What Might an Accidental Be Telling Us in a Piece of Music? - Music Theory
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- Опубликовано: 25 июл 2024
- We often see accidentals in music but they have different significance depending on the context. Accidentals might be flagging up a key change, or they might be decorative chromatic notes, or they might be signifying a minor key, or they may be part of a chromatic chord. In this music theory lesson, all these possibilities are explored and explained and will help performers interpret the significance of accidentals in the music they are playing and will help composers to understand more fully the different ways in which accidentals can be used.
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🕘 Timestamps
0:00 - Introduction to accidentals
0:51 - Seeing accidentals in a piece
2:12 - Modulation
5:09 - Chromatic inessential notes
8:41 - Minor keys
11:36 - Chromatic chords
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Those chromatic chords sound fantastic. I'm hooked.
That’s great. See www.mmcourses.co.uk for details of our 24 online courses and of our special Maestros programme.
Sometimes I wonder how one can remember every note in every key, chord,..etc like him!
Such a great man!🙏
You’re too kind. Much more at www.mmcourses.co.uk
Wonderful video. Reminding me of things that were thrown at me 40 years ago (at 8 am). Thankfully, now I can relearn these things at a reasonable hour of the day. Thanks!
A pleasure. Enjoy!
Very nice, putting these different concepts together around this question.
This video is amazing, this is stuff I kind of already knew, but it's really nice hearing actual terminology, and separating the different contexts.
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These are so informative and clear and i appreciate it so much! Thank you gareth!
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Your explanations and examples on the piano are truly wonderful. Now I realise how music can create different moods. Just like adding different spices to foods.
Absolutely
I love your videos so much, I get so much out of them. It means the world to me.
That’s so kind. Thank you. Much more at www.mmcourses.co.uk
Wow great job! I learned many things with this video
What an art to make chords and notes not in a key sound so natural. Maybe you can make vid on what makes them fit in so well and sound natural. Anyway thank you for this lesson, great lesson.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
you're one of those teacher who helped me alot thanks ♥
That’s great. Thanks. Much more at www.mmcourses.co.uk
Wonderful explanation! Thanks Gareth!
That’s most kind. Much more at www.mmcourses.co.uk
Excellent. Thank you for his wonderful presentation!
Most kind. See www.mmcourses.co.uk for details of our 24 online courses and of our special Maestros programme.
Super helpful, 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.
Thank you for being our guide in the beautiful land of Music Theory...
A pleasure. Much more at www.mmcourses.co.uk
Thank you for this useful video👍🏼
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Just by watching your videos makes me feel like a 'musician'!
That’s kind. See www.mmcourses.co.uk for much more.
Gareth is the music teacher I wished I would have had 60 years ago. Oh well, it's not too late to learn. I'm actually not going to bother with the Neopolitan chords or the others yet since I want to really get a handle on my triads and all the minor scales. I noodled around for a year and found I lacked lots of basic skills, so now I'm going through a John Thompson Vol 1 book (in French) and have almost finished it. Baby steps.
You’re very kind. That’s the approach. We have plenty to help you at www.mmcourses.co.uk
@Music Matters Hi Gareth. Thanks for the very prompt reply. I've never heard anyone say accidentals in the key signature, as far as I'm aware they are in the music which departs from the key signature. I do like to get things correct and I found this online. What do you think. According to the "Essential Dictionary of Music Notation" (published by Alfred Publishing), an Accidental is a "Temporary alteration to the pitch of a note". There are 5 Accidental Symbols - the Double Flat sign, the Flat sign, the Natural sign, the Sharp Sign and the Double Sharp sign.
The Dictionary also states: "When these symbols are used in the music, apart from use in the Key Signature, these Symbols are called Accidentals". So love learning music theory and I hope you don't mind my persistence for me getting things right. Even if I'm wrong.
Interesting. In many theory books you’ll find ‘accidentals’ to be a generic description of the things you’ve listed, whether or not they occur in a key signature. Accidentals along the way are often referred to as temporary accidentals. I wouldn’t worry about it too much because there is ‘local variation’.
Hi Gareth, unrelated question so am sorry in advance. I have a melody in c major scale, only in one instance there is a note which is out of the key. The note is A# . I have tried to harmonise it with A# major, also C dominant 7. Which is correct?
Depending on your melody the A# might be better as Bb, in which case C7 would work as long as the Bb is followed by A harmonised by a chord of F or Dm. Alternatively the A# could be part of an Augmented 6th chord if it moves on to B.
Doesn't the Neapolitan chord have predominant function, so it "should" resolve to the dominant?
It often does have a predominant function. Or we can use a chord between the Neapolitan and the Dominant eg lc.
Impressive! Thank you.
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I've always been curious why those notations are called accidentals. Obviously, they are not there by accident. To me, 'incidental' would seem to be a more appropriate term.
Thanks for a very informative video. You explain things well.
A pleasure. See www.mmcourses.co.uk for much more.
Thank you for your email that sent of me.
I have been to learn the piano just only about two months and i have the problem to shincronize between LH and RH. But i still to be practice and the Music Matter then help me to do it.
Thank you
That’s brilliant. Keep going.
superb video,very informative ..
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Thanks!
😀
Hello, how to harmony/find chord for a accident note?
It depends if the accidental belongs to a chord in the key, or to a chromatic chord, or if it’s acting as a melodic decoration.
@@MusicMattersGB In the key of C major, I have a D#, can I make a V basic chord? Or which chromatic chord should I use?
@nguyenyang9854 you could use that as part of an augmented V that moves on to I with D# progressing to E
"there's a b flat here, there's an e sharp there, what are they doing there for goodness' sake?" it's not only informative, it's also fun, and it rhymes a little :) also, love the rhythm
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E# ?
Otherwise known as F natural!
Yes. E# is what we call an enharmonic equivalent of F natural. We use F in keys like F major but we use E# in keys like F# major.
it'll make more since i f you know different scales...
Such as harmonic MAJOR, Harmonic min . melodic min. Hungarian MAJOR
Harmonic min b2, melodic min b2, Double harmonic , min, Whole tone,
Full diminished HW orWH...
KEYS are just PITCH of the MAJOR scale...it's just a reference Piont.
You can mudulate via shifting keys or substitute mode/chords from different
scales...There's different ways to obtain the different scales..That's why
they dont have key signatures....
It's easier if learn it in C MAJOR/Amin....At first ( less # or b symbols to confuse you...or so you'll see what note are shift UP or down...
Example...C Harmonic MAJOR = Ionian b6 ( Ab)
A Harmonic min = aeo, maj7 = G#
As a reference...F lydian b3...or F lydian #2
But you could also Borrow from C melodic min..( F7 , G7 , C min)
it's F lydian b7 ( aka lydian dominant)
You could also play F Hungerian MAJOR ( F lydian #2, b7)
or A Harmonic min b5 ( Eb)
or A double harmonic min or D#, E, F ( F lydian #2, #6)
There's no right way or wrong way....just different ways to creat different sounds or movement...
example Melodic min = ion b3 or dorian, maj7
I couple play C Maj into D melodic min.....not necessary A melodic min
Hence the C# note....C# dim or A7 into the D min chord.
Once in the D minor ...I could barrow or use different scales..
such as D melodic min b2 or harmonic min b2 or F double harmonic min...
IPlay the C# as Maj7....
it'll make more sense if you learn other lessons ..such as the #6 chord..
It's the same movement in What a wonderful world by Louis Armstrong
A7 into D min...then the C# Maj
In the Key of C Major/A min....it's actaully C double harmonic
Ab7 G7 into C MAJOR....is an option...you could play G7 into C min chord
Or even the N6 ( neopolitian) lessons aka N6
Harmonic min b2 or melodic min b2....
I learned it applying after the Nutual minor's TONIC..( Bb)
However...you could also apply it after MAJOR's TONIC Db or where ever you want....
Anyways....
You could push down from C MAJOR towards C min
b6
b3
b3, b6
b3, b6, b6
or reverse the process push UP from A min towards A MAJOR
b3, b6, b7
b3, b6
b3
b6.......
Or I keep track like this.......
Aeolydian has b6...........Dorian has maj6
Harmonic min melodic min
harmonic min b2 melodic min b2
harmonic min b5 melodic min b5
harmonic min #4 melodic min #4
you can even do this....
aeo maj7 = Harmonic min
dor maj7 = Melodic min
phry maj7 = Harmonic min b2
mix maj7 = ion ( circle of 5th)
loc maj7 = ion #6 ( i made that scale...it'll be the A# note...from C MAJOR.
Just like I made the melodic min b5....from A min..its D Eb, F#, G#
These other modes are just from the other scales...
Im simply going to apply the same concept.....push up b7 into Maj7
dor b2, Maj7
dor #4, Maj7
dor b5 Maj7
aeo b2, maj7
aeo #4, maj7 ( aeo #4 is a mode from Harmonic min b2)
aeo b5, maj7 ( aeo b5 is a mode from Melodic min)
mix b6, Maj7 = Harmonic MAJOR ( mix b6 is a mode from Melodic min)
You don have to learn all of it.....it's all OPTIONAL
The melodic min b5....helps me
I do like the sound of lydian dominant b2...
it helps me play the Full diminished H/W
D dorian #4, b2 AND Lydian dominant b2 = D full dim H/W
Thank you.
@@62zulmy No problem...it's just easier for me to visually easier
for me to see it on the guitar fretboard...
Let say I was in C MAJOR/Amin....as the parent key.
The F chord....I could alter it to F min via the A Harmonic min.
F lydian #2 ..so the notes are F, G#, B....
but it might be easier for other people to play the F min..seeing it
as F, Ab, B. ( ON PAPER)
The same happens when I play D dim ( D dorian #4)
D, F, G#, B ( full diminished)
but actaully fretting this...D, G#, D, F, A ( another A on the bottom)
So technically it's D, #4, 8, b3, 5.
I could also us A Melodic min ( Mix #4)
I hope that makes sence..becuase later on when you apply
the Itailian, Frence or German...
when you use the #4 ( tritone) and the 5 in the same chord.
I stack them in different octave....the 5th might be in the octave below
or in the second octave...from the ROOT note Im playing from...
Other people might apply it different ( it;s all good)
But since I MEMoRISE....2, 4, b6, 7 ( CHORD degree)
When I transfer to other KEYS....I'll simply know
I can play them as full diminished ( I dont really care...until I write it on paper..so it might be easier for others to read)
I use b6....instead of romans....so you might is it as the b6 DEGREE..
when you count from the MAJOR's or minor's TONIC
wheather I play C HARMONIC MAJOR or C harmonic min
OR/AND A Harmonic minor or A Harmonic MAJOR .
THEY OVER LAP..I study it and know it ...that's all ( just passing on data)
the b6 degree chord..well I could play it whatever type of chord..
wheather they be Maj. min. dominant, dim full, aug..ect
if I simply write vi....it would be all WACK...most people
would still see that as the Maj6 chord degree as minor chord.
Okay...The FUN starts....when I modulate and Invert chords.
Music is FUN to me.....
There's basic to help me...
G7 = G, B, D, F or B dim/G
It's just B dim...into C
G7 into C Maj or C min...
see....I could used the D dim to play in Eb MAJOR (too.lol)
or use tthe A Harmonic min b2...the Bb chord..play as Bb Maj or Bb7
Bb7 into Eb Major ( it's just for reference)
I might play Bb Maj6 , C min, G min, F min, E7 into A min
Then Bb dim C# dim into the D min chord.then E min chord...
or Bb maj7 C7 into the F MAJOR chord...( or F min)
Sometime i'll actaully play this chords Eb, G, D, F, E
Yes...there's 4 cluster notes ( i dont over think it)
It's spread out in different octave...it sounds pretty on the guitar.
Im just applying the N6 after the D min chord.....
Then.....
I'll also INVERT the F min chord and sort reharmonize..
to C# Maj7....Then play Ab7, G7 into the C MAJOR...
Apply movements I learn from other lessons.
Ab7, G7 into C MAJOR...is from the #6 lessons...
but I might apply it different ways
when using the Ab chord ( lydian #2, #4 vamp over C MAJOR)
or C double harmonic min vamp over C MAJOR.
I might play A min...Abmaj7 into E7 into A min..again.
The 5th of Ab is the Eb note...Im simply going to play Eb into E.
Im going to see it as LYDIAN ish to C minor ( as reference)
as see it as whatever lydian ish modes I know.
but let say I Apply it at the Bb chord....
these are the scales
A Harmonic min b2 = Bb lydian #6
A melodic min b2 = Bb lydian , aug, #6
D double harmonic min = Bb lydian #2, #6..
I could play A min B7 into E Maj or E min.
I simply learnd it as A melodic min #4 ( Lydian b3) ( E HArmonic MAJOR)
it's just D# into E
but I can do this too.
A min.....C Maj.....Bb7 A7 into D MAJOR ( apply the #6 lessons)
Play into the D MAJOR/Bmin
or
A min Bb dim into B min...( the Bb dim is from the N6)
or this
A min D min E min F#7 into B min....
If I play the B chord as B min...it's also just from A melodic min
B dorian b2....( I didnt necessary shift key...) I alter the B chord.
I could use it to shift key....
Once in D MAJOR/B min...
I can use the N6 to cycle back down....
B Harmonic min b2 or melodic min b2...ect
whallla....the C Maj7 chord...C7, C dim, C aug...ect.
play C dim into C# min/E MAJOR
A min or dim.......B7 into E MAJOR
or G#7 into C# min....
Then C# harmonic min b2...ect
Notice the over lap back DOWN to Amin or A MAJOR
C# min D maj7 E7
C# min D7 E7
C# min D dim E7
C# min D Maj/Bmin
C# min D dim E dim ( F melodic min)
Amin Bb7 C7 ( F melodic min).lol
it over laps.
the C#/Db maj7 chord can also be the N6 chord apply after the
C MAJOR's tonic.
That's just learning how to use it
in C MAJOR/Amin.....
When transfering to other KEYS....it might confuse alot of people
Great as always, amazing teaching and thanks for inspiring me to start a youtube chanel...make sure you check it..😀
A pleasure. Thank you.