so such a nice thing in music that in the end... it's all about advice... never a "you have to"... after all, great compositions and successful new styles came to life thanks to breaking the "standard" rules...
Great lesson! It would be easy to sound pretentious on topics like these, but Gareth never does. I really like the "Never say never" approach and how mention is given to other music styles. As a guitar player, I like thinking of these 4 part harmonies like 4 strings on the guitar.
But all neighboring chords in root position will create parallels fifth and parallel octaves when played in sequence. So, why those two are so special?
Dvorak's only surviving mass setting (in D) ends with a II-I cadence and in context it's incredibly moving. Also, the strong V-I "so there" progression might be a bit too much for a particular piece.
A common way of solving this is to use an imperfect dominant chord. You can go from chord II to V without the bottom note by going up a step to the leading tone with one of the voices. You can also double the third, which is not necessary a big deal (and common) when you are in the middle of a progression.
On the keyboard this is easy, the left hand moves down (D-C) and the right hand moves up: 1st position to 2nd position (FAD-GCE ); or 2nd position to 3rd position (ADF-CEG): or 3rd position to 1st position (DFA-EGC). That avoids the consecutive 5ths and 8ves. The progression is unstable and it needs some kind of continuation or modulation or cadence e.g. DFA-CEG-FAC-CEG DFA-CEG-CEGBb-FAC or maybe an Andalusian cadence DFA-CEG-BbDF-BbDFG-AC#E (DFA-CEG-AC#E) (DFA-AC#E)
"Just My Imagination" by The Temptations goes I - Ii - I - Ii. Pretty much all the way through. Sounds great. As does "I'd Rather Go Blind" - Etta James and covered by many others. Also sounds great to my ears... I could think of some others...
Interesting I've seen Just My Imagination shown as both C - F (I - IV) and C - Dm7 (I - ii7). Using a seventh chord on the ii makes it have all the notes of the IV, which I think makes it sound better.
There's a fine line between disobedience and self-indulgence The South African poet Roy Campbell ( a contemporary of Earnest Hemmingway ) wrote a short poem : You praise the firm restraint with which they write - I'm with you there, of course: They use the snaffle and the curb all right, But where's the bloody horse? I'm not picking sides !
Dear Gareth, Very well explained. How about having II to Ib (the I chord in first Inversion?) If the Sop. is falling D to C and the bass is rising D to E this should work? Jeff
Great video. Does a similar problem arise when moving from vi to V? In a major key, is the relationship between vi and V subject to the same issues of parallel octaves and fifths?
It seems to be a pretty unusual progression, especially because ii-V-i is so common. Has some plagal feeling around it with ii acting as a substitute for IV, and it is an interesting option.
Godowsky ends like half of his pieces with ii-I, it's an amazing, powerful and dark cadence in minor. He even does it in major through some extreme voice leading trickery in his symphonic metamorphosis on Fledermaus by Strauss
IV to V is usually a much stronger progressive. Many theorists advise against V to IV. As always, if you can make it sound good in a given context go for it!
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Thank you for the clarification. It really illustrates the value of contrary motion. 😊
😀
so such a nice thing in music that in the end... it's all about advice... never a "you have to"... after all, great compositions and successful new styles came to life thanks to breaking the "standard" rules...
Absolutely
Great lesson! It would be easy to sound pretentious on topics like these, but Gareth never does. I really like the "Never say never" approach and how mention is given to other music styles.
As a guitar player, I like thinking of these 4 part harmonies like 4 strings on the guitar.
😀
Great stuff, thanks a lot.
A pleasure
Another great video. I'm not yet into composing music, but your explanations make so much sense.
Glad it’s helpful
But all neighboring chords in root position will create parallels fifth and parallel octaves when played in sequence. So, why those two are so special?
You can avoid parallels by using contrary motion but II to I can be especially awkward.
@@MusicMattersGB Thank you.
😀
Dvorak's only surviving mass setting (in D) ends with a II-I cadence and in context it's incredibly moving. Also, the strong V-I "so there" progression might be a bit too much for a particular piece.
It’s all about context.
A common way of solving this is to use an imperfect dominant chord. You can go from chord II to V without the bottom note by going up a step to the leading tone with one of the voices. You can also double the third, which is not necessary a big deal (and common) when you are in the middle of a progression.
Absolutely
On the keyboard this is easy, the left hand moves down (D-C) and the right hand moves up: 1st position to 2nd position (FAD-GCE ); or 2nd position to 3rd position (ADF-CEG): or 3rd position to 1st position (DFA-EGC). That avoids the consecutive 5ths and 8ves.
The progression is unstable and it needs some kind of continuation or modulation or cadence e.g.
DFA-CEG-FAC-CEG
DFA-CEG-CEGBb-FAC
or maybe an Andalusian cadence DFA-CEG-BbDF-BbDFG-AC#E (DFA-CEG-AC#E) (DFA-AC#E)
Great possibilities.
Taneyev uses II to I at the beginning of his Cantata 'At the Reading of a Psalm'...
😀
"Just My Imagination" by The Temptations goes I - Ii - I - Ii. Pretty much all the way through. Sounds great. As does "I'd Rather Go Blind" - Etta James and covered by many others. Also sounds great to my ears... I could think of some others...
Interesting I've seen Just My Imagination shown as both C - F (I - IV) and C - Dm7 (I - ii7). Using a seventh chord on the ii makes it have all the notes of the IV, which I think makes it sound better.
😀
😀
There's a fine line between disobedience and self-indulgence
The South African poet Roy Campbell ( a contemporary of Earnest Hemmingway ) wrote a short poem :
You praise the firm restraint with which they write -
I'm with you there, of course:
They use the snaffle and the curb all right,
But where's the bloody horse?
I'm not picking sides !
😀
Dear Gareth, Very well explained. How about having II to Ib (the I chord in first Inversion?) If the Sop. is falling D to C and the bass is rising D to E this should work? Jeff
Yes. That’s a good progression
Great video. Does a similar problem arise when moving from vi to V? In a major key, is the relationship between vi and V subject to the same issues of parallel octaves and fifths?
The same issues can occur but if you use contrary motion between top and bottom parts that usually takes care of parallels.
Very well explained! Thank you.
What do you write on? It's beautiful to watch.
Glad you enjoy it. We use Goodnotes and StaffPad
@@MusicMattersGB Okay! 👏Thank you!
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It seems to be a pretty unusual progression, especially because ii-V-i is so common. Has some plagal feeling around it with ii acting as a substitute for IV, and it is an interesting option.
Absolutely
I love the ii-I
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Godowsky ends like half of his pieces with ii-I, it's an amazing, powerful and dark cadence in minor. He even does it in major through some extreme voice leading trickery in his symphonic metamorphosis on Fledermaus by Strauss
For example, check out the ending of his Passacaglia for the minor version.
He generally achieved this by putting the half diminished ii chord in third inversion, with the root at the bottom.
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Fabulous
Clever idea
Interesting, but surely this is a problem with any consecutive cords such as I-II, IV-V, VI-V and so on.
That’s the challenge
stick a 5 between the 2 and the 1 and jazz it up. :)
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Tennessee Whisky from Chris Stapleton is A Major and B Minor, and is awesome
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I would use b diminished 7 to resolved to C. Secondary dominant
Good progression
How about going from chord V to IV, is it allowed in the rules of harmony??
IV to V is usually a much stronger progressive. Many theorists advise against V to IV. As always, if you can make it sound good in a given context go for it!
Great video, greetings, BOBBY BEAT
Glad it’s useful
@@MusicMattersGB It is 😃
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bII7 > I sounds amazing though.
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II to I using chord inversions?
Absolutely
If following strict harmony, ii is a predominant thus must be followed by some sort of a V function, ie V, V7 etc
That’s the convention but there are other possibilities
secondary functions are always given by context
@LearnCompositionOnline Yes