Changing Harmony from Major to Minor - Music Theory
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- Опубликовано: 9 июл 2024
- Discover how to harmonise the same melody in either a major key or a minor key. In many cases the implied tonality is obvious when one looks at a melodic line. Sometimes it isn’t entirely clear if a melodic phrase should be harmonised in a major key or in the relative minor. This music theory lesson starts with a melodic line and demonstrates how it can be harmonised equally successfully in both G major and E minor.
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🕘 Timestamps
0:00 - Introduction to changing harmony from major to minor
0:22 - Working out the key of the melody
1:49 - Playing the melody
2:50 - Simple major harmony
4:39 - Advanced major harmony
10:14 - Playing the major harmonization
10:27 - Simple minor harmony
11:55 - Advanced minor harmony
15:40 - Playing both major and minor versions
16:09 - Conclusion
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I've taken the Music Matters Keyboard Harmony course and highly recommend it. Just as he does here, Gareth's gentle manner and patient explanations make learning harmony (and his many other subjects) a real pleasure.
@ComposerRocks It’s really kind of you to write and I’m so glad you found the course helpful.
Clever, clear and sober, excellent teacher and class
Glad it’s helpful. Much more at www.mmcourses.co.uk
Two years ago I knew nothing about music theory. But I found Gareth so calm and knowledgable that I have watched hundreds of his videos, and studied on the side. My piano teacher wishes my ear training was better (as do I!!) but he praises my level of musical knowledge.
I'm starting this week on tackling minor songs and this video really comes at a good time.
Merci.
Fabulous. That’s most kind. Much more at www.mmcourses.co.uk
Thank you so much, you always let me interesting thoughts about music. Best regards from Argentina!
A pleasure. Much more to assist you at www.mmcourses.co.uk
Absolutely love your videos! They are extremely helpful and I watch one every time you post on this playlist! You make everything very clear and concise and you are not like others teaching music theory who say “today I’m going to be teaching you music theory in one hour!” This is something that has helped me a lot and have even started writing songs using the knowledge you have thought. It is also very interesting hearing the British terms for notes and other music names being in America. Keep up the great videos! ❤
That’s great. Have you looked at our courses at www.mmcourses.co.uk
Just you mentioning in passing that the 7 chord tends to work best in first inversion is a big help to me … I’ve just been playing around with that in some basic progressions, and realising how many times I’ve probably heard that in my life … 🙃 I really need to work on inversions … 😏 The tip about accidentals (what would be sharp 6ths and/or 7ths in minor) indicating a minor key, is a ‘key’ 😏 one to remember! Thank you!
A pleasure!
This has been very helpful. Thanks! Coincidentally, I've been working on a piece with this same issue. I found it interesting that your minor version felt like a Christmas carol. I guess there are lots of minor hymns at Christmas time.
Glad it’s useful
Thanks this was helpful. 🎹
Good to hear. Much more at www.mmcourses.co.uk
God i wish you could make a series on teaching how to write a fugue. I would've died a happy man if i could learn how to write one
If you go to www.mmcourses.co.uk and click on courses you’ll find a recorded webinar on exactly that topic. We also have an analysis course on a Bach Prelude and Fugue that shows you exactly how Bach wrote that Fugue.
Love it - very useful. One remaining issue - what about raising the C to Csharp - for a melodic minor "feel"? Does that only work for parts in the harmony which are clearly melodic? Does it get confusing mixing melodic with harmonic minor? Here you have only gone for a raised seventh - so a leading note in E minor.
Depending on context, sometimes odd effects may emerge with the interval from D sharp down to C - giving an exotic effect - which can be effective if wanted, but undesirable otherwise. It's perhaps very much dependent on context, and whether any of the parts have melodies which stand out.
You’re absolutely correct about context. It’s fine to mix harmonic and melodic minor as long as you don’t create harmonic conflict between the two. As you suggest, sometimes raising 6 next to raising 7 avoids the melodic augmented 2nd.
That's so interesting 🎉
Glad it’s helpful. Much more at www.mmcourses.co.uk
Wonderful video (as always). In your first example (in G Major): Could the 4th note in the 2nd bar (tenor) be considered an appoggiatura?
It’s part of the chord. it’s a chord V with the 7th added and it’s between the beat so it’s not accented. Typically appoggiaturas land on the beat so you can lean on them. The translation being a leaning note. So no, it’s not an appoggiatura it’s just leaping from the a to the c to make the chord stronger before the final chord I.
The 4th note of the tenor in bar 2 is adding a 7th to the V established on the beat. It could indeed be the preparation for a 4-3 suspension on beats 3&4. That would be a suspension rather than an appoggiatura because it’s prepared.
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Thank you for another excellent video.1) In the G Major version, Bar 1 beat 3 where you outline the viib because the F# is the LN shouldn't it be in the same part? i.e. F# alto leading to the G in soprano? 2)In the e minor version, Bar 1 Beat 3, The chord ii7 F# would be a half diminished with the E natural as the 7th? Also, would it be stronger to think of the D# the second note of the quaver as the LN rather than a lower neighbour as it is resolving to the E in beat 4? Thanking you - Mark
A pleasure. Good reflections. In the G major version the VIIb is mildly implied and the F# really acts as a changing note which makes the consequent movement to D stronger voice leading.
Perfectly reasonable view of the e minor version. The D# is both a leading note and a lower neighbour tone so it’s legitimate to regard it both ways.
So, even if a melody in a major key is harmonized with diatonic minor chords, the tonality remains major, right? Or tonality changes to minor? Also, is there any connection between the dependent/independent melody topic and this issue?
See my previous response
Can we say the same about modes, isn't it? Like sometimes, for a phrase or part of a melody, we become "mode" ambiguous, isn't it
Absolutely
You do not mention it, though it is obviously implicit, the harmonisations can also be used to effect a smooth modulation.
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Hi Gareth, in the first bar, just to clarify, if the chord was F#dim 7, D# is view as lower chromatic auxillary note but if it was D# dim 7 2nd version D# is view as a harmony note ; thats the 2 ways of viewing it? Many thanks :)Any updates? Thanks
If D# belongs to the chord it’s a harmony note/ chord tone. It’s not really a lower auxiliary note if it’s the resolution of a 7-6 suspension.
@@MusicMattersGB sorry I think I made a mistake . At a closer look, first bar Am has a F# , could this F# be viewed as a 7 -6 suspension non chord tone? As well as a F# dim 7 ( 2 nd inversion) chord tone? Thank u
@sayonara6301 Yes there’s a 7-6 suspension going on.
@@MusicMattersGB however if this F# is a F# dim second inversion then this F# is a chord tone ? Thank u
@sayonara6301 Yes. As I explain in the video there are two ways of looking at that corner.
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@@MusicMattersGB i loved the way you teach and you are so talented🙌🏻. i think i will have to dig up your basic lectures coz i am not great at staff notations so will have to make it stronger. Great work
@jyotibhande9808 That’s most kind. If you want to pick up the essentials of theory, notation etc I suggest you look at our Theory 1-5 bundle course which covers all the ground.
@@MusicMattersGB sure. How could i access those
If you go to www.mmcourses.co.uk you can click on courses then find the theory bundle on the course list. Enjoy!
I was looking for this 3 days ago. 😂
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Glad you found it now!
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If I were to listen to the melody without harmony, I would answer the question 'What key is it?' as G major. Most likely, I would also harmonize the melody in G major. However, the absence of the 6th and 7th degrees allows us the opportunity to harmonize it in minor, I understand. So, if this melody were presented to me already harmonized in minor(without #6 or #7) and I were asked about the key, my answer would still be G major. I would perceive the chord degrees in your video minor harmonization as vi-vi-vii-vi-ii-III-vi. It's a complete paradox. Can you help? Please... Kind Regards.
You’re absolutely correct. The point of the video is to explore how sometimes we have options.
@@MusicMattersGB So, even if a melody in a major key is harmonized with diatonic minor chords, the tonality remains major, right? Also, is there any connection between the dependent/independent melody topic and this issue?
@ilkerdeveci8012 If you use diatonic chords belonging to a major key, the piece is in a major key. If you use diatonic chords belonging to a minor key, the piece is in a minor key.
Tonality of melody chanhes according to chord choices. Right?
Thank's a lot
@ilkerdeveci8012 It’s really the key choice that determines things. Are you using the chords that belong to this key or to another?