"Inessential notes" is an apt description of my life. 😁 I marvel at your skill in setting up these demonstrations so that they so clearly illustrate your points.
I learn(ed already) so much with all your YT videos for free... You have always a very precisely goal and a calm approach and a very nice voice in a way that expresses every thought about how to do things with arguments that always make sense. All your lessons gives us all a very deep insight in the head of a composing music composer. And this as something that composerrs often not allowed us because by being afraid to break their music composing code. You are very generous and a top componist and a master music educator to lift us up to another level. Thank you very much, Sir. I think I speak for many of the watchers/listeners of all your videos.
delightful exercise. Instead of leaving the sopranos on a minim "A" in the penultimate bar, I substituted 2 quavers and a crochet A-G-A. Sopranos had an interesting line going. It seemed a shame to stop them dead in their tracks just before the final semi-breve. Looking forward to next Saturday's Maestro's live-streams!
I enjoyed it a lot, like Your other lessons. I've profitted immense. Thank You very much. I would like to pass an idea. I've learned that harmonsations of the Baroque and Galant period were based mostly on the Rule of the Octave. I would like to learn how chorals or other period pieces are build, applying the Rule of the Ocatave on a bass melody.
Very helpful. Actually I stopped this once I saw the example, then copied it and worked out a couple of "solutions" myself. I actually thought it was two separate lines at first - all one example - but eventually realised it was only a 4 bar example, not an 8 bar one. However it can work as several phrases put together. Another option is to use triplets to get more rhythmic variety. Finallly I changed the last chord slightly by raising the soprano G to a B. Might be an idea to suggest for others to "have a go" before carrying on with your suggestions. It was good to see what you did with the material after I'd tried.
I find much of the decision whether and where to use passing tones depends on the text. Creating a melody that bests fits the text often automatically suggests (if not demands) passing tones.
Hi Gareth - once again a very helpful video - I was pleased to be reminded on the rules of 7th falling, 3rd rising. Could the repeated D in sop line bar 2 be enhanced with a neighbour tone? You didn't mention escape / echapee notes - please what "rules" apply to use of these embellishments? Thanks
My problem with the passing tone quavers in the tenor is that there is already a passing tone in the bass, and the accented tenor B clashes with it, which really is a recipe for sounding congested. Cutting the A short so that the B is unaccented and the C is then a crotchet would probably sound smoother. Also, you probably shouldn't make the last beat of the alto line in bar 2 a lower passing note, because you'd then have parallel 5ths with the bass going into bar 3.
Gareth, and yet again except this time you were a week early. Guess what I'm working on this week in Music Theory and Composition 3, that's right, non-chord tones.
Some notes are clearly part of the melody but they are labelled as appogiatura why is that so and how do I understand it better ? Thank you 🙏it is a fundamental note and not a melodic decoration
@@MusicMattersGB sorry to further clarify previously , what I can’t understand is , when you look at a piece and the note in question is clearly part of the essential melody but it’s labelled as a non chord tone like the appogiatura. Pls provide me your valuable opinion. Thank you so much
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I really enjoy your lessons
That’s great. Much more at www.mmcourses.co.uk
Thank you kindly🤍
A pleasure. Much more at www.mmcourses.co.uk
I'd forgotten about using two passing tones, one accented and one unaccented, this is a helpful reminder. Thanks, Gareth.
A pleasure
"Inessential notes" is an apt description of my life. 😁 I marvel at your skill in setting up these demonstrations so that they so clearly illustrate your points.
😀Most kind.
Thank you.. 🙏
Warm cheers😘
A pleasure. Glad it’s helpful
I always look forward for your videos. There is always a lot to learn from them.
Thank you. Much more at www.mmcourses.co.uk
Excellent and very helpful. Very clear and concise. Great job!
A pleasure. Much more at www.mmcoursea.co.uk
Another great subject explored. Thank you 😊
Glad you enjoyed it
I learn(ed already) so much with all your YT videos for free...
You have always a very precisely goal and a calm approach and a very nice voice in a way that expresses every thought about how to do things with arguments that always make sense.
All your lessons gives us all a very deep insight in the head of a composing music composer.
And this as something that composerrs often not allowed us because by being afraid to break their music composing code.
You are very generous and a top componist and a master music educator to lift us up to another level.
Thank you very much, Sir. I think I speak for many of the watchers/listeners of all your videos.
That is most generous of you. Thank you. Much more to help you at www.mmcourses.co.uk
@@MusicMattersGB One day I'll be a member of your pupils.
@wernervannuffel2608 You will be very welcome.
Very helpfull Gareth - thank you
hope all well .
A pleasure. All good thanks. Hope you are too.
Always the best tutorial! Thanks.
Thank you. Much more at www.mmcourses.co.uk
Not sure if by chance or not but the first few bars are those of Bavarian anthem "Bayernhymne". A truly lovely piece. Thank you for your video.
That’s pure chance! Thank you. Much more at www.mmcourses.co.uk
I'm glad I found your channel. Thank you so much for uploading these videos.
A pleasure. Take a look at www.mmcourses.co.uk for much more
I finally caught Gareth in an error. There is no such thing as too much chocolate cake.
😀😀😀
Too much chocolate cake is a blessing or a curse depending on the context.
Indeed!
@@chillipepperoni exactly !! Context is everything haha
😀
Just learning how to transpose and this will really help me understand the process
That’s great. Much more at www.mmcourses.co.uk
I'd be very interested to see a video from you on minimalist techniques or just examining the work of a few composers from that broad genre.
Okay
delightful exercise. Instead of leaving the sopranos on a minim "A" in the penultimate bar, I substituted 2 quavers and a crochet A-G-A. Sopranos had an interesting line going. It seemed a shame to stop them dead in their tracks just before the final semi-breve. Looking forward to next Saturday's Maestro's live-streams!
Good idea! Yes, looking forward to catching up with you at the livestream.
I enjoyed it a lot, like Your other lessons. I've profitted immense. Thank You very much.
I would like to pass an idea. I've learned that harmonsations of the Baroque and Galant period were based mostly on the Rule of the Octave. I would like to learn how chorals or other period pieces are build, applying the Rule of the Ocatave on a bass melody.
Very helpful. Actually I stopped this once I saw the example, then copied it and worked out a couple of "solutions" myself. I actually thought it was two separate lines at first - all one example - but eventually realised it was only a 4 bar example, not an 8 bar one. However it can work as several phrases put together.
Another option is to use triplets to get more rhythmic variety.
Finallly I changed the last chord slightly by raising the soprano G to a B. Might be an idea to suggest for others to "have a go" before carrying on with your suggestions.
It was good to see what you did with the material after I'd tried.
That’s great.
I find much of the decision whether and where to use passing tones depends on the text. Creating a melody that bests fits the text often automatically suggests (if not demands) passing tones.
That’s true
Hi Gareth - once again a very helpful video - I was pleased to be reminded on the rules of 7th falling, 3rd rising. Could the repeated D in sop line bar 2 be enhanced with a neighbour tone? You didn't mention escape / echapee notes - please what "rules" apply to use of these embellishments? Thanks
Thanks. See our video on Escape notes. Neighbour tones are always a good way to embellish.
Maestro; suffice to say thank you very much, please will you do more videos on passing notes. R
😀
9:38
😀
Can we use Non chord tones in the first and third beat of a bar?
Sure
I know it was just a "passing joke" but equating passing notes to chocolate cake made me really laugh AND learn the lesson fully!
Excellent!
My problem with the passing tone quavers in the tenor is that there is already a passing tone in the bass, and the accented tenor B clashes with it, which really is a recipe for sounding congested. Cutting the A short so that the B is unaccented and the C is then a crotchet would probably sound smoother.
Also, you probably shouldn't make the last beat of the alto line in bar 2 a lower passing note, because you'd then have parallel 5ths with the bass going into bar 3.
Composers like Bach frequently create that kind of dissonance with double passing notes. It’s amazing how well they can work.
Is this part of a larger course?
It’s a taster of our theory courses at www.mmcourses.co.uk
We have to care if those Non Chord tones makes direct or parallels fifths and octaves?
Absolutely
Gareth, and yet again except this time you were a week early. Guess what I'm working on this week in Music Theory and Composition 3, that's right, non-chord tones.
Excellent
Very good. Are you playing a real piano or a digital one?
This is a digital piano.
Some notes are clearly part of the melody but they are labelled as appogiatura why is that so and how do I understand it better ? Thank you 🙏it is a fundamental note and not a melodic decoration
It’s how the melodic note functions in relation to the chord ie if it resolves by step on to a harmony note.
@@MusicMattersGB sorry to further clarify previously , what I can’t understand is , when you look at a piece and the note in question is clearly part of the essential melody but it’s labelled as a non chord tone like the appogiatura. Pls provide me your valuable opinion. Thank you so much
See if it resolves on to a chord tone by step.
@@MusicMattersGB yes it does . It leaps and steps to a chord tone. But why should it be a app when it is part of the essential melody ? :)
@sayonara6301 It’s simply a melodic decoration