instrument and the accompanying instruments.
Another wonderful video! Question: what kind of software do you use for scoring demonstrations? I might want to purchase it myself as an alternative to pen and paper Thanks
Correct me if I'm wrong... Aren't the appoggiaturas in bars one and two chromatic (they are both half steps, just one of them actually belongs in the key)?
![Use APPOGGIATURAS To Write Emotional Melodies [On Guitar]](http://i.ytimg.com/vi/oEBkKfpihFI/mqdefault.jpg)
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The decorated version is much more memorable. I'll be humming it for days.
Enjoy!
I am 81 and just started composing on the piano 6 months ago having spent my whole life not having anything to do with music of any kind and when I started listening to Music Matters it was all Greek to me. I have a lot of catching up to do and I want to Thank Garreth for helping me
Keep going. Much more to help you at www.mmcourses.co.uk
great teachers make life beautiful!! TY
You’re very kind. Much more at www.mmcourses.co.uk
Now I understand musictheory for first time and secondary dominant I know now I play in churches and institutions and diverse fellowship Thank you Garreth
That’s great. Much more at www.mmcourses.co.uk
Without doubt, Gareth is the greatest music communicator on You Tube!
You’re too kind. Much more at www.mmcourses.co.uk
Clearly explained and something i could incorporate in my music
That’s great
Sir, your channel is Gold!
That’s most kind. Much more at www.mmcourses.co.uk
Really enjoing your composition series.
Excellent
I really enjoyed this! I'm excited to attempt to incorporate these. Especially to add some tension and resolution.
It makes all the difference. Enjoy!
As always, great info thanks!
A pleasure. Much more at www.mmcourses.co.uk
A great explanation. You try every possibilities and this teaches us creative composition...thank you ❤
A pleasure. Much more at www.mmcourses.co.uk
Thank you kindly🤍
A pleasure. Much more at www.mmcourses.co.uk
Thank you!
A pleasure
Another great video, thankyou so much. `your videos are always so incredibly clear, you make complexity seem simple
That’s most kind. Much more at www.mmcourses.co.uk
Clarification on suspension vs appoggiatura❤
😀
I wish I could give more than one thumbs up!
👍👍👍
Another interesting video.
Glad it’s helpful. Much more at www.mmcourses.co.uk
Excellent video! Your explanation of appoggiatura versus not appoggiatura is especially helpful. I'm glad you explained how measure 1 and measures 3-4 COULD BE either appoggiaturas or suspensions. The answer (of course) depends upon context. Thank you for making that clear. Another bit that you explained will doubtless help many of those (like me) that learned theory across the pond: You often refer to notes being a step away. In the "Ungrateful Colonies" version, when an instructor refers to "a step away", they mean "a whole step" (two semitones). When the instructor refers to note that is a semitone away from the previous note, they specify "half step". I quickly caught on to the difference in term use. I suspect that the majority of your 200,00 subscribers () have also. Nevertheless, your explanation will doubtless bring about an "Aha!" moment for a few of your viewers. Thanks so much for the very helpful video!
Thanks for your supportive words and for your helpful clarification relating to terminology either side of the pond.
Mind blown!! Thank you😊
A pleasure. Much more at www.mmcourses.co.uk
Sure enough, Mozart is smiling down from above 😊
😀
Great stuff as always Gareth.
Many thanks
Awesome video! When i read the second line I interpreted them as sus and accented passing except the ones that couldn't be any other way, though they could all be described as app. Might some day explain escape tones, prepared by step into a dissonance then leap away in the opposite direction into a consonance. Always appreciate what you do! And is a great refresher.
Thanks for your positive feedback. We have a video on escape tones.
Sounds very similar to the theme tune of the BBC Pride & Prejudice (the Colin Firth one). Great tutorial, thanks Gareth.
😀
Hi Gareth, your top g (bar 3) also completes the governing root (tonic) triad of the phrase not present in the first example. Slán.
😀
The thumbnail made me think this was a baseball video!
Have a good day Gareth
😀
I had an Idea last night for a trio for Violin, Piano, and Cello. Cello starts the discussion followed by Piano and shortly joined by violin. Do you have any thoughts on trios? What forms would one use for each movement? And are there any Classical Galant style/Era trios you'd recommend looking into? Also thank you so much for this video! Your content is always so helpful.
Many thanks. Have a look at Beethoven’s Archduke Trio. Sonata Form is often the winning ticket.
@@MusicMattersGB thanks.
😀
I love your videos, but we must have very different definitions of NCTs in the US. We were taught and teach that an app. is approached by leap and resolved by step in the opposite direction. I see the following in your example: bar 1 a 7-6 suspension; bar two an accented chromatic passing tone; bar three an app. and a passing tone. In the last bar, the NHT is in the bass (pedal tone) and beats one and two are chord tones from dom. - tonic progression, likely viiº-I. Also, in GP, is a suspension not always resolved downward? You mentioned that the B in the last bar could be a sus since it is prepared. Since it resolves upward, we would call it an escape tone. For those of us who learned NHTs in the US, could you please make a video on what defines an app. in GB and how all of these NHTs of such a different character in regard to the approach and resolution can all be called appoggiatura? Thank you for this, and for all the time you put in to so many outstanding and motivational videos. You are a gifted teacher.
There are certainly differences of approach on either side of the pond. Even cadences are treated differently, for example. As the channel grows I’m trying to explain things referencing the U.K. and U.S. systems.
Once more, thank you so much for this video. Makes me wonder: are there any criteria for “too much” decoration, aside from personal taste?
No criteria but when does it become unsubtle or starts to destroy the line?
It always amazes me how everything in lore of contemporary music styles has it's origins in classical music where it always seems to have an official Italian name. In jazz they have a different name for this I can't recall right now, but the idea is that while soloing you routinely approach your next target chord tone from a step/half step below or above, or both i.e. one note below the target chord tone and another above it before hitting it. Rock guitarists of course copied this idea extensively.
But interestingly, as far as rock/blues guitar is concerned, another part of the lore is "it's not what you play, it's what you leave out". The idea being to leave space between phrases for other instruments to pop through with counter lines which tends to significantly jack up excitement and interest. Even just letting the drum pattern pop through for half a bar can be extraordinarily effective. BB King would play like that a lot leaving significant rests between phrases.
For example for solo keyboard, consider Stevie Wonder's Superstitious with the super-funky riff in the left hand and the vocal melody in the right. Assuming you actually managed to get that riff properly in the pocket it might be considered close to a capital offense to obscure it during the breaks in the melody lines with unnecessary right hand decoration, elegant or otherwise.
The same is true in other styles about phrase connections. The great thing is that all these styles share the same common language.
Yes indeed. The approach above and below of a chord tone is referred to as an 'enclosure' by many Jazz musicians. It's not unusual to have more than one approach note. Sometimes three chromatic notes above or below are used and, if as part of a solo can have interesting consequences resulting in polyrhythmic effects between the solo instrument and the accompanying instruments.
😀
Sir pls would you share your knowledge for BASS LINE CHORDS to enhance melody
We have videos on that
yes! 🙂
😀
Another wonderful video!
Question: what kind of software do you use for scoring demonstrations? I might want to purchase it myself as an alternative to pen and paper
Thanks
Goodnotes and Staffpad.
@@MusicMattersGB great, thanks!
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❤
😀
Correct me if I'm wrong...
Aren't the appoggiaturas in bars one and two chromatic (they are both half steps, just one of them actually belongs in the key)?
The bar 1 appoggiatura is not chromatic because it belongs to the key. The bar 2 appoggiatura is chromatic because it doesn’t.
@@MusicMattersGB Oh that makes sense, thanks for the explanation!
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Icing - a hardened, glossy sugar coating, to entice the taste buds 😋
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