Using Too Many Non-Chord Tones - Music Composition
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- Опубликовано: 9 июл 2024
- This music composition lesson explores the embellishment of music with non-chord tones/ inessential notes, including a reminder of what are the most common inessential notes. We then consider the implication of using too many non-chord tones when they start to clutter the melodic focus or harmonic activity. We consider the implications of tempo and other factors. An example of over use of non-chord tones is unpacked then a less congested alternative is examined. This video will help those wondering how often to use inessential notes in a piece of music.
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🕘 Timestamps
0:00 - Introduction to using too many non-chord tones
0:43 - Examples of non-chord tones
2:59 - Potential danger of using too many
4:12 - Tempo matters
4:58 - Where is the original melody
9:46 - An example of too many non-chord tones!
16:42 - Writing a better solution
20:24 - Conclusion
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The discussion in Music Matters videos is lucid. Thank you!
Glad it’s helpful. Much more at www.mmcourses.co.uk
Great video! In many cases, less is more, and this really demonstrates that.
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Thank you, I find your videos very useful.
A pleasure. Much more at www.mmcourses.co.uk
A masterclass on musical commonsense. Thanks!
A pleasure. Much more at www.mmcourses.co.uk
Nice... never disappoints.
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Thank you, Gareth 😊
A pleasure
Apart from the valuable music theory lesson, I liked the first example played in slow though, the cluster of notes created an interesting sound texture.
But it would probably sound even better with well planned chromatic notes or chords instead.
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Thanks a bunch.
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harmonic rhythm is the thing i am most interested in when i improvise. i feel like a strong melody can set me on a path where the harmonic rhythm makes playing feel like talking.
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I'd never thought about that before. I always thought Baroque music had excessive ornamentation, but it's quite reserved compared with your example.
It’s a question of balance.
Where I'm from, they're called *jazz*. 😎
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😂
Just what I was thinking: “You can’t have too many non-chord tones if you have big enough chords!”. But this video is primarily in the context of common-practice harmony, not jazz or late Scriabin (which I’ve been trying to get my head around recently) or Ligeti. And in the context of classical four-part harmony this is all really good practical advice about balance and restraint rather than just throwing the kitchen sink at everything.
@wellurban Absolutely
Alternately, everything is chord tones if you b9#11 enough.
I imagine it also depends on the orchestration. If there are strong wind instruments in the outer parts, busy inner parts on violins and violas might be OK. Though I think some of the bass line needs to be shared, with some instruments helping spell out the harmonic pattern, possibly at an octave below and others playing passing notes.
Absolutely
Your video is about arch-classic voice-leading
Yesterday I was sight-reading El Albaïcin; with, as you know, my mental Harmonic Analysis module ON, but there are so many rubbings and double alterations and two-hand-tricks in Albeniz that it becomes a matter of non-chord tones, or of fast-moving, hat-trick harmony.
Differently, Liszt's La Vallée d'Obermann is rife with appogiaturas, but with conspicuous harmony.
Absolutely
...lol, "Crackey! What's that?!?" -- Thank you for this and all your videos, Mr. Green. And for making me laugh with that remark. ;) David (St. Louis, MO USA)
You’re most welcome!
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Did Tatum over do it? probably, but i love it.
Probably!
This thumbnail is hilarious 😂
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Escuche El Albaïcin...
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As long the notes are not chromatic but diatonic, all notes are relevant to the chord. Yes?
As long as the notes belong to the chord in question.
achtung baby
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