Yet another fantastic, clear, and ever-so-useful offering!! Words can not express how grateful I am for these compact dives into such important musical topics. These RUclips videos - as well as the glorious in-depth Music Matters courses - have enriched my understanding of harmony and composition beyond what I once thought possible. Thank you so much, and please continue producing both!
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 only you were my harmony teacher all those years back when I was struggling with the Neapolitan and how to use it... I never understood what's going on, how and why to use it, and you managed to make it all clear for me in 15 minutes. I say well done sir!
That was really interesting. In your first demonstration, when you went from the Neapolitan chord to chord V, I immediately thought of adventure movie soundtracks (like the Indiana Jones films), when something mysterious happens.
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.
This is a very expressive/emotional asset to have in your arsenal. Also, I think that if you have five voices, you could consider doubling the charecteristic flattened tone in two voices even though you get a so called "false relation" given that one of the voices proceeds "correctly".
Well. I meant if one voice goes from d to d flat in your examples and another from f or a flat to d flat, but I'm not sure whether you would define this as a false relation, since there is not strange leaps and no "wrong doublings". But if you do, it is not the worst such thing I have seen in my life!
I like to think of the neapolitan chord as a fourth chord or a subdominant with a diminished sixth and no fifth. That makes it easier for me to use it in a progression.
@@MusicMattersGB Oh! Yes, I see! I mean the german "tief alterierte sexte"! I don't know the english translation for this. You probably don't say "deeply altered sixth", right? In this case I certainly mean the minor sixth.😀
A wonderful and clear video. I really love your videos. I am just wondering if you can do a video on form in classical music, especially in Romantic music. I would love to see how Romantic composers composed melodies and themes using form such as composing melody A and a transition then melody B.
It’s all about how you use the various musical ingredients eg fast rhythm agitates more, while slower rhythm and slower tempo create a calmer atmosphere, dynamics impact on the emotional landscape, use of plain diatonic chords or more dramatic chords, speed of harmonic rhythm, use of articulation etc.
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.
This channel is so interesting. I just discovered it and am down the rabbit hole. I'd love to hear you talk about other harmonic options for minor chord sequences. Like using the bVI and bVII major chords in a minor key...whilst still using the V7 as well...I do this sometimes and wonder about it.. its neither harmonic nor natural minor..I would also use the bIII Major in a minor harmony....Its like I just use the V7 aspect of the harmonic minor but the other chords are more fitting into natural minor. Am I mad? Is it a mode? How would the theory look on this? Anyway, thanks so much for the marvellous insights. i am looking forward to doing your Songwriting course soon. Love and respect from your new fan from Ireland.
I have a question how we can use both 7ths in a chord (like C E G Bb B but it doesn't have to be major triad we are using it could be also minor diminished or augmented) For example I tried Using (maj) Cmaj7/Bb, C maj7 and high Bb on top or C7 and high B on top. Also tried some inversions but I want someone who's profession is music to help me answer my question so please make a video about it.
I know its harder voice leading wise when it’s in second inversion, right? Do you know of any specific pieces that might have an example of the N6 in second version and also any pieces of it in a major key?
Yet another fantastic, clear, and ever-so-useful offering!! Words can not express how grateful I am for these compact dives into such important musical topics. These RUclips videos - as well as the glorious in-depth Music Matters courses - have enriched my understanding of harmony and composition beyond what I once thought possible. Thank you so much, and please continue producing both!
I love your videos. They have helped so very much in my writing. I'm writing stuff i never thought i could possibly do before last year.
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 am just now writing a piece using (not abusing, I hope) Neapolitan chords)), so I am very grateful for these two videos!
Excellent
If only you were my harmony teacher all those years back when I was struggling with the Neapolitan and how to use it... I never understood what's going on, how and why to use it, and you managed to make it all clear for me in 15 minutes. I say well done sir!
I’m glad it’s helpful
That was really interesting. In your first demonstration, when you went from the Neapolitan chord to chord V, I immediately thought of adventure movie soundtracks (like the Indiana Jones films), when something mysterious happens.
Absolutely
Love watching your videos! Great explanations and love the depth on each individual topic
Excellent! Really appreciating this.
That’s great
Awesome lesson. Thank you! I had always thought that Neapolitan chords would have vanilla, chocolate, and strawberry.
Wouldn’t that be good?!
@@MusicMattersGB Yeaaaah it would be the perfect musical dessert.
Brilliant
Excellent video, Gareth! What a great source of 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.
This is a very expressive/emotional asset to have in your arsenal. Also, I think that if you have five voices, you could consider doubling the charecteristic flattened tone in two voices even though you get a so called "false relation" given that one of the voices proceeds "correctly".
Certainly possible to use in 5 parts but it doesn’t need to produce false relations
Well. I meant if one voice goes from d to d flat in your examples and another from f or a flat to d flat, but I'm not sure whether you would define this as a false relation, since there is not strange leaps and no "wrong doublings". But if you do, it is not the worst such thing I have seen in my life!
😀
I like to think of the neapolitan chord as a fourth chord or a subdominant with a diminished sixth and no fifth. That makes it easier for me to use it in a progression.
Do you mean a minor 6th? Anyway, it’s one way of dealing with it especially as the Neapolitan is often a good replacement for IV (or for II).
@@MusicMattersGB Oh! Yes, I see! I mean the german "tief alterierte sexte"! I don't know the english translation for this. You probably don't say "deeply altered sixth", right? In this case I certainly mean the minor sixth.😀
😀
Thanks for keeping me on my toes !
A pleasure!
great example for neapolitan sixth.
Glad it’s helpful
Nice! You are the best❤
Grettings from Croatia!🪗👋
Most kind. Greetings to you too.
A wonderful and clear video. I really love your videos. I am just wondering if you can do a video on form in classical music, especially in Romantic music. I would love to see how Romantic composers composed melodies and themes using form such as composing melody A and a transition then melody B.
Okay
Thanks for the video! Now I know what to do to make more emotional music.
Speaking of emotional sounding music, what do you think composers do to express fear, anger, loneliness, hope, curiousity, etc. with their music?
It’s all about how you use the various musical ingredients eg fast rhythm agitates more, while slower rhythm and slower tempo create a calmer atmosphere, dynamics impact on the emotional landscape, use of plain diatonic chords or more dramatic chords, speed of harmonic rhythm, use of articulation etc.
@@MusicMattersGB Thanks a lot!
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.
Brilliant as usual
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.
Fantastic!!!!!!!!! 😸
😀
False relations? Story of my life! Get it? Great video! My joke not so much. . .
😀😀😀
Wonderful explanation 🙂
A pleasure
This channel is so interesting. I just discovered it and am down the rabbit hole. I'd love to hear you talk about other harmonic options for minor chord sequences. Like using the bVI and bVII major chords in a minor key...whilst still using the V7 as well...I do this sometimes and wonder about it.. its neither harmonic nor natural minor..I would also use the bIII Major in a minor harmony....Its like I just use the V7 aspect of the harmonic minor but the other chords are more fitting into natural minor. Am I mad? Is it a mode? How would the theory look on this? Anyway, thanks so much for the marvellous insights. i am looking forward to doing your Songwriting course soon. Love and respect from your new fan from Ireland.
A pleasure. A lot of that harmony works well in the natural minor. Enjoy the course!
I would like to see to some real examples of the Neapolitan chord in Italian Neapolitan songs
Have a look at scores from Baroque Neapolitan Opera
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I have a question how we can use both 7ths in a chord (like C E G Bb B but it doesn't have to be major triad we are using it could be also minor diminished or augmented) For example I tried Using (maj) Cmaj7/Bb, C maj7 and high Bb on top or C7 and high B on top. Also tried some inversions but I want someone who's profession is music to help me answer my question so please make a video about it.
Okay
I know its harder voice leading wise when it’s in second inversion, right? Do you know of any specific pieces that might have an example of the N6 in second version and also any pieces of it in a major key?
You can certainly use it in a major key and you will find examples of the Neapolitan in root and second inversion.
@@MusicMattersGB any specific examples that use the chord in those manners?
I always hear “Moonlight Sonata” with this. I think Beethoven could have copyrighted it.
Indeed