You are showing why you are on a very small pedestal of the best music theory teachers on the Tubes. Someone that is a beginner (like I was two years ago) can enjoy this video, and have a clear path of what to study in case the material is new. You add just the right amount of humour, and in fact some of your videos are real gems. And overall anyone can only improve their musical knowledge, which is the goal of a music theory video. You and Alex are very special people and have earned the respect of hundreds of thousands of people. Merci beaucoup.
Mind blowing lesson again. Thank you. Any chance you'd deep dive on commonly used pivot chord sequences /tricks / cliches? The key change stuff is fascinating and mind boggling still for me but your videos clear the fog in a mighty fashion!
Amazingly concise lesson. You have merch now yet what I am really looking for in merch is a "musician's slide rule" which shows keys, modes (not just major and minor), pivot chords, etc, by sliding the apparatus, looking at the notes in the 'sliding window', etc. Various types of these exist throughout history, sometimes circular using rotating discs, sometimes as a sliding ruler, and some music vendors today try to sell a cheap type which are not popular because they aren't as useful as they could be. There should be a solid "slide rule" type tool somewhere on the market but there isn't one.
Insightful for myself so thankyou! I heard & identified the changes & once again reminded myself that I have the perfect tools on either side of my head - aka Ears!
Concerning voice leading, have you done a video on converting a three voice triadic piece into four voices? Which voices can be doubled and which should be avoided. That would be interesting to see.
Very good. One additional thing [or actually a couple] is to note that the G sharp is the leading note in A major, while the A sharp is the leading tone in B [major or minor]. The chord in bar 8 is a G major chord - and in bar 7 there appears to be a D7 chord - so V7-I in G major - circle of 5ths progression through the cadence. The G major chord is V in D, so as explained that also functions as a pivot chord so that no further changes are needed to return to I in D at the end. Thanks for this one.
Brilliant video. Thank you, I've learnt so much from your teaching. A question - what would you call the chord at 12:36 (the one with the A sharp in it)? Thank you again, Martin
Hi Gareth, I find it easier to analyse functional harmony in chords. In bar 5, would I be right in saying it goes from D to A# dim to Bm, and would that dim chord function as a dominant, resolving to the Bm?
so for little changes no need to specify the key signature change on the stave?... when would you specify they key signature change explicitly on the stave indicating sharps or flats? let's say the change last for many measures, not only a few... any convention on that matter? Thanks
I have came across a F major piece where the First chord is F major with a melody note A, The second chord is Bb minor chord with a melody Note Db followed by F major chord. What kind of modulation is this?
Is it a possibility that at the end of the first phrase, a secondary dominant seventh in root position of V (being A major) is being used and it isn't actually a modulation and ends on an imperfect cadence?, because the cadence doesn't sound rounded off? I am enjoying this video very much so far😊
I’m Christian. I don’t know if you are Christian too Music Matters but if not I hope that the Godhead whom created everyone and everything works powerfully in your life to change you into a believer in Christ the way only they know how. However if you are Christian I praise the Lord of Lords And King of Kings! Amen and Amen. 🙏 ❤
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You are showing why you are on a very small pedestal of the best music theory teachers on the Tubes. Someone that is a beginner (like I was two years ago) can enjoy this video, and have a clear path of what to study in case the material is new. You add just the right amount of humour, and in fact some of your videos are real gems. And overall anyone can only improve their musical knowledge, which is the goal of a music theory video.
You and Alex are very special people and have earned the respect of hundreds of thousands of people.
Merci beaucoup.
You’re very kind. Thanks for your support
Once again, you've created a lesson that's perfect for where I'm at. This is a big help. Thank you.
A pleasure
Yippee!
😀
Wow! Finally, someone explains this in a clear and precise way! This was an excellent lesson!
Glad it’s helpful. Much more at www.mmcourses.co.uk
Well explained, Gareth. I love being in Maestros, so useful.
So glad you’re enjoying being part of Maestros. Great to have you with us.
You are the best music teacher! Love your videos, always great explanation and super helpful. Thank you so much Gareth ❤
Most kind. Much more at www.mmcourses.co.uk
Mind blowing lesson again. Thank you. Any chance you'd deep dive on commonly used pivot chord sequences /tricks / cliches? The key change stuff is fascinating and mind boggling still for me but your videos clear the fog in a mighty fashion!
That’s great. Will do.
Love these analyses. Thank you, Gareth!
😀
A lovely little piece, thank you!
A pleasure
Thank you! You opened my mind.
That’s great. Much more at www.mmcourses.co.uk
I found this extremely helpful. Thank you so much for sharing it with us. I look forward to purchasing some of MMCourse's courses in the near future.
I’m glad it’s helpful. Enjoy our courses.
Very enjoyable. Many thanks.
😀
Amazingly concise lesson.
You have merch now yet what I am really looking for in merch is a "musician's slide rule" which shows keys, modes (not just major and minor), pivot chords, etc, by sliding the apparatus, looking at the notes in the 'sliding window', etc. Various types of these exist throughout history, sometimes circular using rotating discs, sometimes as a sliding ruler, and some music vendors today try to sell a cheap type which are not popular because they aren't as useful as they could be. There should be a solid "slide rule" type tool somewhere on the market but there isn't one.
That’s an idea!
Insightful for myself so thankyou! I heard & identified the changes & once again reminded myself that I have the perfect tools on either side of my head - aka Ears!
Absolutely
@@MusicMattersGB 👍😊
😀
Concerning voice leading, have you done a video on converting a three voice triadic piece into four voices? Which voices can be doubled and which should be avoided. That would be interesting to see.
Good idea
Thank you so much, excellent lesson
😀
Very good. One additional thing [or actually a couple] is to note that the G sharp is the leading note in A major, while the A sharp is the leading tone in B [major or minor]. The chord in bar 8 is a G major chord - and in bar 7 there appears to be a D7 chord - so V7-I in G major - circle of 5ths progression through the cadence. The G major chord is V in D, so as explained that also functions as a pivot chord so that no further changes are needed to return to I in D at the end.
Thanks for this one.
😀
Bedankt
A pleasure! Thank you very much for your generosity and support for the channel!
Brilliant video. Thank you, I've learnt so much from your teaching. A question - what would you call the chord at 12:36 (the one with the A sharp in it)? Thank you again, Martin
That chord is VIIb in B minor. (It precedes a tonic chord in B minor.)
Quite interesting
😀
Hi Gareth, I find it easier to analyse functional harmony in chords. In bar 5, would I be right in saying it goes from D to A# dim to Bm, and would that dim chord function as a dominant, resolving to the Bm?
Absolutely correct. The A#dim functions as a dominant 7th replacement.
Could the 3rd beat of bar 3 and bar 4 not be a secondary dominant rather than key change
It could be. The counter argument is that it’s formed a cadence in the dominant key because it’s positioned at the end of the phrase.
so for little changes no need to specify the key signature change on the stave?... when would you specify they key signature change explicitly on the stave indicating sharps or flats? let's say the change last for many measures, not only a few... any convention on that matter? Thanks
Yes. If there is a longer section it’s worth changing the key signature but if it’s a handful of measures don’t bother.
I have came across a F major piece where the First chord is F major with a melody note A, The second chord is Bb minor chord with a melody Note Db followed by F major chord. What kind of modulation is this?
It’s probably a borrowed IV from the tonic minor key.
@@MusicMattersGB Thank you sir!
@user-bx8xd5pz9c A pleasure
Is it a possibility that at the end of the first phrase, a secondary dominant seventh in root position of V (being A major) is being used and it isn't actually a modulation and ends on an imperfect cadence?, because the cadence doesn't sound rounded off?
I am enjoying this video very much so far😊
Technically if there’s a cadence in a different key you’ve modulated but I understand exactly what you mean.
If that’s the case surely any secondary dominant V/V is a modulation?
Not if it’s a passing moment
@@MusicMattersGB Yes because secondary dominants and borrowed chords create contrast and color, but not modulating if it doesn't go to another key
😀
I’m Christian. I don’t know if you are Christian too Music Matters but if not I hope that the Godhead whom created everyone and everything works powerfully in your life to change you into a believer in Christ the way only they know how. However if you are Christian I praise the Lord of Lords And King of Kings!
Amen and Amen. 🙏 ❤
Blessings to you as well