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I am 100% behind your campaign to support chord III. I actually find that it is one of the most useful chords for preparing a chromatic modulation. One example is when aiming for iii's parallel major.
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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.
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.
Option 9 could also have a sub-dominant MINOR chord (F Ab C) which flows with a smoother transition towards the dominant V than the one you mention. Usually used in jazz writing.
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That vividly illustrates your point about contra-motion. It does make the progression much more interesting. BTW, I never realized Hamlet was into music theory: "II b or not II b."
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@@MusicMattersGB if you fail to plan then you plan to fail so I always plan. Leaving home is chord I7 and my journey will take me to chord V7alt then I return home to the tonic chord making sure my resolutions are smooth 😉
Thank you for the 20 great options of chord progression from II of any Major. But is it not correct in the case of minor chord (D minor,)in CMajorit has to be shown in small Roman numerals as ii..
We are using the Basic Roman system here. You are referring to the Extended Roman system. Both are correct. Just keeping it simple here.
2 года назад
Very good video! I would only remark, concerning inversions, that if one doesn’t want to use the traditional means to indicate them, like II63, II64 etc, I think it’s better to avoid the letters b and c (yes, I know they are widely used) because they may be confused with notes names and, in the case of b, with the flat sign. I myself always use dots: II. for first inversion, II.. for second inversion and II7… for third inversion.
It’s fine to use your own system but I’m sure you understand why I’m sticking with conventional labels for the purpose of these videos.
2 года назад
@@MusicMattersGB Yes, of course, it's not possible to change that convention. I use my system just for my studies. Thank you again for your very instructive videos!
Thank you, that gives a lot to try out. It might have been helpful if you had given a few sequences that you would avoid. I notice you did not give II, V, IV (V and IV perhaps in 2nd inversion). It might sound incomplete though. Could it be followed by I with passing notes in the base (D,c,B, A,b,C)? My daughters' harmony teacher would mark down V to IV, describing the progression as medieval (they were also told to avoid III).
V to IV isn’t always the best progression but it depends on context. III sits fairly low in the hierarchy of chords and can be problematic in minor keys because it’s augmented but it is often possible to use it.
Thanks for the video! If I'm not composing classical music, what's ghe problem with parallel 5ths and octaves? I think they sound very strong and consonant.
There’s no problem with them if for example you’re making a feature of them in say power chords. In conventional harmony the chord progressions are stronger and the independence of parts is stronger without them.
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.
If somebody else plays one of those progressions on your list, do you hear the harmonic progression with first breaking it down to the component notes and intervals, and then reassembling? Can you do that with every progression on that list, not just the most common ones? What’s the best way to learn to do that?
@@ramonacosta2647 That's a nice chromatic option. It seems to work because it has the same notes as a dominant on V but with a different bass (the III or relative major). I feel that the active part is still the V and the tritone. So for example in A minor the chord using notes C, E, G# and D (III + (add 9)) still feels to me like a very interesting, alternative version of E7 (V7). The III (flat 13) in the bass really gives it a strong flavour though.
@@MusicMattersGB Thanks for the reply. I am approaching this from a less sophisticated angle and came across the basic idea from the Nashville number system. I understand that they too prefer to use upper case throughout with suffixes like m , sus etc. for minor , sus chords etc. BTW I expect it was not your intention (?) but it has since struck me that this video would be invaluable to any aspiring singer-songwriter!
It's just variations...so all you songs dont sound the same...even if you want to stay within the Major scale. ii I V IV vi III....works for me Then just apply the same concept with other stuff. It's simple to me... D min C Maj G Maj F Maj A min E min D min C Maj G Maj A min F Maj E min D min C Maj G Maj E min F Maj A min
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You are the best teacher for these things that I ever had.
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I am 100% behind your campaign to support chord III. I actually find that it is one of the most useful chords for preparing a chromatic modulation. One example is when aiming for iii's parallel major.
Agreed
Your videos are really useful, sir. Thank you so much 🙏
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I play guitar and I must say that I'm going to buy a piano as I know this will help me so much! What fun!
It will!
Very interesting and useful! Thanks so much!
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I liked the idea i hope there are more of those videos showing the optimal next step you can do for better results, thank you so much!
Plenty more to come
Thank you for showing the possibilities from chord 2.
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20 is my favourite!
😀
Option 9 could also have a sub-dominant MINOR chord (F Ab C) which flows with a smoother transition towards the dominant V than the one you mention. Usually used in jazz writing.
Certainly a possible alternative
Excellent lesson! Thank you!
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You're a legend!
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That vividly illustrates your point about contra-motion. It does make the progression much more interesting. BTW, I never realized Hamlet was into music theory: "II b or not II b."
😀😀😀
Truly amazing , thank you so much
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Great tutorial as usual. Thank you sir
A pleasure
Excellent video
That’s kind. Glad it’s helpful
yes!
😀
Great!
😀
My main takeaway was that you can theoretically follow chord II with any chord if you're brave enough
It’s all about context
I would be curious to know whether the same can't be said for all chords.
Brave? It must be done thru substitutions to create Great new music.
😀
Thanks G
Guitar chords ie: the popular 1st 5 frets graphic. Would be good. I have a 🎹 piano. Not enough space.
😀
I’m going to sit down and see where you go with this . 😉
Great plan
@@MusicMattersGB if you fail to plan then you plan to fail so I always plan. Leaving home is chord I7 and my journey will take me to chord V7alt then I return home to the tonic chord making sure my resolutions are smooth 😉
😀
Hi, thanks a lot🌷.can you talk about elliptical chords?
Okay
Do these formulas work for every key? Or is this just specifically for c major?
Any key
Thank you for the 20 great options of chord progression from II of any Major.
But is it not correct in the case of minor chord (D minor,)in CMajorit has to be shown in small Roman numerals as ii..
We are using the Basic Roman system here. You are referring to the Extended Roman system. Both are correct. Just keeping it simple here.
Very good video! I would only remark, concerning inversions, that if one doesn’t want to use the traditional means to indicate them, like II63, II64 etc, I think it’s better to avoid the letters b and c (yes, I know they are widely used) because they may be confused with notes names and, in the case of b, with the flat sign. I myself always use dots: II. for first inversion, II.. for second inversion and II7… for third inversion.
It’s fine to use your own system but I’m sure you understand why I’m sticking with conventional labels for the purpose of these videos.
@@MusicMattersGB Yes, of course, it's not possible to change that convention. I use my system just for my studies. Thank you again for your very instructive videos!
A pleasure
Thank you, that gives a lot to try out. It might have been helpful if you had given a few sequences that you would avoid. I notice you did not give II, V, IV (V and IV perhaps in 2nd inversion). It might sound incomplete though. Could it be followed by I with passing notes in the base (D,c,B, A,b,C)?
My daughters' harmony teacher would mark down V to IV, describing the progression as medieval (they were also told to avoid III).
V to IV isn’t always the best progression but it depends on context. III sits fairly low in the hierarchy of chords and can be problematic in minor keys because it’s augmented but it is often possible to use it.
Is it possible to make a video for minor keys? Thank you.
Don’t worry. It’s in the pipeline.
Thanks for the video!
If I'm not composing classical music, what's ghe problem with parallel 5ths and octaves? I think they sound very strong and consonant.
There’s no problem with them if for example you’re making a feature of them in say power chords. In conventional harmony the chord progressions are stronger and the independence of parts is stronger without them.
@@MusicMattersGB 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.
How VII7 is not better than vi ? And bII6? I can’t imagine any chord in root position that can’t be good. What do you mean by best?
It’s all about chord progression and context.
If I is called tonic, V is called dominant, then what are II, III, IV, VI and VII called?
II Supertonic
III Mediant
IV Subdominant
VI Submediant
VII Leading note
If somebody else plays one of those progressions on your list, do you hear the harmonic progression with first breaking it down to the component notes and intervals, and then reassembling? Can you do that with every progression on that list, not just the most common ones? What’s the best way to learn to do that?
The best way is to work at hearing the chord
I’d like to subscribe to your chord 3 newsletter
😀
Kidding aside it’s a beautiful sound that introduces a lot of tension and uncertainty compare to the bread and butter 1/4/5
In a minor key try out the III maj9#5 chord in first inversion as a substitute for V.
@@ramonacosta2647 That's a nice chromatic option. It seems to work because it has the same notes as a dominant on V but with a different bass (the III or relative major). I feel that the active part is still the V and the tritone. So for example in A minor the chord using notes C, E, G# and D (III + (add 9)) still feels to me like a very interesting, alternative version of E7 (V7). The III (flat 13) in the bass really gives it a strong flavour though.
😀
Is it not usual to denote the minor chords with lower case letters?
It is in the Extended Roman system but not in the Basic Roman system, which I’m using here.
@@MusicMattersGB Thanks for the reply. I am approaching this from a less sophisticated angle and came across the basic idea from the Nashville number system. I understand that they too prefer to use upper case throughout with suffixes like m , sus etc. for minor , sus chords etc. BTW I expect it was not your intention (?) but it has since struck me that this video would be invaluable to any aspiring singer-songwriter!
It would certainly help them.
In order to break the rules you must know the rules.Thank God.the songwriters who broke the rules for more substitutions to create new sounds.
😀
It's just variations...so all you songs dont sound the same...even if you want to stay
within the Major scale.
ii I V IV vi III....works for me
Then just apply the same concept with other stuff.
It's simple to me...
D min C Maj G Maj F Maj A min E min
D min C Maj G Maj A min F Maj E min
D min C Maj G Maj E min F Maj A min
😀
Sorry I meant II, VI, V
😀
Me too but you've lost a lot of weight?
All intentional weight loss. Thanks for your concern.