This series is literally the best music theory lecture on the Web. I’ve been trying to understand functional harmony since forever, now it’s finally clear. Thank you.
For me this series not only explains the functional harmony but also the music theory as a whole. Most content online only goes "here's this tool, that tool, that tool. Congratz, now you know music theory". Without explaining what are the tools for and what is even the problem we are solving. I even attended lessons where the teacher said in minor mode the V dominant IS a major chord. When I asked why is that, cause I learned that both i and v in minor are minor chords, the teacher said I'm just wrong. So these tutorials are really precise information, I appreciate it a lot.
So, functional harmony fits perfectly the major tonality. The minor tonality has to be adapted - by adding the harmonic and melodic scales - to attain similar effects to those that are attainable in the major tonality. Is it possible to adapt other modes of the diatonic scale in a similar way? Has something like that already been done successfully?
Hello Greg and thank you for this video. I have two questions about the natural minor scale please: The vi degree has a m6 (its root) which is unstable. So why does it have a tonic function (and not a subdominant function)? See 3:33. Same kind of question: degree v has no m6 so why doesn't it have a tonic function?
I composed something in Ebm last year, music theory didn't enter my head at the time, was just how I was feeling on the day. The chord progression is descending, Ebm (i), Db (VII), Abm (iv), Gb (III), ending back on Ebm (i) Is this an acceptable progression?
So, in theory I can use harmonic min scale for the harmony but melodic scale for the melody in the same song? And basically I can use any combinations of the minor scales for the same song?? Thnx, bro for super lessons!!
7:11 can someone help explain the point about the augmented second due to consecutive letter names? I'm having trouble understanding that and why it isn't just a minor third? what are the letter names? TIA!
He means simply the names of the notes: either letters C D E F etc., or do re mi fa etc. for latin people. Every scale, in any key, is some permutation of these note names, which can be natural, sharp, flat, double-sharp etc. but the scale DOES NOT skip or repeat names. So in A harmonic minor we'll call the raised degree 7 a G# and NOT a Ab, otherwise we'd have a scale with no G and two As (one flat and one natural). For that same logic, we must call the interval between F and G# an augmented second, not minor third (though they both contain 3 half-tones), because they are two consecutive notes.
![Demonstrating The Modes of Harmonic Minor [MUSIC THEORY / SCALES]](http://i.ytimg.com/vi/qk8uobP4uJE/mqdefault.jpg)
This series is literally the best music theory lecture on the Web. I’ve been trying to understand functional harmony since forever, now it’s finally clear. Thank you.
Agreed! It is so clear and concise, doesn't leave out the detail, and doesn't do the hand waving that is so common in music theory videos.
For me this series not only explains the functional harmony but also the music theory as a whole. Most content online only goes "here's this tool, that tool, that tool. Congratz, now you know music theory". Without explaining what are the tools for and what is even the problem we are solving. I even attended lessons where the teacher said in minor mode the V dominant IS a major chord. When I asked why is that, cause I learned that both i and v in minor are minor chords, the teacher said I'm just wrong. So these tutorials are really precise information, I appreciate it a lot.
Really amazing! After many years I finally understood something about harmony and function if each chord! Thank you for your help!
Precise to te point, explained in a few minutes why the extra 2 notes are needed for the natural minor. Good job!
It took me so long to understand when to use melodic minor. It’s in the NAME!
Greg, this is incredible, many thanks from Spain!
Your videos explain so much to me - I really appreciate you including a solid rational basis for your statements.
This series is amazing! Thanks!
Great series of videos!
Excellent video, thank you very much!
Thank you
So, functional harmony fits perfectly the major tonality. The minor tonality has to be adapted - by adding the harmonic and melodic scales - to attain similar effects to those that are attainable in the major tonality. Is it possible to adapt other modes of the diatonic scale in a similar way? Has something like that already been done successfully?
Hello Greg and thank you for this video. I have two questions about the natural minor scale please: The vi degree has a m6 (its root) which is unstable. So why does it have a tonic function (and not a subdominant function)? See 3:33. Same kind of question: degree v has no m6 so why doesn't it have a tonic function?
I composed something in Ebm last year, music theory didn't enter my head at the time, was just how I was feeling on the day.
The chord progression is descending,
Ebm (i), Db (VII), Abm (iv), Gb (III), ending back on Ebm (i)
Is this an acceptable progression?
So, in theory I can use harmonic min scale for the harmony but melodic scale for the melody in the same song? And basically I can use any combinations of the minor scales for the same song?? Thnx, bro for super lessons!!
Thanks!!
7:11 can someone help explain the point about the augmented second due to consecutive letter names? I'm having trouble understanding that and why it isn't just a minor third? what are the letter names? TIA!
He means simply the names of the notes: either letters C D E F etc., or do re mi fa etc. for latin people. Every scale, in any key, is some permutation of these note names, which can be natural, sharp, flat, double-sharp etc. but the scale DOES NOT skip or repeat names. So in A harmonic minor we'll call the raised degree 7 a G# and NOT a Ab, otherwise we'd have a scale with no G and two As (one flat and one natural). For that same logic, we must call the interval between F and G# an augmented second, not minor third (though they both contain 3 half-tones), because they are two consecutive notes.