I really appreciate the thoroughbass. I'm an organist in a church and I usually rewrite the pieces, replacing the figures (like Am, F, G, C etc.) with figured bass or reducing the choral arrangement to figured bass. Learning to read figured bass not only gave me a different perspective on chords, but also broadened my improvisation skills.
Third time watching this, and I am more impressed with Gareth every time. He really is the GOAT music teacher. I read the comments on the videos that I've watched, and this is probably the most respectful channel on You Tube. Alex and Gareth deserve a César or an Oscar. The next bedt thing is to like their videos and subscribe.
9:00 In guitar, 2nd inversion is very common… particularly 3 string voices of triads. The reason is how the guitar is tuned (E A D G B E from bass to treble). Simply by barring the 2-3-4 stings (numbered treble to bass) you get a 2nd inversion triad. It is a very comfortable shape, easy to finger and transpose to any major triad simply by moving up or down the neck. I’m comping it is a nice triad to play. The ergonomic are great, and the sound is nice, and the shape makes it great to base pentatonic riffs from.
You automatically used the flat 7, or the dominant 7 in the G chord which was the fifth. Did they mostly use seventh chords on the dominant? How would they notate a Major seventh? Would they put a sharp sign on the 7? I think that could be confused with sharpening the third though. I've started in a music theory book but it's in French and I haven't reached that level yet. I've only watched your videos on figured bass and it's new to me.
In Baroque music it’s mainly V7 and II7, with other 7ths more occasionally. The figures only need accidentals if you’re contradicting the key signature.
I see I watched this 3 months ago, but I learned even more today. You had a video on the 6-5 4-3 chord progression, and it was really a lightbulb moment for me. I played that piece for my music teacher. Last week he said he hadn't learned the rule of the octave. Today he asked me to play it in different keys in different positions, and noticed I only had made one mistake. I'm practicing your sequences in all keys, and my fingers are starting to know where to move. But my goodness, it's hard to keep track of all those notes surrounding the one being realized. But it's so much easier than 3 months ago, and I have you to thank for that.
I have tried working out a bit of figured bass realisation to prepare an accompaniment (e.g. Corelli), but found how easy it is to find parallel fifths in what otherwise looks like a promising line. It makes me wonder how accompanists manage to avoid parallels when improvising at sight.
@@MusicMattersGB Sorry about the double post, I thought my comment had disappeared. I found that I can avoid parallel fifths, but at the expense of an interesting or a smooth line in the accompaniment. Sometimes it seems as if the composer has set a cryptic puzzle: there is an elusive, amazing counterpoint waiting to be discovered.
It's a bit of a struggle to get my dyslexic head around this... You're very clear in definition but recognising what's actually going on on the page is defeating me. Any tips? Also, you have a habit of playing clearly right up to a resolution and then play the resolution so softly that I can't hear what's happening! Pretty please, may I have consistent volume...? Thank you very much.
The great thing about the video format is that one can pause and think through each move/ replay the video. Hopefully that will help consolidate the knowledge. Not sure why you’re finding the resolutions so soft…
I'm not a great musician and I can't sight read. I just want to sit down at the piano and string some chords together and make it sound good. I think this might be the ticket.
I have tried a bit of realisation of figured bass (worked out rather than improvised at the keyboard), but have found it all too easy to find parallel fifths in what seemed like a promising line. I don't know how people manage to avoid parallels when they are improvising at sight.
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You could also use the rule of the octave
Videos coming soon on this topic
I really appreciate the thoroughbass. I'm an organist in a church and I usually rewrite the pieces, replacing the figures (like Am, F, G, C etc.) with figured bass or reducing the choral arrangement to figured bass. Learning to read figured bass not only gave me a different perspective on chords, but also broadened my improvisation skills.
Absolutely my experience too.
Dear Gareth, another great one. Special thanks for explaining PSR 🎶
A pleasure.
Third time watching this, and I am more impressed with Gareth every time. He really is the GOAT music teacher. I read the comments on the videos that I've watched, and this is probably the most respectful channel on You Tube. Alex and Gareth deserve a César or an Oscar. The next bedt thing is to like their videos and subscribe.
Thank you. Much appreciated
i think figured bass is one of the most intuitive ways for an accompanist to do a harmony for something. i'm a big fan of it.
I agree
9:00 In guitar, 2nd inversion is very common… particularly 3 string voices of triads. The reason is how the guitar is tuned (E A D G B E from bass to treble). Simply by barring the 2-3-4 stings (numbered treble to bass) you get a 2nd inversion triad. It is a very comfortable shape, easy to finger and transpose to any major triad simply by moving up or down the neck. I’m comping it is a nice triad to play. The ergonomic are great, and the sound is nice, and the shape makes it great to base pentatonic riffs from.
It certainly works more successfully in some styles than in others.
Such a god tier music channel.
That’s most kind. Much more at www.mmcourses.co.uk
@@MusicMattersGB yes, MORE
Go for it!
Your teaching is brilliant. I never miss a lesson. Thank you very very much.
That’s most kind. Much more at www.mmcourses.co.uk
Congratulations, Maestro. Great explanation!!
Most kind
Very helpful! Thank you :)
Glad it’s useful. Much more at www.mmcourses.co.uk
Thank you. Very informative as always 🎼👍🎶🎵
You’re welcome
succinct! thank you for this video!
That’s most kind. Much more at www.mmcourses.co.uk
You automatically used the flat 7, or the dominant 7 in the G chord which was the fifth. Did they mostly use seventh chords on the dominant? How would they notate a Major seventh? Would they put a sharp sign on the 7? I think that could be confused with sharpening the third though. I've started in a music theory book but it's in French and I haven't reached that level yet. I've only watched your videos on figured bass and it's new to me.
In Baroque music it’s mainly V7 and II7, with other 7ths more occasionally. The figures only need accidentals if you’re contradicting the key signature.
I see I watched this 3 months ago, but I learned even more today. You had a video on the 6-5 4-3 chord progression, and it was really a lightbulb moment for me. I played that piece for my music teacher. Last week he said he hadn't learned the rule of the octave. Today he asked me to play it in different keys in different positions, and noticed I only had made one mistake. I'm practicing your sequences in all keys, and my fingers are starting to know where to move. But my goodness, it's hard to keep track of all those notes surrounding the one being realized. But it's so much easier than 3 months ago, and I have you to thank for that.
@lawrencetaylor4101 you’re doing brilliantly. Keep going!
I have tried working out a bit of figured bass realisation to prepare an accompaniment (e.g. Corelli), but found how easy it is to find parallel fifths in what otherwise looks like a promising line. It makes me wonder how accompanists manage to avoid parallels when improvising at sight.
It’s tricky but one gets better at dealing with the challenges
@@MusicMattersGB Sorry about the double post, I thought my comment had disappeared.
I found that I can avoid parallel fifths, but at the expense of an interesting or a smooth line in the accompaniment. Sometimes it seems as if the composer has set a cryptic puzzle: there is an elusive, amazing counterpoint waiting to be discovered.
Keep at it and you’ll discover the counterpoint
It's a bit of a struggle to get my dyslexic head around this... You're very clear in definition but recognising what's actually going on on the page is defeating me. Any tips? Also, you have a habit of playing clearly right up to a resolution and then play the resolution so softly that I can't hear what's happening! Pretty please, may I have consistent volume...? Thank you very much.
The great thing about the video format is that one can pause and think through each move/ replay the video. Hopefully that will help consolidate the knowledge. Not sure why you’re finding the resolutions so soft…
Amazing video!
20:58 "See there, see there, be there".
P.S. I'm a very pun guy.
😀
I'm not a great musician and I can't sight read. I just want to sit down at the piano and string some chords together and make it sound good. I think this might be the ticket.
That’s a great ambition. Go for it. You would find our keyboard harmony course useful at www.mmcourses.co.uk
I have tried a bit of realisation of figured bass (worked out rather than improvised at the keyboard), but have found it all too easy to find parallel fifths in what seemed like a promising line. I don't know how people manage to avoid parallels when they are improvising at sight.
Keep at it and you’ll solve it.
A sight-reading nightmare!
It’s great fun!
really? I think it might be easier. One stave instead of two and you can make up the other parts.
@cl9826 There’s certainly truth in that once you get used to working with it.