Gareth, your channel has been such a huge help for me in my journey to improve. I don't think there's a better teacher out there. Thank you so much for all you do!
Thank you very much for these videos. I arrange quite a number contemporary pieces, especially Asian songs. The knowledge I got from this video has sped up all of my current works. Less guessing and getting the notes by ear. More theory :)
That’s great. Have a look at www.mmcourses.co.uk to find our 24 online courses, information about Music Matters Maestros, and about individual teaching.
In chord function theorem, iii is the weaker of the three tonic chords, and vi is the weakest, so to progress and create expectation, you move from strong to weak to weaker etc. Then iv and ii both are subdominant, they lead to dominants (v and vii)
Hi Gareth. I can see how this would really help someone starting out on chord sequences or progressions. I know it would have helped me a great deal in the distant past. Always very informative. Thanks a lot.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Very useful, thanks. I'm a jazz player, so I don't always follow the rules, but I do try to understand them. It would have been interesting if you you could say WHY a root movement "works".
@@MusicMattersGBI really like the schedule, good to have and good to know that it's not limited to this. Handy to have as fall back scenario, whenever stuck use this!
Please do a video on those consecutive major and minor third progressions, I wonder how they end. :) or the up fourth down fifth up fourth progressions
Please make a video about the refrain o bridge of a song how is the chord progression of that? Please... Thank you so much. I learn a lot from your channel
Very clear explanation - thank you a lot! On some websites I saw that the chord IV could be followed V and that the chord V could be followed by chord VI . So can I ask you why you didn't put the corresponding arrows on your chart? Are there some specific rules for that?
Thank you. This is a Excellent lesson. Looking forward for the minor progression. And can u kindly explain the difference between the application of melodic and harmonic minor in a song. Whether the Melodic and Harmonic usage is either concept? or together? please make a video of it.
@@MusicMattersGB Thank you, that too useful. Based on the suggested video "Why do ... 3 minor scales" It would be grateful if my doubt is cleared. 1. If a melody is written from natural minor Scale, how to match up with chords from a harmonic scale. 2. If a melody is written from melodic minor Scale, how to match up with chords from a harmonic scale. 3. If a melody is written from any Mode which is contrast to maj/minor scale patterns, how to handle the chords. I believe most of the beginners like me struck with adding harmony and layers for their melodies. - Regards
This is a great chart but I am having trouble with it. As I write the song I am working on the verse chords are a repeating G - Dm. So as I try to sort out my chorus the last verse chord would be the Dm. So the G and Dm exist in the key of C and G. If I work from the starting point of the key of C then from the last verse Dm I have B (which I can't seem to reconcile) or the G which at this point seem repetitive. The C works well. From the key of G the Dm only yields to the G. Can this chart repeat? For example can the C (in the last position ) circle back to the III?
Obviously using inversion chords is good. It’s all about how one chord progresses to another ie the inversion of the chord before and after but broadly the same principles apply.
Does this work for their relative minors as well? (Natural not harmonic or melodic) Or do we have to use the minor progression chart for all three types of minor scales?
I asked the Good Lord teach me Amajor tunes was led here, Holy spirit spoke this verse for you sir. Romans 8:24 For we are saved by hope: but hope that is seen is not hope: for what a man seeth, why doth he yet hope for? May you Build beautiful symphonies for The Good Lord Amen.
Hello Sir, awesome channel. I subscribed immediately. I have a question, but please forgive me if this has been explained in one of your videos already. When talking about the C major scale chords (C, Dm, Em, F, G, Am, Bdim), how or why do the chords "E" and "Fm" fit in there (I know they do because I use them) and has it to do with the common g# note (sharp 5th of C, aug5) in both chords? (E: e-g#-b, Fm: f-g#-c). Here an example for these chords with a 4/4 beat e.g. for the ending of a song: ....., C, E, F, F, Fm, Fm, C Or am I assuming wrongly that I'm in C major and it's actually a different key? But it resolves so nicely to C major. And if this E major and F minor chord are out of the C major scale, are there maybe even more chords that could be used? I tried to even use chords based on C#, D#, .. and it seemed to kind of work when I played them as diminished chords (C# dim, D# dim, ..). I'm confused. Thank you in advance marco
E major and F minor could only be regarded as chromatic chords in the key of C because the G# of the E major chord or Ab of the F minor chord don’t belong to the key. In the song you quote chord lV becomes altered/ borrowed by becoming lV in the tonic minor. Hope that makes sense.
@@MusicMattersGB thank you for the quick response. So this means for me that the chord theory can explain everything but it doesn't limit me e.g. to the C major scale. As long chords are working for me I can use them even when borrowed from another key. Similar like in the other video of yours about modulation chords which you use as doors to get from one room to another. Thanks again and have a great day. marco
How to determine if the song does not start from first note of scale? Example some songs from Cm scale starts with Gm or fm chord; why is that and how to determine it?
Check the key signature. That will tell you which major / minor key options you have. Look at the final chord/ the final cadence. Check at the start and end for accidentals that might suggest the minor key rather than the major key (raised 6th/7th degrees in a minor key).
Sir: Will you please inform if I heard correctly; We start from III to to vi go to IV from IV then go to ii from ii either V or vii (first inversion) back to "good old I." Is this correct; the two can be interchanged with the four chord ; the vii can be changed for V; can V be replaced by the iii? Thank you much, you are reat
Of course it all depends on the musical context but that chord progression works and the point of this is to give you confidence with chord progressions.
Look at the weeknd song "save your tears" Progression is I VI III V Just as one example of breaking "the rule" In fact the composer of the song thought in a progression of chords that share 2 notes in common to the next chord
Vll is the chord built on the 7th degree of the scale eg BDF in the case of C Major. If B is the lowest sounding note it’s Vlla or Vll in root position. If D is the lowest note it’s Vllb or Vll in first inversion. If F is the lowest sounding note it’s Vllc or Vll in second inversion.
I’m talking about Vllb. So in C major chord Vll is BDF. Put that in first inversion i.e. with D in the Bass. This is because it’s a Diminished chord and they always work much better in first inversion.
@@MusicMattersGB thank you. I really appreciate. I understand we take say the tonic of C major: C. Then we can construct many piles of 3 or probably more notes harmonically and we have chords. How do you construct and designate those chords? You made nice matrix of chords in rhe modulation roadmap. But how did you construct those chords? Thank you for my naive question. I am from Belgium, 61, doing solfege at night courses.i am in the 2nd year. people give definitions but you give reasons. Thats why you are excellent.
That’s kind of you. When you want to calculate chords for a key build chords on each note of the scale by adding the 3rd and the 5th above eg C major:- The scale is CDEFGABC Put the 3rd and 5th above each note and label each chord in Roman numerals:- l CEG ll DFA lll EGB lV FAC V GBD Vl ACE Vll BDF
@@MusicMattersGB fantastic. Thank you. This is all there is to it? And each chord is unique, valid for all scales minor, major? Thank you so very much.
See... What keeps going through my mind is... Why are these rules true? It feels strange to just blindly accept that this chord works well with this one without any rational logic behind it?
@@MusicMattersGB That's all well and good, I'm just trying to find the formula, the logic, the rational reason behind why certain chords sound better with other chords. Where did you source this information? Is it through your personal experience and trial and error?
A lot of this comes from the theorists who’ve been working on harmony during the past 400 years. They base their thinking on looking at what the great composers wrote.
@@MusicMattersGB Well thanks for the feedback. I mean no disrespect of course, I have watched your content for quite a while now and have found it very informative. Thanks again.
@@mrorange159 There are different versions of this and one popular one is based on the circle of 5ths which in turn is based on the harmonic series (well... kind of). I'm not saying it's better but it's worth checking out if you want one that has a more obvious logic to it. I'd recommend watching "Dr. B Music Theory Lesson 15 (Harmonic Progression)" or typing something like "harmonic progression music" to an image search of your choice. But yeah, as Music Matters said, these aren't exactly rules (and if they were, they'd be rules of just one type of flow which you may want to break in your composition anyway).
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
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Bach called, he said there definitely should be an arrow from IV to V. :D
😀
...but avoid parallel fifths,
Yes. That’s often the difficulty
Gareth, your channel has been such a huge help for me in my journey to improve. I don't think there's a better teacher out there. Thank you so much for all you do!
You’re very kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Thank you so much for this excellent video, you are truly a great teacher. Thank you for sharing!
You’re most kind. Much more at www.mmcourses.co.uk
Your ability to explain this so simply and calmly is a rare gift. Merci beaucoup.
You’re most kind
This man is my hero
That’s most kind. Have a look at www.mmcourses.co.uk for details of our online courses and information about Music Matters Maestros.
Dear Sir. Thank you so much for this video. This cleared my query to a large extent.
A pleasure.
This is exactly what I wanted...in search of a handy method for chord progression! Thanks so much.
A pleasure. Much more at www.mmcourses.co.uk
Thank you very much for these videos. I arrange quite a number contemporary pieces, especially Asian songs. The knowledge I got from this video has sped up all of my current works. Less guessing and getting the notes by ear. More theory :)
That’s great. Have a look at www.mmcourses.co.uk to find our 24 online courses, information about Music Matters Maestros, and about individual teaching.
Thank you very much , your class of music composition is the best of the whole youtube!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Very important tutorial! Grateful to you sir. God bless you!
A pleasure. Thank you.
Good calmed teacher, greetings and thank you.
A pleasure. Much more at www.mmcourses.co.uk
In chord function theorem, iii is the weaker of the three tonic chords, and vi is the weakest, so to progress and create expectation, you move from strong to weak to weaker etc. Then iv and ii both are subdominant, they lead to dominants (v and vii)
l is the only tonic chord but the tonic note appears in l lV and Vl. lV is the only subdominant chord.
Thank you for uploading these videos! Your approach of teaching makes me feel like it's fun and easy, not a struggle as before.
A pleasure. Much more at www.mmcourses.co.uk
Hi Gareth. I can see how this would really help someone starting out on chord sequences or progressions. I know it would have helped me a great deal in the distant past. Always very informative. Thanks a lot.
😀
This is wildly helpful, thank you very much!
A pleasure. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
Informative and short, delightful.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
so good video!!
Thanks. Much more at www.mmcourses.co.uk
Very useful, thanks. I'm a jazz player, so I don't always follow the rules, but I do try to understand them. It would have been interesting if you you could say WHY a root movement "works".
😀
Excellent video
Thanks. See www.mmcourses.co.uk for much more.
Glad it’s helpful. See www.mmcourses.co.uk for much more.
Holy s*** that's so helpful! Thanks 😊
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
thank you very much!
😀
Subscribed! Thanks for the lessons. Was it already answered why no IV V iii vi path in this chart?
The chart isn’t exhaustive
Thank you this is great
A pleasure. Many more resources at www.mmcourses.co.uk
Very good teacher
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Really helpful. I'm wondering though if there really aren't any other options. And if so, which ones
Of course there are many more options. These are the standard options.
@@MusicMattersGBI really like the schedule, good to have and good to know that it's not limited to this. Handy to have as fall back scenario, whenever stuck use this!
@floriszoet458 😀
Please do a video on those consecutive major and minor third progressions, I wonder how they end. :) or the up fourth down fifth up fourth progressions
Ok
Still replying to comments, what a legend!
😀
Wonderfull information I loved.
Thank you. Much more at www.mmcourses.co.uk
Thankyou!!!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Please make a video about the refrain o bridge of a song how is the chord progression of that? Please... Thank you so much. I learn a lot from your channel
Okay. Thanks for your support
Very clear explanation - thank you a lot! On some websites I saw that the chord IV could be followed V and that the chord V could be followed by chord VI . So can I ask you why you didn't put the corresponding arrows on your chart? Are there some specific rules for that?
There are many possibilities and much depends on the context.
lovely video ❤ would it be wise to finish a piece with a VIIb - I progression or is it a must to use a perfect V - I cadence when concluding a piece?
That’s perfectly possible as VIIb is so close to V7.
Thank you. This is a Excellent lesson. Looking forward for the minor progression. And can u kindly explain the difference between the application of melodic and harmonic minor in a song.
Whether the Melodic and Harmonic usage is either concept? or together? please make a video of it.
Thank you, glad it's useful. Take a look at this video that should help.
Why Do We Have 3 Minor Scales? - ruclips.net/video/MCvh8wN9Ic4/видео.html
@@MusicMattersGB Thank you, that too useful. Based on the suggested video "Why do ... 3 minor scales" It would be grateful if my doubt is cleared.
1. If a melody is written from natural minor Scale, how to match up with chords from a harmonic scale.
2. If a melody is written from melodic minor Scale, how to match up with chords from a harmonic scale.
3. If a melody is written from any Mode which is contrast to maj/minor scale patterns, how to handle the chords.
I believe most of the beginners like me struck with adding harmony and layers for their melodies.
- Regards
Use the same minor scale for chords as you use for your melody. Much more at www.mmcourses.co.uk
Thank you.
A pleasure. See www.mmcourses.co.uk for much more.
If you are trying to write music, I find it is easiest once you come up with the baseline!
Cool. Some people find it easier to start from the melody, others from the chords, others from the bass. Much more at www.mmcourses.co.uk
Thank you Sir
A pleasure, as always
Thanks for a good lesson... which of your courses would you recommend for learning more about chord progressions?
A pleasure. I would look at the Advanced Theory course at www.mmcourses.co.uk
@@MusicMattersGB thanks!
A pleasure. Enjoy the course.
I am just starting my journey into music theory. Sort assume the answer, but does reversing the progression make a difference?
Sometimes that works but not always. If it sounds good go for it!
This is a great chart but I am having trouble with it. As I write the song I am working on the verse chords are a repeating G - Dm. So as I try to sort out my chorus the last verse chord would be the Dm. So the G and Dm exist in the key of C and G. If I work from the starting point of the key of C then from the last verse Dm I have B (which I can't seem to reconcile) or the G which at this point seem repetitive. The C works well. From the key of G the Dm only yields to the G. Can this chart repeat? For example can the C (in the last position ) circle back to the III?
Dm does not exist in the key of G because G major contains an F#. That is the source of any confusion I think.
Does the same rules apply to inversions? Like IIIb to VIb?
Obviously using inversion chords is good. It’s all about how one chord progresses to another ie the inversion of the chord before and after but broadly the same principles apply.
Maestro: quick question, can the iii go to V to I - can vii0 go to V7. Thank you, R
Both of those are possible depending on the musical context
Am in Kenya trying to arrange Rose Muhando's Rafiki Muongo in key D#...I need your help.
Many videos on the RUclips channel to help you
Does this work for their relative minors as well? (Natural not harmonic or melodic)
Or do we have to use the minor progression chart for all three types of minor scales?
Natural minors are slightly different but most progressions work.
@@MusicMattersGB How to actually figure out chords in case of a natural minor then?
We will cover it in due course
@@MusicMattersGB please if you could just briefly explain, I'm really stuck in a project.
It’s a big topic to cover briefly. Basically if it sounds good use it. If you have a diminished chord it normally works better in first inversion.
I was oberving the piano when you played the VII diminished chord. I was curious why the first invertion of Bdim had D in the bass hand?
B dim is BDF. In first inversion the middle note of the triad is always in the bass, hence D in this case.
The dim 7 is normally best as a first inversion as said in the video
I asked the Good Lord teach me Amajor tunes was led here,
Holy spirit spoke this verse for you sir.
Romans 8:24
For we are saved by hope: but hope that is seen is not hope: for what a man seeth, why doth he yet hope for?
May you Build beautiful symphonies for The Good Lord Amen.
Thank you. Every blessing to you.
And for minor chord progressions
Here you go 😀
ruclips.net/video/LXwC0LnhNvI/видео.html
@@MusicMattersGB thank you
😀
Can you go from chrod vi to chord V? I've seen some people do it.
Yes you can but it all depends on context eg trying to avoid consecutives by writing contrary motion between outer parts.
Hello Sir,
awesome channel. I subscribed immediately.
I have a question, but please forgive me if this has been explained in one of your videos already.
When talking about the C major scale chords (C, Dm, Em, F, G, Am, Bdim), how or why do the chords "E" and "Fm" fit in there (I know they do because I use them) and has it to do with the common g# note (sharp 5th of C, aug5) in both chords? (E: e-g#-b, Fm: f-g#-c).
Here an example for these chords with a 4/4 beat e.g. for the ending of a song: ....., C, E, F, F, Fm, Fm, C
Or am I assuming wrongly that I'm in C major and it's actually a different key? But it resolves so nicely to C major. And if this E major and F minor chord are out of the C major scale, are there maybe even more chords that could be used? I tried to even use chords based on C#, D#, .. and it seemed to kind of work when I played them as diminished chords (C# dim, D# dim, ..). I'm confused.
Thank you in advance
marco
E major and F minor could only be regarded as chromatic chords in the key of C because the G# of the E major chord or Ab of the F minor chord don’t belong to the key. In the song you quote chord lV becomes altered/ borrowed by becoming lV in the tonic minor. Hope that makes sense.
@@MusicMattersGB thank you for the quick response. So this means for me that the chord theory can explain everything but it doesn't limit me e.g. to the C major scale. As long chords are working for me I can use them even when borrowed from another key. Similar like in the other video of yours about modulation chords which you use as doors to get from one room to another. Thanks again and have a great day. marco
Yes. As always let your ear be your guide.
You have a great day too.
The E major could be regarded as a secondary dominant chord and the F minor is borrowed from the parallel minor.
How to determine if the song does not start from first note of scale? Example some songs from Cm scale starts with Gm or fm
chord; why is that and how to determine it?
Check the key signature. That will tell you which major / minor key options you have.
Look at the final chord/ the final cadence.
Check at the start and end for accidentals that might suggest the minor key rather than the major key (raised 6th/7th degrees in a minor key).
Music Matters
Thanks for your reply
A pleasure. Don’t miss our 25 online courses and details of Music Matters Maestros at www.mmcourses.co.uk
I see what you are saying but how do you what goes with what. Do you play it to hear if it goes.
Try to choose chords that contain the melody notes then it all fits together.
would it not also be useful to follow a iv with a v in order to make a perfect cadence?
iv to v creates an Imperfect Cadence so yes, that’s a strong progression.
heya whats the best chord to use before chord III
Really depends on the context. l or Vl maybe.
@@MusicMattersGB ohh thanks
😀
Sir: Will you please inform if I heard correctly; We start from III to to vi go to IV from IV then go to ii from ii either V or vii (first inversion) back to "good old I." Is this correct; the two can be interchanged with the four chord ; the vii can be changed for V; can V be replaced by the iii? Thank you much, you are reat
Of course it all depends on the musical context but that chord progression works and the point of this is to give you confidence with chord progressions.
Look at the weeknd song "save your tears"
Progression is I VI III V
Just as one example of breaking "the rule"
In fact the composer of the song thought in a progression of chords that share 2 notes in common to the next chord
Absolutely
Sir your the best..but im confused what is vii(b) i(c) and etc
b is a first inversion chord and c is a second inversion chord.
@@MusicMattersGB thank you sir
😀
Is VII(B) the 2nd inversion of the VII chord?
It’s the first inversion of Vll.
there must be a reason we dont see a 4 to 5 or 5 to 4?
Both possible with lV to V more likely. The table is displaying many of the most useful options.
The ultimate life hack
😀
Wouldn't IV -> V work too?
Sure
How did they come up with these suggestions for chord progressions?
They are simply possibilities but commonly used.
What does he mean by 7b chord
Vll is the chord built on the 7th degree of the scale eg BDF in the case of C Major. If B is the lowest sounding note it’s Vlla or Vll in root position. If D is the lowest note it’s Vllb or Vll in first inversion. If F is the lowest sounding note it’s Vllc or Vll in second inversion.
Not IV->V or VI->V?
Both possible.
Can't you go from IV to V?
Perfectly possible. Much depends on context eg avoid doing that if to do so would give you consecutive octaves or 5ths.
Thank you
😀
What's your good name sir?
Gareth Green
Do you mean flat 7 chord when u say 7b?
I’m talking about Vllb. So in C major chord Vll is BDF. Put that in first inversion i.e. with D in the Bass. This is because it’s a Diminished chord and they always work much better in first inversion.
Music Matters So 2nd inversion would be "c"?
Absolutely correct. Have a look at www.mmcourses.co.uk where we’ve got whole courses explaining all this in detail.
Music Matters
Thank you!
😀
What are these chords?
Could you be more specific and I’ll try to help.
@@MusicMattersGB thank you. I really appreciate. I understand we take say the tonic of C major: C. Then we can construct many piles of 3 or probably more notes harmonically and we have chords. How do you construct and designate those chords? You made nice matrix of chords in rhe modulation roadmap. But how did you construct those chords? Thank you for my naive question. I am from Belgium, 61, doing solfege at night courses.i am in the 2nd year. people give definitions but you give reasons. Thats why you are excellent.
That’s kind of you. When you want to calculate chords for a key build chords on each note of the scale by adding the 3rd and the 5th above eg C major:-
The scale is
CDEFGABC
Put the 3rd and 5th above each note and label each chord in Roman numerals:-
l CEG
ll DFA
lll EGB
lV FAC
V GBD
Vl ACE
Vll BDF
@@MusicMattersGB fantastic. Thank you. This is all there is to it? And each chord is unique, valid for all scales minor, major? Thank you so very much.
😀
Beginners
All welcome at every stage. There’s something for all levels at Music Matters. Much more at www.mmcourses.co.uk
See... What keeps going through my mind is... Why are these rules true? It feels strange to just blindly accept that this chord works well with this one without any rational logic behind it?
They’re not really rules but it’s certainly the case that some chords work better after certain other chords.
@@MusicMattersGB That's all well and good, I'm just trying to find the formula, the logic, the rational reason behind why certain chords sound better with other chords. Where did you source this information? Is it through your personal experience and trial and error?
A lot of this comes from the theorists who’ve been working on harmony during the past 400 years. They base their thinking on looking at what the great composers wrote.
@@MusicMattersGB Well thanks for the feedback. I mean no disrespect of course, I have watched your content for quite a while now and have found it very informative. Thanks again.
@@mrorange159 There are different versions of this and one popular one is based on the circle of 5ths which in turn is based on the harmonic series (well... kind of). I'm not saying it's better but it's worth checking out if you want one that has a more obvious logic to it. I'd recommend watching "Dr. B Music Theory Lesson 15 (Harmonic Progression)" or typing something like "harmonic progression music" to an image search of your choice. But yeah, as Music Matters said, these aren't exactly rules (and if they were, they'd be rules of just one type of flow which you may want to break in your composition anyway).