It never matters where one is at in their skill level, you present music in such simple ways but with a logical explanation of your thought process. My piano teacher says that he doesn't have another pre-beginner student with such a keen interest in music theory. I always tell him my source of inspriation is your channel. He is impressed with your teaching.
What really is amazing is to take three notes and create a 30 minute movement out of e.g. Beethoven 6th Symphony. So far, I have run out of steam at around 7 minutes. But i favor concise compact writing; like Holst's Planet Suite,Each Planetary piece seems somehow to run for a satisfyingly long time, so packed full of ideas. Would appreciate a lecture on motiff development. More vids like this one, please! But i guess score analysis remains the key to building ideas.
Yes. It’s amazing how music can evolve from very small ideas. If you go to www.mmcourses.co.uk you’ll find a course analysing Bach’s Prelude and Fugue in F# Minor, which goes in depth with how the whole Fugue is constructed from a three note motif.
So beautiful melody you wrote! I love your explanation, very clear. I'm studying at Liceu conservatory here in Barcelona. You helped me so much. Thank you!!
Wow this is really great. So effective to use the triplets. I got lost with the dominant 7th terminology! Will have to go back to my grade 5 ,theory. I have lots of little snippets of tunes I have come up with and thus is so inspiring. Thanks
Hi. We can certainly do that. Have a look at our other videos on RUclips and we have plenty of melody writing material in our Theory packages at www.mmcourses.co.uk
I'm trying to compose a Harp sheet music book of 22 songs. I learned a lot from this one video. My melodies are usually unique to the measure but follow a logical chord progression. I never write a 12 measure melody line in 3 lines of music before. I will try that in my next few songs I'll write and try to use it as a habit. The old masters used an 8 measure call and response 2 lines melody arrangements. I seemed to even overlook even that? anyway, my one measure melodies are quite musical and sounds just lovely just the same. I wonder if you have used them before? The melody in this video sounds a bit childish to me. I wonder if its used for children's songs. I truly think that the old masters call and response is more mature then what you present - or am I wrong?
This is the first time I watched your video- and I understood everything clearly (even though I have a fair knowledge of music theory)- because you were so practical in your explanation. There are so many video tutorials on your channel- I feel completely lost. I am looking for answers to these points: in a static picture e.g. a picture of a flower. I want to compose few bars of music. How to get a sense of rhythm ( for melody notes and for percussion) for that static scene? How to get a sense of mood to arrange chords for that scene?- since chords form the backbone of any music composition- to begin with. Could you please guide me to the tutorials, where at least some of the points can get cleared? Thank you.
Thanks for your positive comments. We have videos that cover those areas technically. If you want to talk through how you would paint that musically you can book a one to one online lesson at www.mmcourses.co.uk
Thanks. I compose using some of your methods explained. Very easy to understand. I'm currently stuck on 4 part writing for chorus using different rhythms in all voices. Any suggestions would be appreciated. 👌
Hi. I’m glad it’s useful. We could organise a one to one Skype lesson on that if it’s helpful. You can book one under ‘private tuition’ at www.mmcourses.co.uk
Hi Gareth, I got an impression from Jackendorff and Leardahl's "A generative theory tonal music" , because they were able to reduce the phrases of Beethoven's An Ode to Joy(?) to their constituent versions of the tonic triad, that they were implying that the root and inversions of the tonic triad 'govern' the generation of the melodic phrase, at least ordinarily. I wonder is this likely or am I jumping to conclusions? Slán!
Yet another great and inspiring video! It’s interesting how you can think of modulations from a melodic perspective. You would still have the chords in mind, I guess, but once you think of it e.g. as a sequence, it immediately makes sense melodically and you end up with something purposeful and consistent.
If this were to be a instrumental melody, wouldn’t it be best to have a slur on the c natural to b in bar 6 and similar again in bar 8. It’s technically a suspension but you would still treat the crotchets as a bit of a leaving note.
I love your channel very much.. I am very happy that you create this channel. It's very helpful to my career.. :). Well, would you mind if you can combine the lesson in order, it might be very useful. Thanks
I don’t quite understand the question about combining in order because each video is a separate event but I’m glad the channel is helpful to you. Much more at www.mmcourses.co.uk
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.
im definetly going to ace my grade 3 theory exam with u explaining. It was so good along with the rest of ur vids that i HAD to subscribe. TYSM ur like a free piano teacher for theory that makes people succeed. Amazing
Wonderful video Gareth, it’s my new favourite…! 🎉 So much here…! Can I ask a question regarding the appoggiaturas, as to why they are not suspensions…? Are these modulations phrase modulations…? Thank you for this incredible video…! 😮
Sir I have to say thank you so much. I've been struggling with learning music theory for a long time, being a music producer without that knowledge, because of the heavy weight it always seemed to me. Thanks to your videos, good and well guided and illustrated explanations (and lovely melodies and songs by the way) I'm starting to get enthusiasm, and finally understand this whole world of terms and techniques, and most importantly (for me) it's practical grounding. Thank you again! And again!
A pleasure. We tend to offer shorter passages in detail on the RUclips channel, with longer more extended material in our courses at www.mmcourses.co.uk
Sir. Thank you so much for handing me the missing pieces (for me). Your teaching style is a work of art. You should teach educators how to teach as well, IMHO.
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.
I have always wanted to compose a Theme and Variations. I got the idea yesterday of taking a Mozart theme and varying it. Now I have gotten even more specific. Even though the Turkish March is not my favorite Mozart piece(his 40th symphony is my favorite or if talking specifically piano works, the K 545 is my favorite), it does have what I think is an excellent theme to develop into a theme and variations. That is the beginning A minor section in ABA' form. There are multiple reasons that I think this is a great theme to develop into a theme and variations but perhaps the strongest reason of all is that Mozart does not even touch that theme when it comes to development, he only develops the A major and F# minor sections of the rondo. The repeat of the theme is a pure repeat, no note changes at all. Since Mozart does not develop this beginning theme, that means I can do whatever I want with it in terms of development. I could have a variation where it goes from a March rhythm to a Waltz rhythm and the time signature changes respectively. I could have it modulate to another key like say Bb major via a pivot chord. I could do anything to it. Thing is, well, variations tend to build on each other so the second variation will often be more intense than the first variation and so on as you get more and more variations. This is what makes Theme and Variations harder than it seems. With each progressing variation it tends to get more intense but you somehow have to have a satisfactory ending to it and not leave the listener hanging on a fleeting cadence. I was wondering if you had any ideas on how to vary the A minor theme of Mozart's Turkish March(bars 1-25 of the piece).
So many options. Quavers. Triplets. Semiquavers. Major/ minor tonality. Right hand/ left hand. Varied textures - chordal, broken chords, arpeggiated, single lines, counterpoint. Etc. Enjoy!
Thank you. 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 very much for this great lesson, Sir. I am fairly new to music theory, but I was wondering if it was possible to analyze what is going on in your second line in a different way. You explain that we modulate here from D major to G major, then from G major to A major and back to D major on the third line. Now, when we look at the chords you chose here, we have a D followed by a G in the first 2 bars, then an E followed by an A. The D to G progression could be analysed as a simple I to IV progression in the key of D, couldn't it be? I know that you introduced a C natural in the melody at the end of the first phrase, but it could still be considered an appoggiatura before the B while playing the G chord in the key of D, or am I wrong? Then, we do have an E chord preceding an A chord. The E chord is definitely not part of the key of D. But couldn't it be considered a mere secondary dominant to the A chord coming just next? If that's true, then your entire piece of music here could be analysed as 100% being in the key of D major with no modulation whatsoever, couldn't it be? Is my little analysis a silly, or a valid one? Thanks again, you are a great teacher.
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.
Well done! I have never understood harmony and modulation except when I found about your videos! Your lessons are exquisite and they certainly deserve more views. Thank you and keep it up!
Adding the G to the chord makes it a dominant seventh chord in the key of D. So the chord is a V7 with the notes A, C#, E, G. See www.mmcourses.co.uk for more.
@@MusicMattersGB I'm watching almost every video of you...in this crucial time, I'm watching almost every video of your.. And I'm enjoying a lot, in this current situation...🙏😊
Hi Gareth - again another helpful video presented in a very accessible manner. It would be really useful to see a Stage 2 of this piece where you develop the harmony. I have two Arnold Schoenberg's books (composition and harmony) - they are hard going. It would be again useful if you were to make links to some of Schoenberg's (or Hindemith's) written texts; it would help me consolidate ideas in to a one whole - at present I have fragments of understanding and a bit of cementing together would help.
Learn Music Online - Check out our courses here!
www.mmcourses.co.uk/courses
Your explanation is so clear, wonderful work, thank you so much for this.
A pleasure. See www.mmcourses.co.uk for much more
It never matters where one is at in their skill level, you present music in such simple ways but with a logical explanation of your thought process. My piano teacher says that he doesn't have another pre-beginner student with such a keen interest in music theory.
I always tell him my source of inspriation is your channel.
He is impressed with your teaching.
That’s lovely. Thanks.
This is an utter gem! nobody online has put forth insight in this manner. Thank you so much music matters.
That’s really kind. See www.mmcourses.co.uk for much more.
@@MusicMattersGB I certainly will, thanks again.
😀
What really is amazing is to take three notes and create a 30 minute movement out of e.g. Beethoven 6th Symphony. So far, I have run out of steam at around 7 minutes. But i favor concise compact writing; like Holst's Planet Suite,Each Planetary piece seems somehow to run for a satisfyingly long time, so packed full of ideas.
Would appreciate a lecture on motiff development.
More vids like this one, please! But i guess score analysis remains the key to building ideas.
Yes. It’s amazing how music can evolve from very small ideas. If you go to www.mmcourses.co.uk you’ll find a course analysing Bach’s Prelude and Fugue in F# Minor, which goes in depth with how the whole Fugue is constructed from a three note motif.
Outstanding! Thank you very much for your clear explanation of concepts which are often difficult to put ones finger on. Excellent job!
Most kind. Much more at www.mmcourses.co.uk
So beautiful melody you wrote! I love your explanation, very clear.
I'm studying at Liceu conservatory here in Barcelona. You helped me so much.
Thank you!!
That’s most kind. See www.mmcourses.co.uk for much more help.
Wow this is really great. So effective to use the triplets. I got lost with the dominant 7th terminology! Will have to go back to my grade 5 ,theory. I have lots of little snippets of tunes I have come up with and thus is so inspiring. Thanks
Glad it’s helpful. See www.mmcourses.co.uk for details of our online courses and information about our Maestros programme.
I love this lesson specially, sir can you please teach more on writing melodies without the use of any instruments...?
Hi. We can certainly do that. Have a look at our other videos on RUclips and we have plenty of melody writing material in our Theory packages at www.mmcourses.co.uk
Are you inspired by Mozart ? LOL
Absolutely
A lot of good music videos are highly complimented. I have no compliment, whatsoever. But here are a few words. This I consider worth watching.
You’re very kind. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
I'm trying to compose a Harp sheet music book of 22 songs. I learned a lot from this one video. My melodies are usually unique to the measure but follow a logical chord progression. I never write a 12 measure melody line in 3 lines of music before. I will try that in my next few songs I'll write and try to use it as a habit. The old masters used an 8 measure call and response 2 lines melody arrangements. I seemed to even overlook even that? anyway, my one measure melodies are quite musical and sounds just lovely just the same. I wonder if you have used them before? The melody in this video sounds a bit childish to me. I wonder if its used for children's songs. I truly think that the old masters call and response is more mature then what you present - or am I wrong?
Lots of different approaches. Variety is good. Good luck with your project.
Hi, could you please explain what's the meaning of lyrical style with melody
A line that sings.
This is the first time I watched your video- and I understood everything clearly (even though I have a fair knowledge of music theory)- because you were so practical in your explanation. There are so many video tutorials on your channel- I feel completely lost.
I am looking for answers to these points: in a static picture e.g. a picture of a flower. I want to compose few bars of music.
How to get a sense of rhythm ( for melody notes and for percussion) for that static scene?
How to get a sense of mood to arrange chords for that scene?- since chords form the backbone of any music composition- to begin with.
Could you please guide me to the tutorials, where at least some of the points can get cleared?
Thank you.
Thanks for your positive comments. We have videos that cover those areas technically. If you want to talk through how you would paint that musically you can book a one to one online lesson at www.mmcourses.co.uk
Excellent tutorial! In a clear, concise way, makes easy something that can be really intimidating. thanks and I will contact you.
That’s great. I look forward to hearing from you.
Thanks. I compose using some of your methods explained. Very easy to understand. I'm currently stuck on 4 part writing for chorus using different rhythms in all voices. Any suggestions would be appreciated. 👌
Hi. I’m glad it’s useful. We could organise a one to one Skype lesson on that if it’s helpful. You can book one under ‘private tuition’ at www.mmcourses.co.uk
This guy is so helpful thank you so much music matters.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
You are a fabulous teacher. Thank you so much for explaining things so well. Timothy
You’re most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Hi Gareth, I got an impression from Jackendorff and Leardahl's "A generative theory tonal music" , because they were able to reduce the phrases of Beethoven's An Ode to Joy(?) to their constituent versions of the tonic triad, that they were implying that the root and inversions of the tonic triad 'govern' the generation of the melodic phrase, at least ordinarily. I wonder is this likely or am I jumping to conclusions? Slán!
In the case of Ode to Joy that applies well.
Did anyone else keep thinking "just write 'la ci darem la mano'!!"
😀
Yet another great and inspiring video!
It’s interesting how you can think of modulations from a melodic perspective. You would still have the chords in mind, I guess, but once you think of it e.g. as a sequence, it immediately makes sense melodically and you end up with something purposeful and consistent.
The best way is to try and think about both melody and harmony as you go.
Thanks for sharing this Gareth - simple yet effective lesson!
A pleasure. Much more at www.mmcourses.co.uk
Can you do a video on how to figure out the key signature after writing a melody
Ok
If this were to be a instrumental melody, wouldn’t it be best to have a slur on the c natural to b in bar 6 and similar again in bar 8. It’s technically a suspension but you would still treat the crotchets as a bit of a leaving note.
Good thought.
It was REALLY helpful! Thank you so much for sharing!!
A pleasure. Much more at www.mmcourses.co.uk
I love your channel very much.. I am very happy that you create this channel. It's very helpful to my career.. :). Well, would you mind if you can combine the lesson in order, it might be very useful. Thanks
I don’t quite understand the question about combining in order because each video is a separate event but I’m glad the channel is helpful to you. Much more at www.mmcourses.co.uk
Thank you soo much for these videos! please keep uploading them!
That’s great. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our Maestros programme.
Thank you for your Explanation it’s really appreciated 😊
A pleasure. Take a look at www.mmcourses.co.uk
Hi sir how to make and write, arrange beats for a melody composed which should be first decided
We have plenty of videos covering the various dimensions
Thank you sir.. You are indeed my Favorite Music Teacher
That’s very kind. Much more at www.mmcourses.co.uk
thank u so much..it was very useful!!
That’s very kind. See www.mmcourses.co.uk for our 24 online courses and to find out about Music Matters Maestros.
The opening bar reminds me of Mozart's aria la ci darem la mano!
😀
thankyou for sharing your knowledge!
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.
wish I had you as teacher some 50 y ago ))) it's a beauty. pl continue to make the world a little bit better ...
That’s lovely of you. Thank you. www.mmcourses.co.uk
im definetly going to ace my grade 3 theory exam with u explaining. It was so good along with the rest of ur vids that i HAD to subscribe. TYSM ur like a free piano teacher for theory that makes people succeed. Amazing
I’m glad it’s helpful. If you really want to nail it have a look at our courses at www.mmcourses.co.uk
Thank you so much for all your videos :)
A great pleasure. Much more at www.mmcourses.co.uk
I think i almost covered most of ur videos👏
Well done
God bless you my master ✅💯🤴
You too. You’re most kind
Wonderful video Gareth, it’s my new favourite…! 🎉 So much here…! Can I ask a question regarding the appoggiaturas, as to why they are not suspensions…? Are these modulations phrase modulations…? Thank you for this incredible video…! 😮
Appoggiaturas and suspensions are very similar in impact. Think of an appoggiatura as an unprepared suspension.
Sir I have to say thank you so much. I've been struggling with learning music theory for a long time, being a music producer without that knowledge, because of the heavy weight it always seemed to me. Thanks to your videos, good and well guided and illustrated explanations (and lovely melodies and songs by the way) I'm starting to get enthusiasm, and finally understand this whole world of terms and techniques, and most importantly (for me) it's practical grounding. Thank you again! And again!
It’s a pleasure. You would find our courses helpful at www.mmcourses.co.uk
Beautiful! Even if there were things that i didn't grasp. :)
A pleasure. See www.mmcourses.co.uk for our 24 online courses and details of our Music Matters Maestros.
😀
it sounds like an aria from don giovanni but go on
😀
I am extremely enjoying your music lessons. Can we also have extended 32 bars composition. So much grateful
A pleasure. We tend to offer shorter passages in detail on the RUclips channel, with longer more extended material in our courses at www.mmcourses.co.uk
Thank you that was really helpful!
Excellent. Much more at www.mmcourses.co.uk
Sir. Thank you so much for handing me the missing pieces (for me). Your teaching style is a work of art. You should teach educators how to teach as well, IMHO.
A pleasure. Thank you.
@@MusicMattersGB You're Welcome, and I just purchased one of your courses! Super happy
Enjoy!
It’s actually a pretty great melody
That’s kind
We expect more videos on creating melodies to learn the tricks...wonderful job sir
Will do thanks. In the meantime check out our playlist on melody writing videos we’ve made here: ruclips.net/p/PL5j5H06QkhxEzAGysOZb1g4s-1cjT5v2R
Thank you, very helpful !
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.
Is that an 'escape note', in the triplet used in the sequence?
Yes. Well spotted.
Quite helpful - thanks!
Great. Much more at www.mmcourses.co.uk
I have always wanted to compose a Theme and Variations. I got the idea yesterday of taking a Mozart theme and varying it. Now I have gotten even more specific. Even though the Turkish March is not my favorite Mozart piece(his 40th symphony is my favorite or if talking specifically piano works, the K 545 is my favorite), it does have what I think is an excellent theme to develop into a theme and variations. That is the beginning A minor section in ABA' form.
There are multiple reasons that I think this is a great theme to develop into a theme and variations but perhaps the strongest reason of all is that Mozart does not even touch that theme when it comes to development, he only develops the A major and F# minor sections of the rondo. The repeat of the theme is a pure repeat, no note changes at all.
Since Mozart does not develop this beginning theme, that means I can do whatever I want with it in terms of development. I could have a variation where it goes from a March rhythm to a Waltz rhythm and the time signature changes respectively. I could have it modulate to another key like say Bb major via a pivot chord. I could do anything to it. Thing is, well, variations tend to build on each other so the second variation will often be more intense than the first variation and so on as you get more and more variations.
This is what makes Theme and Variations harder than it seems. With each progressing variation it tends to get more intense but you somehow have to have a satisfactory ending to it and not leave the listener hanging on a fleeting cadence. I was wondering if you had any ideas on how to vary the A minor theme of Mozart's Turkish March(bars 1-25 of the piece).
So many options. Quavers. Triplets. Semiquavers. Major/ minor tonality. Right hand/ left hand. Varied textures - chordal, broken chords, arpeggiated, single lines, counterpoint. Etc. Enjoy!
Thank you so much sir! Great explanations! Great tips! :)
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
I love these videos
Thank you. 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 very much for this great lesson, Sir.
I am fairly new to music theory, but I was wondering if it was possible to analyze what is going on in your second line in a different way.
You explain that we modulate here from D major to G major, then from G major to A major and back to D major on the third line.
Now, when we look at the chords you chose here, we have a D followed by a G in the first 2 bars, then an E followed by an A.
The D to G progression could be analysed as a simple I to IV progression in the key of D, couldn't it be? I know that you introduced a C natural in the melody at the end of the first phrase, but it could still be considered an appoggiatura before the B while playing the G chord in the key of D, or am I wrong?
Then, we do have an E chord preceding an A chord. The E chord is definitely not part of the key of D. But couldn't it be considered a mere secondary dominant to the A chord coming just next? If that's true, then your entire piece of music here could be analysed as 100% being in the key of D major with no modulation whatsoever, couldn't it be?
Is my little analysis a silly, or a valid one?
Thanks again, you are a great teacher.
It’s possible to view this from that kind of perspective but the accidentals are certainly pushing us through other keys.
@@MusicMattersGB Alright. Thank you for taking the time to answer me.
😀
The best music teacher of the whole RUclips..from India
You’re very kind. Much more at www.mmcourses.co.uk
it's a good melody!!
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 kindly
Glad it’s helpful. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Do love your tutorials. Clear and helpful. 👏👍
A pleasure. Much more at www.mmcourses.co.uk including our 25 online courses and details of our exciting Maestros programme.
nicelly explained. ( cheers from France )
That’s most kind. Much more at www.mmcourses.co.uk including details of our 25 online courses and our Maestros programme.
Excellent sir. Thank you
That’s great. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
the best👌👌👑👑
You’re very kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
I love your voice
That’s nice of you!
Awesome lesson
😀
Thank you!
A pleasure. Much more at www.mmcourses.co.uk
great teaching find it helpful.... thanks
That’s brilliant. See www.mmcourses.co.uk for details of our 24 online courses and of our Music Maestros programme.
Cám ơn Thầy
Glad it’s helpful. Much more at www.mmcourses.co.uk
Sensacional!!!
Thank you
Very nice!
That’s most kind
Well done! I have never understood harmony and modulation except when I found about your videos! Your lessons are exquisite and they certainly deserve more views. Thank you and keep it up!
Hi. Thanks for your kind comments. Much more at www.mmcourses.co.uk
Star Wars
😀
Thanks.
A pleasure. Much more at www.mmcourses.co.uk
How does one then sing along such a melody?
One could learn it or improvise around it.
Chords of 2nd and third phrase please
D G E A. One chord per bar.
Hi in the second chord note E is repeated and WE have Also have a G .. Closer to chord 2? How do you arrive to chord 5? A C Sharp E ? Thank you
Clifford Moorghen V7 chord
Adding the G to the chord makes it a dominant seventh chord in the key of D. So the chord is a V7 with the notes A, C#, E, G. See www.mmcourses.co.uk for more.
😀
Спасибо!
A pleasure! Thank you very much for your generosity and support for the channel!
Very helpful. Thank you.
A pleasure. See www.mmcourses.co.uk for much more.
Very interesting and enlightening. 谢谢
That’s most kind. Much more at www.mmcourses.co.uk
Don"t work for me this technik Whay?
Fair enough.
@@MusicMattersGB Oke thanks
😀
Love this - Thank You
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Very good, thanks
That’s most kind. Much more at www.mmcourses.co.uk including 25 online courses and details of Music Matters Maestros.
Very helpful. Thank you!
Glad it’s useful. See www.mmcourses.co.uk for many more resources.
how to write a bebop line?:)
Good question.
Yes, ir really helped a lot!
That’s most kind. See www.mmcourses.co.uk for details of our Maestros programme and of our 25 online courses.
Your videos are exactly what I needed. Thank you
It’s a pleasure. We have many videos out there and much more at www.mmcourses.co.uk
Thank you so much for this!
That’s most kind. Much more at www.mmcourses.co.uk
Someone to care for, to be there for....
😀
Music Matters 😉
Excellent as always
A pleasure
You Sir are a great teacher!
That’s very kind. See www.mmcourses.co.uk for much more.
Brilliant
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Thank you
That’s most kind. Much more at www.mmcourses.co.uk
brilliant!
Glad it’s helpful. See www.mmcourses.co.uk for much more.
Brilliant
That’s kind. See www.mmcourses.co.uk for much more.
thank you again love these videos
Great. Glad they’re helpful.
Thank you 😊
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@@MusicMattersGB I'm watching almost every video of you...in this crucial time, I'm watching almost every video of your.. And I'm enjoying a lot, in this current situation...🙏😊
@@MusicMattersGB Thank you.
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I usually take composition ideas from jazz.
That’s great.
Hi Gareth - again another helpful video presented in a very accessible manner. It would be really useful to see a Stage 2 of this piece where you develop the harmony. I have two Arnold Schoenberg's books (composition and harmony) - they are hard going. It would be again useful if you were to make links to some of Schoenberg's (or Hindemith's) written texts; it would help me consolidate ideas in to a one whole - at present I have fragments of understanding and a bit of cementing together would help.
That’s something we could run with.
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