I've been studying music theory for a while, so this wasn't new. But it was so well presented that I felt I had a lightbulb moment in my understanding. Merci.
That little chart you add at about eleven minutes into the video is super excellent, really worth a thousand words. Thank you for sharing that and for this video.
Why not put iii & vi into the same bracket (like IV & ii). What is the prohibiting factor to NOT go from V/vii diminished to iii (only vi)? Those chord changes sound OK to me... In addition, the chart would be more symmetric (which would appeal to me 😁). Nice channel BTW. Thx & Subbed :)
Great questions! Yes, iii & vi could be in same bracket, but with the iii in the top position only, but it would be somewhat cluttered with three (3) arrows present (entering, leaving, and within such a bracket) so the version shown is a more legible presentation. Also, the diagram can grow more complex beyond what is shown at this stage, and so the given illustration provides room for future expansion. V/vii can indeed go to not only vi in a classic "deceptive cadence," but also any other chord that is unexpected, a surprise, hence the name deceptive cadence "DC"; however, especially the V --> vi cadence is the most widely found "common practice" (Baroque/J.S. Bach) ocurrence of a deceptive cadence, and so it is emphasized. Lastly, the diagram is missing a very important arrow that simply connects IV to ii , which is very much allowed within these traditional guidelines even at this primary stage. Another way to look at this is that preferred chord-root movements are as follows: up/down by 5ths, down by 3rds, and up by a step; chord-root movement down by 5ths is great starting point for experimenting and insight into the flowchart diagram.
I could be wrong, but it seems like the chart at 10:28 isn't entirely accurate. Can't the V go to the three and the IV go to the ii, for example? Can the vi go to the iii?
Discover a popular chord progression ruclips.net/video/TdZmjoRNSFw/видео.html
I've been studying music theory for a while, so this wasn't new. But it was so well presented that I felt I had a lightbulb moment in my understanding. Merci.
You're welcome Lawrence, I always appreciate your comments!
The rollercoaster metaphor is perfect for functional harmony.
I'm glad it worked!
That little chart you add at about eleven minutes into the video is super excellent, really worth a thousand words. Thank you for sharing that and for this video.
You're very welcome!
This channel should be called, "Music Theory Made Easy"!
Thanks!
Great video. Good learning. Thank you
You're welcome!
Truly very well put together and explained. Thank you very much!
You're welcome!
I've watched this twice so far!
Thank you!!!
You're welcome, I'm glad you enjoyed it!
This was extremely well presented! Thank you!
Thanks, you're welcome!
Great video! If I had to recommend just one video on chord progressions, this would be it. Thanks!
You're welcome!
We need the non functional harmony rollercoaster now! 😁
Man I love this channel
Thanks!
Why not put iii & vi into the same bracket (like IV & ii). What is the prohibiting factor to NOT go from V/vii diminished to iii (only vi)? Those chord changes sound OK to me... In addition, the chart would be more symmetric (which would appeal to me 😁).
Nice channel BTW. Thx & Subbed :)
Functionally you can do that, I'm not sure why they are seperate on the chart! (I didn't create the chart shown). Thanks for the sub!
Great questions! Yes, iii & vi could be in same bracket, but with the iii in the top position only, but it would be somewhat cluttered with three (3) arrows present (entering, leaving, and within such a bracket) so the version shown is a more legible presentation. Also, the diagram can grow more complex beyond what is shown at this stage, and so the given illustration provides room for future expansion. V/vii can indeed go to not only vi in a classic "deceptive cadence," but also any other chord that is unexpected, a surprise, hence the name deceptive cadence "DC"; however, especially the V --> vi cadence is the most widely found "common practice" (Baroque/J.S. Bach) ocurrence of a deceptive cadence, and so it is emphasized. Lastly, the diagram is missing a very important arrow that simply connects IV to ii , which is very much allowed within these traditional guidelines even at this primary stage. Another way to look at this is that preferred chord-root movements are as follows: up/down by 5ths, down by 3rds, and up by a step; chord-root movement down by 5ths is great starting point for experimenting and insight into the flowchart diagram.
@@user-hi9ke7co3e Really helpful additional information, thanks for sharing!
I could be wrong, but it seems like the chart at 10:28 isn't entirely accurate. Can't the V go to the three and the IV go to the ii, for example? Can the vi go to the iii?
You are correct. I didn't create the graphic, it represents the most likely flow of chords but there are exceptions that are still valid.