Before watching your series on chord progressions, I had always thought that progressions had to resolve back to the root. But V sounds just as complete to me. You help to show a lot more possibilities.
Trying to use chord III (going back to your earlier videos) just for a challenge, I thought it might work in the second inversion: ivb, iiib, iib, ib, with the bass moving by step. Perhaps that is a bit too forced though (anticipations in the upper line might help).
Great knowledge again.I have a question on harmonizing when there is an accidental on either party of SATB, also how to play left hand appergio when one of the SATB has an accidental
It’s a question of what the accidental is telling you eg are we modulating to a new key or are we in a minor key or is it a chromatic decoration? See our video on the subject
I learnt in class that VI to V is not allowed, and VI to i is not a great option because of the root moving up a major third. Have these 'rules' changed? I have always liked the sound of I going to iii when the soprano voice moves from tonic to leading tone (in a major key) but lost marks for it...
You don’t necessarily have to ditch the metre and tempo but quite right that these are additional decorative notes that embellish the underlying music.
@@MusicMattersGB I’ve noticed that there is sometimes a huge run of notes in one clef and the other clef will still be following the time signature, a good example of this is in the second part(measures 58-61) of Chopin Nocturne no. 20 in C sharp minor with the scales going quickly up and then back down yet the left hand remains stable with the time signature.
Two different systems evolved. Some favour one over the other, usually because that’s the one they’re more familiar with. There’s logic in both approaches.
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Before watching your series on chord progressions, I had always thought that progressions had to resolve back to the root. But V sounds just as complete to me. You help to show a lot more possibilities.
That’s great
Nice on creative in Harmonic minor ❤
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Great as always, thank you!
I’m glad it’s helpful
Great content ! Please more like this 😀🙏
Lots more on the channel
Are you on a plant-based diet or the protein / low carb diet? You have done really well.
Thanks. Low carb plus plenty of walking.
Trying to use chord III (going back to your earlier videos) just for a challenge, I thought it might work in the second inversion: ivb, iiib, iib, ib, with the bass moving by step. Perhaps that is a bit too forced though (anticipations in the upper line might help).
That plan using first inversion chords works well.
That progression was called a fauxbourdon and was an important progression. Also, bach sometimes uses ivb - iii - iib - V, a cool possibility
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Great knowledge again.I have a question on harmonizing when there is an accidental on either party of SATB, also how to play left hand appergio when one of the SATB has an accidental
It’s a question of what the accidental is telling you eg are we modulating to a new key or are we in a minor key or is it a chromatic decoration? See our video on the subject
Thanks Sir ,I have seen it on the video you released 3 year's ago,about chromatic alteration
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I learnt in class that VI to V is not allowed, and VI to i is not a great option because of the root moving up a major third. Have these 'rules' changed? I have always liked the sound of I going to iii when the soprano voice moves from tonic to leading tone (in a major key) but lost marks for it...
sounds like you are talking about 4 part writing?? i don't think "if it sounds good then it is good" would come around until much later...
Those chord progressions sometimes come with ‘health warnings’ in text books but everything depends n context.
i was confused when you got to number 3 and mentioned D had a flat-five and then I remembered when were using the harmony from the harmonic minor…..
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I have a question, why in some pieces such as the cadenzas of Liszt’s Liebestraum no. 3 have more tiny notes than there are beats in a measure?
You don’t necessarily have to ditch the metre and tempo but quite right that these are additional decorative notes that embellish the underlying music.
@@MusicMattersGB I’ve noticed that there is sometimes a huge run of notes in one clef and the other clef will still be following the time signature, a good example of this is in the second part(measures 58-61) of Chopin Nocturne no. 20 in C sharp minor with the scales going quickly up and then back down yet the left hand remains stable with the time signature.
Yes. It’s often the case
@@MusicMattersGB ok thank you I just wanted to make sure that if I use it in one of my compositions that I use it right.
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The second system to identify which version to use is likely an American idea. Anything to make it complicated, right?
Two different systems evolved. Some favour one over the other, usually because that’s the one they’re more familiar with. There’s logic in both approaches.
This is a lot more colourful compare to the major keys.
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What is your experience, when you follow chord IV with VII diminished. What problems (if any), might I encounter?
Nearly always best to put your VII in first inversion
@@MusicMattersGB Thank you.
A pleasure