Thanks for your presentation on vertical harmony. Now i have interesting work to do in changing chords into many different voicing in a single key. Wow. That lot potential music that can be obtain from on key
+Connor K Voicing matters, but it also doesn't! It depends on what you value. If you value reproducing the essence of a song from a basic harmony standpoint, root position triads will do the job. If you believe the real identity of a song lies somewhere beyond its underlying basic harmony, then voicing will probably matter a lot.
Awesome! You can check out the rest on my website if you are interested in seeing more. Every module purchase also comes with a satisfaction guarantee - warrenmusic.xyz
The spectrum at the bottom of scream at 6:41 from left to right is from consonance to dissonance? If so why is the perfect 4 interval below M3, M6, m3, m6 intervals, when both the perfect 5 and perfect 4 are perfect consonance?
Great question! Check this little passage out from Wikibooks - "The perfect fourth is the inversion of the perfect fifth. In common practice music, it can be both consonant and dissonant: in this case, it has a need for resolution when unsupported by lower notes, in which case it is dissonant even though it sounds as 'good' as the fifth. The fourth is always consonant when supported by a lower third or perfect fifth, for example, E-G-C-E is consonant, but G-C-E is dissonant. In more contemporary music, many consider the fourth to always be as consonant as the fifth." I might re-order the spectrum depending on the specific context, but this video is very general in how it treats the concept of consonance/dissonance. But short answer: for me if a Perfect 4th is in the bass, I think a lot of the music we listen to by today's standards would see that as needing to be resolved. Thanks for the comment.
+Marq-Brandon Pitter Hi Marq-Brandon, you can purchase the entire Harmony Module on my website. You can have your money back if you aren't completely satisfied!
![Playing In Every Mode with ONE Tiny Scale Shape [GUITAR LESSON - MODES - MUSIC THEORY]](http://i.ytimg.com/vi/96cydVB4w-A/mqdefault.jpg)
Thanks for your presentation on vertical harmony. Now i have interesting work to do in changing chords into many different voicing in a single key. Wow. That lot potential music that can be obtain from on key
Voicings are where it's at! And after that, try the same concept with four, five, and six note chords!
How did he know it was my birthday??😱
I came for Radiohead tutorials one day, stayed for the great theory lessons.
+Thomas Megabezemboy Yes!
Wow I need this channel... Thanks a lot for the effort. Respect
+Rory Hammond Awesome!
It´s exactly the guidance i needed!! This videos are really really valuable and well made, i hope a lot of people discover them:) Thanks a lot!!
Enjoy the entire module at warrenmusic.xyz/preview/harmony !
Awesome :) I used to think voicing didnt really matter. I was so wrong!
+Connor K Voicing matters, but it also doesn't! It depends on what you value. If you value reproducing the essence of a song from a basic harmony standpoint, root position triads will do the job. If you believe the real identity of a song lies somewhere beyond its underlying basic harmony, then voicing will probably matter a lot.
well, that was very useful! Thanks man
Awesome! You can check out the rest on my website if you are interested in seeing more. Every module purchase also comes with a satisfaction guarantee - warrenmusic.xyz
Great video Warren!
how/where is the interactive triad video??
ruclips.net/video/VOVSib42dBU/видео.html
The spectrum at the bottom of scream at 6:41 from left to right is from consonance to dissonance? If so why is the perfect 4 interval below M3, M6, m3, m6 intervals, when both the perfect 5 and perfect 4 are perfect consonance?
Great question! Check this little passage out from Wikibooks - "The perfect fourth is the inversion of the perfect fifth. In common practice music, it can be both consonant and dissonant: in this case, it has a need for resolution when unsupported by lower notes, in which case it is dissonant even though it sounds as 'good' as the fifth. The fourth is always consonant when supported by a lower third or perfect fifth, for example, E-G-C-E is consonant, but G-C-E is dissonant. In more contemporary music, many consider the fourth to always be as consonant as the fifth." I might re-order the spectrum depending on the specific context, but this video is very general in how it treats the concept of consonance/dissonance. But short answer: for me if a Perfect 4th is in the bass, I think a lot of the music we listen to by today's standards would see that as needing to be resolved. Thanks for the comment.
Thanks. I appreciate it!
can you please direct me to the diatonic harmony horizontal video
+Marq-Brandon Pitter Hi Marq-Brandon, you can purchase the entire Harmony Module on my website. You can have your money back if you aren't completely satisfied!
Alright cool