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@@MusicMattersGB I have already purchased a few of your excellent courses. The only thing that is tough is I am in America and so many naming conventions are different. such as note names and cadences. I wish that weren't the case but otherwise, the courses are excellent and you are an amazing teacher! Thank you so much!
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Always love the Bach chorales. Minor modes have no dominant chord so the harmonic minor and melodic minor have the purpose of giving us a dominant V7 or vii7 chord. The dominant chord establishes the key and is essential for keeping the choir in the “corral”. 😄 Melodic minor is for choirs because it’s easier to sing. Thanks for the inspiration, love your videos, I have them going in the background of my shop.
Thanks Gareth, another wonderful video. I am getting so much out of these - I didn't think my appreciation of Bach could ever grow, but it certainly has, watching this series.
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Great video, as always. In particular, I like the explanations of when to use harmonic or melodic minor, and the difference is ascending and descending in those keys. Helps to make sense of when accidentals are part of the key and when to choose to use them, etc.
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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.
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Hello Gareth, thank you for these awesome videos. I have a question for you. At the timestamp 5:20 you begin to talk about the E natural in the phrase that begins with the pickup notes to the first measure. It seems to me like you implied that the E natural comes from the F# melodic minor scale, but it was my understanding that the E natural would be derived from the natural F#m scale instead, since E is a whole step below F#m. It is also my understand that both F# melodic and harmonic minor scales would have a raised 7th, which would be E#. Is that just a small mistake that was made when recording the video, or am I misunderstanding how the scales can be used between ascending and descending? 🙂
E natural appears as the 7th degree in the descending melodic minor scale of F# but in the melodic minor scale the ascending and descending can be reversed in a piece of music.
Sir, In the first phrase on the second beat, we have C# (Db) in the bass and D natural in the Alto [Enharmonic equivalent] which are octaves apart. Are they considered as false relation?/
This is s great video but for guitar players trying to learn this lesson between harmonic and melodic minor, you should make another video using tablature as well. I know how to transcribe the notes into tablature but for others who don't/can't, that would help because although piano and guitar kind of go hand in hand, not many guitar players (nowadays) can test sheet music
Indeed. Some theorists even deem contrary motion of this kind not to be consecutive. Others feel strongly that we should still regard the movement as consecutive. Contrary motion certainly makes it milder.
That’s possible. It’s important to resolve the 7th in a V7 and usually in a II7. Other 7ths have less of a voice leading pull in a number of harmonic scenarios.
This is all very well but you have to remember that we were all under the spell of Glenn Gould and the idea that the modern piano plays Bach correctly. I'm sure you know that the study of historical tunings has made great advances and the 'well temper' was quite different from equal temperament: so that these melodies and harmonies would have sounded quite different too. I draw two conclusions. It is really just chance that Bach's style works so perfectly on equal temperament instruments, and that is the basis for his central position in our music. And secondly, maybe this explains the otherwise astonishing and inexplicable fact that Telemann was considered a far superior composer in Bach's lifetime. Telemann sounds monotonous and pedestrian to my ears: but maybe it is just because his harmonic style doesn't work on equal temperament instruments. Keep up the good work.
The matter of temperament is well raised but it’s not the only issue by which we might evaluate Baroque music, technically or emotionally. Personally my background is far more influenced by organists than by Gould - organ design, pipe voicing, low wind pressures etc that enable a more authentic Baroque sound.
![Demonstrating The Modes of Harmonic Minor [MUSIC THEORY / SCALES]](http://i.ytimg.com/vi/qk8uobP4uJE/mqdefault.jpg)
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Hi, could you do a video on how to use the parallel keys when writing?
Ok
@@MusicMattersGB Thank you!
😀
Brilliant! Bach is the best! Thank God for Bach, and for your wonderful analysis.
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Great stuff. Unknowingly, you are my best teacher right now. I do have a piano teacher, but this is next level and what I want to complement with.
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Great lesson! I love this series and love Bach!!! Thank you!!!
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@@MusicMattersGB I have already purchased a few of your excellent courses. The only thing that is tough is I am in America and so many naming conventions are different. such as note names and cadences. I wish that weren't the case but otherwise, the courses are excellent and you are an amazing teacher! Thank you so much!
Yes. Apologies for the terminology issues!
Thank you very much! Bach is beautiful. Your analysis is put in a way that is easy to understand.
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Brilliant as usual! Thank you for the good work, Gareth.
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Thanks A lot for Each video ...
❣️🙏💫🤗
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Such beautiful music. Thank you for explaining some of the genius behind it.
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Always love the Bach chorales.
Minor modes have no dominant chord so the harmonic minor and melodic minor have the purpose of giving us a dominant V7 or vii7 chord. The dominant chord establishes the key and is essential for keeping the choir in the “corral”. 😄
Melodic minor is for choirs because it’s easier to sing.
Thanks for the inspiration, love your videos, I have them going in the background of my shop.
😀
Thanks Gareth, another wonderful video. I am getting so much out of these - I didn't think my appreciation of Bach could ever grow, but it certainly has, watching this series.
That’s great. Bach is a rich lifetime study.
Great video. I enjoyed every video of yours and learned a lot from it. For this a BIG THANK YOU to you.
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Great video, as always. In particular, I like the explanations of when to use harmonic or melodic minor, and the difference is ascending and descending in those keys. Helps to make sense of when accidentals are part of the key and when to choose to use them, etc.
Glad it’s helpful
Excellent as always ❤️🎹❤️ a welcome refresher for me 😊 love that you sang the notes too 😁😁 🎤 🎶 🎹
Just for you!
@@MusicMattersGB 😁😁😁
Brilliant stuff Gareth!
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as I'm doing your theory course, these are starting too make a lot more sense to me! I'll have to come back again when I'm deeper in the course!
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Wonderful video. Always learn a lot from your videos. Thank you. 🙏
That’s most kind.
Bach is the father of all the greats..
Absolutely
So good ... thank you so much :-)
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You’re a legend 👍
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Great video! Would love to see a video on tritone substitution... thanks!
Have a look on our channel. There’s a video on that very subject - it’s either out or it’s coming soon!
@@MusicMattersGB brilliant... thanks
😀
Hello Gareth, thank you for these awesome videos. I have a question for you.
At the timestamp 5:20 you begin to talk about the E natural in the phrase that begins with the pickup notes to the first measure. It seems to me like you implied that the E natural comes from the F# melodic minor scale, but it was my understanding that the E natural would be derived from the natural F#m scale instead, since E is a whole step below F#m. It is also my understand that both F# melodic and harmonic minor scales would have a raised 7th, which would be E#. Is that just a small mistake that was made when recording the video, or am I misunderstanding how the scales can be used between ascending and descending? 🙂
E natural appears as the 7th degree in the descending melodic minor scale of F# but in the melodic minor scale the ascending and descending can be reversed in a piece of music.
Merci
😀
Sir, In the first phrase on the second beat, we have C# (Db) in the bass and D natural in the Alto [Enharmonic equivalent] which are octaves apart. Are they considered as false relation?/
That’s not a false relation. You have C# in the bass and D in the alto. The dissonance is okay because the bass C# is an accented passing note.
@@MusicMattersGB ok sir.
😀
I'm not sure about the tempo of this piece. Seems like it wants to be slower so the chord qualities resonate an emotional impact.
Obviously this is a chord analysis. In performance one could choose the tempo that feels most appropriate.
@@MusicMattersGB I don't dispute the analysis. Just feel the play through at the end of the video needed to be a tad slower.
😀
This is s great video but for guitar players trying to learn this lesson between harmonic and melodic minor, you should make another video using tablature as well. I know how to transcribe the notes into tablature but for others who don't/can't, that would help because although piano and guitar kind of go hand in hand, not many guitar players (nowadays) can test sheet music
It’s a fair point. Certain other instrumentalists might also want adaptation to their particular situation.
I'm surprised you didn't point to Bach breaking the consecutives rule in the consecutive 5ths between bass and alto on the first beat of bar 3.
Bach sometimes does such things.
I guess in this case the effect of the parallel 5ths is softened, since the bass and alto move in contrary motion. It goes from 5th to 12th.
Indeed. Some theorists even deem contrary motion of this kind not to be consecutive. Others feel strongly that we should still regard the movement as consecutive. Contrary motion certainly makes it milder.
Those are not “consecutive” ie “parallel” 5ths as pointed out above….contrary motion is the idea.
😀
There’s VI7 to V without the 7th resolving… 🤔
That’s possible. It’s important to resolve the 7th in a V7 and usually in a II7. Other 7ths have less of a voice leading pull in a number of harmonic scenarios.
@@MusicMattersGB and I’m assuming they usually become the fifth of the chord that follows…with stepwise movement to the root and third?
@MarketGarden87 That often works well.
This is all very well but you have to remember that we were all under the spell of Glenn Gould and the idea that the modern piano plays Bach correctly. I'm sure you know that the study of historical tunings has made great advances and the 'well temper' was quite different from equal temperament: so that these melodies and harmonies would have sounded quite different too. I draw two conclusions. It is really just chance that Bach's style works so perfectly on equal temperament instruments, and that is the basis for his central position in our music. And secondly, maybe this explains the otherwise astonishing and inexplicable fact that Telemann was considered a far superior composer in Bach's lifetime. Telemann sounds monotonous and pedestrian to my ears: but maybe it is just because his harmonic style doesn't work on equal temperament instruments. Keep up the good work.
The matter of temperament is well raised but it’s not the only issue by which we might evaluate Baroque music, technically or emotionally. Personally my background is far more influenced by organists than by Gould - organ design, pipe voicing, low wind pressures etc that enable a more authentic Baroque sound.
@@MusicMattersGB Yes there are pipe organs tuned to authentic tuning systems now. It's not just a question of timbre.
Absolutely
One confusing thing about the theory of harmonic minor is that in these chorales all 4 voices are melody.
The four voices have both a melodic life and combine to create a harmonic life. That’s why we find a mixture of harmonic and melodic minor.
You have lost a lot of weight. Hope everything is well.
I’m fine. It’s been intentional weight loss. Thanks for your concern.
Thank you for asking. I have been very concerned as well.
It’s kind of you to be concerned.