This man is the perfect example for all teachers out there. The voice is so calm and interesting to listen to. Live a long, beautiful, happy life sir. Thank you for everything you shared till now.
One of the best tutors online, for music theory. If you could also incorporate modern pop music into your tutorials (song sections etc.) - it would add another dimension and help so many. Not many can afford expensive music schools... thanks for your generosity!
That’s very generous of you. Thank you. Will see what we can do. Many more resources at www.mmcourses.co.uk including details of our 25 online courses and of our Maestros programme
The cadential terminology presented here is a bit different from what I learned in the US: a *perfect authentic cadence* is a I or i chord that has the lowest and highest voice ending on the tonic (and generally some implications for how those voices reach the tonic); an *imperfect authentic cadence* has the highest voice end on a 3rd or 5th above a tonic; an *evaded cadence* has the lowest voice on the third, so a I6 in the US or a 1b in the UK; and a *half cadence* is a V or V7 when it ends a phrase or period. A *deceptive cadence* uses the vi instead of a I at the end of a phrase. A *cadential six-four* is always a *dominant* chord with accented dissonant 4 and and 6 tones descending to 3 and 5 respectively. It's really a third inversion I chord followed by a V. In the terminology I learned, any other six four would just be called that, not a cadential six-four.
Cadences are described differently between the US and European systems. Re the Cadential 6-4 it rather depends on whether we are considering a 6-4 5-3 progression mid-phrase (which would then not be cadential) or whether it is placed at a cadence point. A 6-4 5-3 that progresses lc-V at a cadence creates an Imperfect cadence; a 6-4 5-3 that progresses lVc-l at a cadence creates a Plagal cadence. In that sense they are both 6-4 5-3 progressions and are both cadential. Some sources describe the 6-4 as a double appoggiatura onto the following chord and therefore consider the 6-4 as a dissonance requiring resolution but the 6-4 is actually a chord in it’s own right so it’s difficult to justify the 6-4 as a dissonance.
My dad couldn't find a good teacher online, but now he found you he can't stop watching these videos because I play piano grade 5. Also why is it 6-4 not 4-6?
That´s the first time where I can see how wonderful the figured base shows the melodic movement. That makes playing so much easier. Thank you so much for this eureka moment.
That’s great. We too often regard Figured Bass solely as harmonic information but it very often supplies melodic information, especially in relation to suspensions.
So based off of reading the comments and watching the video I'd like to re-summarize the last two examples of this video: 1.Both in the key of D Major. 2.The 1c to 5: D Maj 2nd inv. to A Maj (V of D). [Imperfect Cadence]. 3.The 4c to 1: G Maj 2nd inv. (open voicing) to D Maj. [Plagal Cadence]. The Terms: a = Root b = 1st inv. c = 2nd inv.
I'm doing a BA(Mus), occasionally I hit stuff I don't understand but probably should! So I've been coming here and it answers my (no so) stupid questions everytime. Thank you!
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.
Great lesson, thanks so much for making this available! Would you possibly be able to make a video on the passing 6/4, and 6/3 progression? Again, your channel is a very good resource, thanks!
I have really learned so many important things from this video...it would certainly force me not to miss your upcoming as well as other existing video..... Love from India 🇮🇳
thank you so much for this video ! i got selected to teach this for my ap music theory class as a grade and i was relatively confused until i watched this ! now everything makes sense now
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.
As the name suggest we use it to pass from one chord to another, but the passing 6-4 chord doesn't really serve it's corresponding Harmonic function. For Eg : I V6-4 I6 ( V64 is used as passing chord from I to I6 ) Hopes it's clear ☺️
Hello again! Another great video! There’s a somewhat common chord progression in classical. It may be considered a cadence and I’m trying to find the name for it and I was wondering if you knew. bVI, i 6/4, V/V 6/3, V, i
A 6-4 cadence often has all the upper notes leap to the notes of the V chord. 8 leaps to 3, 6 leaps to 8, or, often takes a step to 7, and 4 takes a step to 5 or leaps to 7.
Hi, thank you for all these wonderful theory lessons! I do have one question, near the end of the lecture you mentioned that on the first example it would go from a I C to a five. On the second example, you said it would go from a IVC to a one. I am confused as to what the C means?
c = second inversion, i.e. the fifth of the chord in the bass, as b would be first inversion, i.e. the third of the chord in the bass, and a (which is not used explicitly) would be root position.
Hello and many thanks for this and all the lessons you make available in youtube. I browsed your website and I was unable to find a course to prepare student for grade 6 exam…is such course not available?
If you go to www.mmcourses.co.uk look for our Advanced Theory course. This offers all the teaching you need for grades 6-8 Theory. It’s all the same agenda but it’s useful to grasp the threads thoroughly then you can try some grade 6 past papers and you’ll be all set.
Coming from a limited background in music here so forgive me please. I've watched a few lessons on this material and I'm wondering what the modern day benefit of this knowledge translates to? Is it just a recognition of these particular structures and their uses (AKA - inversions at particular spots) or is this an in practice way I might find modern music written? They ,make sense to me, thank you for the excellent videos for that, but I have not seen this topic before nor I have I seen it used in score (again, limited background).
It’s simply to explain a common chord progression that has been in use for the past 400 years and is still being used today. It also highlights one of the particularly useful places in which to use a second inversion chord.
@@MusicMattersGB OK thanks for the quick reply. I had a sense that was it but wanted to be sure. It definitely helps to understand. As I said, limited background but never seen this topic before today. Thanks again!
What confuses me about the figured bass notation is that it is used in two different ways. For example, you could say "C 6/4" as in the example you show here at the beginning. But the same chord is also the second inversion of F major and hence sometimes it is referred as "F major in 6/4". Is this an issue only for me?
Does that also mean that the first one (Ic - V) is an imperfect cadence and the second one (IVc -I) is a plagal candence or am I confusing my cadances?
A Plagal Cadence progresses lV-l. A cadential 6/4 progresses 6/4-5/3, which could be a version of a Plagal Cadence progressing lVc-l but could also progress lc-V.
Awesome video! but I have 2 quick questions. To my understanding when you do a cadential 6-4 to the 5-3 you do it on the 5 chord? Is that correct? Also I was wondering is figured bass ever used for anything besides triads and 7th chords even if it is rare?
Hi. Thanks for your positive message. The cadential 6-4 tends to happen in two places - lc V and lVc l. Figured Bass was of course the standard Baroque system and describes all chords used in the Baroque plus suspensions and other decorations to melody and harmony.
@@MusicMattersGB Can you explain what does Ic or IVc means? I know that Ic must mean something to do with the one chord and IVc must mean something to do with the four chord? but what does the c stand for in this case? Since I've never seen this type of identification of chords.
I was following you until you added the roman numerals and now I'm very confused. The way a cadential 6/4 was explained to me was that it is an embellishment of the dominant chord. In C Major, this would be GCE moving to GBD and then to EGC or CEG. Is that incorrect?
Hello! do you have any advice for extensive modulatory passages such as you would find in many Beethovens sonatas between the two main subjects. and passing modulations In a piece I'm writing I want to move from C minor to G minor but I want to do so in a passing modulation through various keys. do you have any advice for that? many thanks.
There are various possibilities. The trick is to find pivot chords that take you into other keys or just to use pivot notes. In the case you mention you could go from C minor to Bb major, for example, then to G minor ie use the relative major of the key to which you’re travelling. If you want another key you could go from Bb major to Eb major then use the tonic chord of Eb major to pivot into G minor.
@@MusicMattersGB Thank you! just another note, how should one approach this melodically? I'm not aware if you've done a video about using melodic tricks during modulation. if you have please direct me to it but if not could you consider doing one? much appreciated.
Obviously melodic construction is important and there are many ways to go about it. Ensure that the melody fits with the harmony or uses inessential notes that fit alongside harmony notes.
We do have a number of videos covering modulation techniques too which you may or may not have seen... Modulation Using the Circle of Fifths - ruclips.net/video/s4XiEg7kESI/видео.html Modulation using Diminished 7ths - ruclips.net/video/vdHyxs8C8tI/видео.html Modulation using the German 6th - ruclips.net/video/vI7LGdCEc4k/видео.html Modulation using a Pivot Note - ruclips.net/video/cQbHSEDpE6s/видео.html Modulation by Semitone Shift - ruclips.net/video/Y2lUmwB7lzI/видео.html Modulation using the Neapolitan Chord - ruclips.net/video/RUN4M6_kT9E/видео.html How to Modulate using a Pivot chord - ruclips.net/video/Tgyq6RfIF6c/видео.html
I sort of cheat play D min7/F......then ASCEND to ...E min7/G. I'll also arpegiate from the F note...then/and.or strike the Dmin7... Then to E min7/G...ect i didnt Know it was TERM that....It's just familar SOUNDS I've heard in different songs. DESCEND to C Major .lol DESCEND to B dim add 11 to A min... Then I'll play the Bb maj7 add#11 ( N6) DESCEND to E min ....ascend to F Maj G Maj A min Then....I ascend to F Maj7.....ABOVE the C Major Tonic. so I can play (descending.....F maj7..D min G7 into C MAJOR ( IV, ii, V, I) Then C Maj descending to F min Ab maj G7 into C Major... Different cadence or questions and Answer PHRASING...using CHORDS
@@MusicMattersGB it's actaully a pretty cadence..if i play it a certain way on the fretboard...I can even sort of blend it with the Db maj7 ( N6)...Inverted F min with or without the Db note...agaisnt the open A The Ab, 3, 6..has the C and F note in it...against the Open high E note. or I can play the D min7..less the D note..against the open A.. or stack the E note below the A note. The trick is to play C Maj dyad ...At the 8th fret of the guitar against the open D and G....and play the G note at the 8th fret too.. against the open E... becuase it's ASCENDING....before decsending back to C MAJOR ( which is a beautiful chord....which i can play with other stuff) Then Play to the Open C MAJOR chord at the Nut. it DONST sound the same...as playing F maj G maj into C or D min E min7 into C Major. It's not suppose too...that's why it's a different cadence. Its' a distinct sound ..if you listen to it. i just been trying different ways of playing it.. different C Maj...ish chord.lol
@@MusicMattersGB then “instead of I6/4, use IV/I. IV with I as base.” Bb/F if F key, C/G if G key. Same thing. Just this notation has no practical use. When a I becomes I6/4, it is functionally already IV, just with a more stable base I.
But a Cadential 6-4 could also be a progression that goes I in second inversion to V. This is why the term Cadential 6-4 was established many years ago.
@@MusicMattersGB back in the days when chord theory was relatively new, I’m sure that they tried lots of things, 5/3 chords, 6/4 chords, perhaps even 7/5 and 9/7 chords. But many of the notations became obsolete. 6/4 chords are one of them, because every 6/4 can be analyzed as a 5/3 chord. People name stuff all they want, but essentially a I6/4 is an inverted IV. The reason not to use 6/4 is that it is only one of the many inversions, what if a F chord, 461, is inverted to 614? If 146 is C6/4, should 614 be A6/3? But there isn’t 6/3 chord, because it shouldn’t exist. 6/3 or 6/4 it complicates notations. What if it’s an Fmaj7 with base C, should it be written as C6/3/4? What if the chord progression is F/C-Fmaj7/C -should it be written as C6/4-C6/3/4, or C6/4-Famaj7/C instead? What if it’s an Fmajor7+add2/C (146135 for instance), should it be written as C6/4/5/3... The 6/4 confuses the chord analysis process. I get that F/C has tonic element in it. But we can just say the F with C as base is half tonic half sub tonic, as it has both qualities. I get that cadential 6-4 is a real notation language, but I’m saying that it is an excessive notation that is better off without.
The conventional descriptions are 5/3 root position 6/3 first inversion 6/4 second inversion These descriptions describe the intervals above the bass note that form the chord.
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This man is the perfect example for all teachers out there. The voice is so calm and interesting to listen to.
Live a long, beautiful, happy life sir. Thank you for everything you shared till now.
That’s so kind of you.
Much more at www.mmcourses.co.uk
That’s great and thanks for your kind comment. Much more on this in our theory courses at www.mmcourses.co.uk
One of the best tutors online, for music theory. If you could also incorporate modern pop music into your tutorials (song sections etc.) - it would add another dimension and help so many. Not many can afford expensive music schools... thanks for your generosity!
That’s very generous of you. Thank you. Will see what we can do. Many more resources at www.mmcourses.co.uk including details of our 25 online courses and of our Maestros programme
The cadential terminology presented here is a bit different from what I learned in the US: a *perfect authentic cadence* is a I or i chord that has the lowest and highest voice ending on the tonic (and generally some implications for how those voices reach the tonic); an *imperfect authentic cadence* has the highest voice end on a 3rd or 5th above a tonic; an *evaded cadence* has the lowest voice on the third, so a I6 in the US or a 1b in the UK; and a *half cadence* is a V or V7 when it ends a phrase or period. A *deceptive cadence* uses the vi instead of a I at the end of a phrase. A *cadential six-four* is always a *dominant* chord with accented dissonant 4 and and 6 tones descending to 3 and 5 respectively. It's really a third inversion I chord followed by a V. In the terminology I learned, any other six four would just be called that, not a cadential six-four.
Cadences are described differently between the US and European systems. Re the Cadential 6-4 it rather depends on whether we are considering a 6-4 5-3 progression mid-phrase (which would then not be cadential) or whether it is placed at a cadence point. A 6-4 5-3 that progresses lc-V at a cadence creates an Imperfect cadence; a 6-4 5-3 that progresses lVc-l at a cadence creates a Plagal cadence. In that sense they are both 6-4 5-3 progressions and are both cadential. Some sources describe the 6-4 as a double appoggiatura onto the following chord and therefore consider the 6-4 as a dissonance requiring resolution but the 6-4 is actually a chord in it’s own right so it’s difficult to justify the 6-4 as a dissonance.
thx a lot ..really great lesson
Many thanks. Much more at www.mmcourses.co.uk including details of our 25 online courses and our Maestros programme.
My dad couldn't find a good teacher online, but now he found you he can't stop watching these videos because I play piano grade 5. Also why is it 6-4 not 4-6?
That’s great. We always state the highest number first.
That´s the first time where I can see how wonderful the figured base shows the melodic movement. That makes playing so much easier. Thank you so much for this eureka moment.
That’s great. We too often regard Figured Bass solely as harmonic information but it very often supplies melodic information, especially in relation to suspensions.
So based off of reading the comments and watching the video I'd like to re-summarize the last two examples of this video:
1.Both in the key of D Major.
2.The 1c to 5: D Maj 2nd inv. to A Maj (V of D). [Imperfect Cadence].
3.The 4c to 1: G Maj 2nd inv. (open voicing) to D Maj. [Plagal Cadence].
The Terms:
a = Root
b = 1st inv.
c = 2nd inv.
😀
Great lesson as always! Allthough I know most of the theory you speak about in your videos, I really enjoy them. Continue with this simple style!
That’s kind. Much more at www.mmcourses.co.uk
Thanks!
A pleasure! Thank you very much for your generosity and support for the channel!
I'm doing a BA(Mus), occasionally I hit stuff I don't understand but probably should! So I've been coming here and it answers my (no so) stupid questions everytime. Thank you!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Very useful and well-taught! Thx.
Most kind. Much more at www.mmcourses.co.uk including our 25 online courses and details of our Maestros programme.
Thank you so much for this great lesson!
I'm so excited, I can finally understand cadences and harmony!!
That’s great. Much more at www.mmcourses.co.uk including our 25 online courses and access to our Maestros programme.
You have a great delivery. Thank you for your succinct explanation.
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.
Great lesson, thanks so much for making this available! Would you possibly be able to make a video on the passing 6/4, and 6/3 progression? Again, your channel is a very good resource, thanks!
Ok. Much more at www.mmcourses.co.uk
I have really learned so many important things from this video...it would certainly force me not to miss your upcoming as well as other existing video..... Love from India 🇮🇳
A pleasure. Much more at www.mmcourses.co.uk
thank you so much for this video ! i got selected to teach this for my ap music theory class as a grade and i was relatively confused until i watched this ! now everything makes sense now
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.
All the videos are amazing wonderful ❤️ good teaching 👍❤️
Many thanks. Much more at www.mmcourses.co.uk including details of our 25 online courses and our Maestros programme.
Thank you so much for your kindness to share the knowledge. Great teaching, I engage and understood the materials.
Learn so much from your video.
A pleasure. There’s much more on this in our courses at www.mmcourses.co.uk where you can also find out about our monthly livestreams on Maestros.
Your classes are a great example where technology enhances a great teaching ability that you already possess. Not the opposite round !
That’s most kind. Much more at www.mmcourses.co.uk
Thank you. My teacher's explanation flew a bit over my head and our time was limited. This video gave me the insight I need to make my exercises.
Excellent. Much more at www.mmcourses.co.uk
Great tutorial! Thanks a ton for your help!! :)
A pleasure
this video helped me
thanks for the upload
A pleasure. Much more at www.mmcourses.co.uk
Thank you for another great lesson.
It’s a pleasure. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our Maestros programme.
The lesson is great! Thankyou so much.
Great. Much more at www.mmcourses.co.uk
as concise as could be! :)
Thanks.
wow, thanks!! what a simple way to explain it!!!
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Thank u so much! Very interesting video, very clear and I enjoy a lot how u explain the theory
Greetings from Costa Rica 🌺
A pleasure. Much more at www.mmcourses.co.uk
thank you :) how does the passing 6-4 work??
As the name suggest we use it to pass from one chord to another, but the passing 6-4 chord doesn't really serve it's corresponding Harmonic function.
For Eg : I V6-4 I6 ( V64 is used as passing chord from I to I6 )
Hopes it's clear ☺️
@@nirmalcd9410 thanks
Most common uses of the passing 6-4:-
Vc used between l and lb; lc used between lV and lVb.
I wish I discover your channel earlier, your explanation is so much more clear than my theory teacher.... but now my exam is on next Saturday.....
There are plenty more videos on the channel and you would find our courses helpful revision at www.mmcourses.co.uk
Very good teaching thank you! 🙏🏻😊💗
Most kind. Much more at www.mmcourses.co.uk including our 25 online courses and details of our Maestros programme.
Hello again! Another great video! There’s a somewhat common chord progression in classical. It may be considered a cadence and I’m trying to find the name for it and I was wondering if you knew. bVI, i 6/4, V/V 6/3, V, i
Obviously that concludes with a perfect cadence. The rest is a colourful approach that works well. The V/V is a secondary dominant.
A 6-4 cadence often has all the upper notes leap to the notes of the V chord. 8 leaps to 3, 6 leaps to 8, or, often takes a step to 7, and 4 takes a step to 5 or leaps to 7.
That can happen but it’s the exception to the norm.
Three more examples of a cadential 6/4 in the piano music to end the video at 10:38, 10:46, and 10:50.
😀
Hi, thank you for all these wonderful theory lessons! I do have one question, near the end of the lecture you mentioned that on the first example it would go from a I C to a five. On the second example, you said it would go from a IVC to a one. I am confused as to what the C means?
a = root position
b = first inversion
c = second inversion
Hello Sir, I didn't understand the meaning of IC(one C) and IVC (4C). Is C stands for cadential?🙂
c = second inversion, i.e. the fifth of the chord in the bass, as b would be first inversion, i.e. the third of the chord in the bass, and a (which is not used explicitly) would be root position.
@@markchapman6800 Thank you very much.. 😊
Absolutely. 😀
@@MusicMattersGB 😁😁
C for second inversion, B for first and A for root...😊
😀
Hello and many thanks for this and all the lessons you make available in youtube. I browsed your website and I was unable to find a course to prepare student for grade 6 exam…is such course not available?
Is that Grade 6 Theory or Piano?
@@MusicMattersGB great 6 theory
If you go to www.mmcourses.co.uk look for our Advanced Theory course. This offers all the teaching you need for grades 6-8 Theory. It’s all the same agenda but it’s useful to grasp the threads thoroughly then you can try some grade 6 past papers and you’ll be all set.
What does the 'c' next to the Roman numerals stand for?
@PissedFechtmeister Thank you. Does a 'b' then stand for the first inversion?
Absolutely 😀
Thank you all😇
Coming from a limited background in music here so forgive me please. I've watched a few lessons on this material and I'm wondering what the modern day benefit of this knowledge translates to? Is it just a recognition of these particular structures and their uses (AKA - inversions at particular spots) or is this an in practice way I might find modern music written? They ,make sense to me, thank you for the excellent videos for that, but I have not seen this topic before nor I have I seen it used in score (again, limited background).
It’s simply to explain a common chord progression that has been in use for the past 400 years and is still being used today. It also highlights one of the particularly useful places in which to use a second inversion chord.
@@MusicMattersGB OK thanks for the quick reply. I had a sense that was it but wanted to be sure. It definitely helps to understand. As I said, limited background but never seen this topic before today. Thanks again!
😀
What's the difference between C 6-4 and Fmaj in 2nd inversion?
They’re exactly the same
What confuses me about the figured bass notation is that it is used in two different ways.
For example, you could say "C 6/4" as in the example you show here at the beginning.
But the same chord is also the second inversion of F major and hence sometimes it is referred as "F major in 6/4".
Is this an issue only for me?
It can be confusing. It’s why I prefer the abc system for inversions.
Does that also mean that the first one (Ic - V) is an imperfect cadence and the second one (IVc -I) is a plagal candence or am I confusing my cadances?
Yes they could appear as cadence chords if the progressions come at a phrase ending
May I ask is there any difference between this cadence and the Plagal cadence? Or it is just a different representation of that?
A Plagal Cadence progresses lV-l. A cadential 6/4 progresses 6/4-5/3, which could be a version of a Plagal Cadence progressing lVc-l but could also progress lc-V.
Gareth has the Johnny Ball x factor of presentation!
Thanks!
Awesome video! but I have 2 quick questions. To my understanding when you do a cadential 6-4 to the 5-3 you do it on the 5 chord? Is that correct? Also I was wondering is figured bass ever used for anything besides triads and 7th chords even if it is rare?
Hi. Thanks for your positive message. The cadential 6-4 tends to happen in two places - lc V and lVc l. Figured Bass was of course the standard Baroque system and describes all chords used in the Baroque plus suspensions and other decorations to melody and harmony.
@@MusicMattersGB Can you explain what does Ic or IVc means? I know that Ic must mean something to do with the one chord and IVc must mean something to do with the four chord? but what does the c stand for in this case? Since I've never seen this type of identification of chords.
a is root position
b is first inversion
c is second inversion
I was following you until you added the roman numerals and now I'm very confused. The way a cadential 6/4 was explained to me was that it is an embellishment of the dominant chord. In C Major, this would be GCE moving to GBD and then to EGC or CEG. Is that incorrect?
That’s using a tonic chord completion
@@MusicMattersGB Now I'm definitely confused! 😃
6/4 5/3 is the key progression usually Ic to V or IV to I
@@MusicMattersGB So my example above should not be considered a cadential 6/4?
If the 6/4 5/3 forms a cadence then it’s cadential eg Ic V.
Hello! do you have any advice for extensive modulatory passages such as you would find in many Beethovens sonatas between the two main subjects. and passing modulations In a piece I'm writing I want to move from C minor to G minor but I want to do so in a passing modulation through various keys. do you have any advice for that? many thanks.
There are various possibilities. The trick is to find pivot chords that take you into other keys or just to use pivot notes. In the case you mention you could go from C minor to Bb major, for example, then to G minor ie use the relative major of the key to which you’re travelling. If you want another key you could go from Bb major to Eb major then use the tonic chord of Eb major to pivot into G minor.
@@MusicMattersGB Thank you! just another note, how should one approach this melodically? I'm not aware if you've done a video about using melodic tricks during modulation. if you have please direct me to it but if not could you consider doing one? much appreciated.
Obviously melodic construction is important and there are many ways to go about it. Ensure that the melody fits with the harmony or uses inessential notes that fit alongside harmony notes.
We do have a number of videos covering modulation techniques too which you may or may not have seen...
Modulation Using the Circle of Fifths - ruclips.net/video/s4XiEg7kESI/видео.html
Modulation using Diminished 7ths - ruclips.net/video/vdHyxs8C8tI/видео.html
Modulation using the German 6th - ruclips.net/video/vI7LGdCEc4k/видео.html
Modulation using a Pivot Note - ruclips.net/video/cQbHSEDpE6s/видео.html
Modulation by Semitone Shift - ruclips.net/video/Y2lUmwB7lzI/видео.html
Modulation using the Neapolitan Chord - ruclips.net/video/RUN4M6_kT9E/видео.html
How to Modulate using a Pivot chord - ruclips.net/video/Tgyq6RfIF6c/видео.html
What is 1c and 4c?
I II III IV V VI VII are the chord numbers being used
a means root position
b means first inversion
c means second inversion
@@MusicMattersGB Thanks a lot.
😀
what does 1,2,4,5 mean?
Do you mean chord descriptions? l ll lV V are chords built on the first, second, fourth and fifth notes of the scale.
@@MusicMattersGB yes, thank you.
😀
many gratitudes frommy O-LEVEL candidates from kenya
That’s great. Good luck for your exams
Now my shreds have more soul, thx
😀
I sort of cheat play D min7/F......then ASCEND to ...E min7/G.
I'll also arpegiate from the F note...then/and.or strike the Dmin7...
Then to E min7/G...ect
i didnt Know it was TERM that....It's just familar SOUNDS I've
heard in different songs.
DESCEND to C Major .lol
DESCEND to B dim add 11 to A min...
Then I'll play the Bb maj7 add#11 ( N6)
DESCEND to E min ....ascend to F Maj G Maj A min
Then....I ascend to F Maj7.....ABOVE the C Major Tonic.
so I can play (descending.....F maj7..D min G7 into C MAJOR ( IV, ii, V, I)
Then C Maj descending to F min Ab maj G7 into C Major...
Different cadence or questions and Answer PHRASING...using CHORDS
Thanks for sharing.
@@MusicMattersGB it's actaully a pretty cadence..if i play it a certain
way on the fretboard...I can even sort of blend it with
the Db maj7 ( N6)...Inverted F min
with or without the Db note...agaisnt the open A
The Ab, 3, 6..has the C and F note in it...against the Open high E note.
or I can play the D min7..less the D note..against the open A..
or stack the E note below the A note.
The trick is to play C Maj dyad ...At the 8th fret of the guitar
against the open D and G....and play the G note at the 8th fret too..
against the open E...
becuase it's ASCENDING....before decsending back to C MAJOR
( which is a beautiful chord....which i can play with other stuff)
Then Play to the Open C MAJOR chord at the Nut.
it DONST sound the same...as playing F maj G maj into C
or D min E min7 into C Major.
It's not suppose too...that's why it's a different cadence.
Its' a distinct sound ..if you listen to it.
i just been trying different ways of playing it..
different C Maj...ish chord.lol
Great idea to experiment with all of this.
I am afraid my cadence is unintentionally imperfect.
😀
Instead of C6/4, the notation should just use F/C. F with C as base.
That would then only apply to one possibility in one key. The term Cadential 6-4 is used to describe the situations explained in the video in any key.
@@MusicMattersGB then “instead of I6/4, use IV/I. IV with I as base.” Bb/F if F key, C/G if G key. Same thing. Just this notation has no practical use. When a I becomes I6/4, it is functionally already IV, just with a more stable base I.
But a Cadential 6-4 could also be a progression that goes I in second inversion to V. This is why the term Cadential 6-4 was established many years ago.
@@MusicMattersGB back in the days when chord theory was relatively new, I’m sure that they tried lots of things, 5/3 chords, 6/4 chords, perhaps even 7/5 and 9/7 chords. But many of the notations became obsolete. 6/4 chords are one of them, because every 6/4 can be analyzed as a 5/3 chord. People name stuff all they want, but essentially a I6/4 is an inverted IV. The reason not to use 6/4 is that it is only one of the many inversions, what if a F chord, 461, is inverted to 614? If 146 is C6/4, should 614 be A6/3? But there isn’t 6/3 chord, because it shouldn’t exist. 6/3 or 6/4 it complicates notations. What if it’s an Fmaj7 with base C, should it be written as C6/3/4? What if the chord progression is F/C-Fmaj7/C -should it be written as C6/4-C6/3/4, or C6/4-Famaj7/C instead? What if it’s an Fmajor7+add2/C (146135 for instance), should it be written as C6/4/5/3... The 6/4 confuses the chord analysis process. I get that F/C has tonic element in it. But we can just say the F with C as base is half tonic half sub tonic, as it has both qualities. I get that cadential 6-4 is a real notation language, but I’m saying that it is an excessive notation that is better off without.
The conventional descriptions are
5/3 root position
6/3 first inversion
6/4 second inversion
These descriptions describe the intervals above the bass note that form the chord.