Like most people, I find certain chord progressions very satisfying, but never understood how you to choose the best ones, so thanks for this enlightening this video!
I'm watching this for a third time, and learning each time. Gareth showed the Rule of the Octave, and that changed my life. What impresses me is Professor Green's musical knowledge, but also his ability to explain everything in such a clear step by step fashion. But what really impresses me is that Gareth is able to sit at a keyboard and his fingers have been trained to do this on the fly. I'm going to be practicing my cadences in every key until it becomes second nature. Then I will move on to the next step. Good things come to those who wait. Merci beaucoup.
I think the 4-part chorale is what is most common to learn about when studying Bach and music in general. Voice leading rules etc, but the more complex way of treating the lines contrapunctaly and not just in vertical voice leading is the real challenge for me. Would really appreciate talking about for example, the Wiedestehe doch der Sunde aria. The foundational concepts are of course the same, but they art of treating lines, imitation etc is what people IMO aren't talking enough about.
Thank you for this video. It was reaffriming what I was beginning to discover by studying a few Bach pieces. I'm glad that I found some of the things you mentioned, like the use of the 3 chord and inserting a chord that was outside both keys. Yay! Glad that I found your channel.
Another great lesson. Like you have said, there's more than one possibility to go about harmozing the melody. Instead of going ii-V-I in both cadences I guess we could have used Vsus-V-I in the first cadence and this way we could have achieved more variety.
I've seen all your videos about 4part harmony, fantastic stuff. In all of them if I'm not wrong, the melody lies in the upper voice. I imagine there are special adjustments to make to ensure the melody is clearly heard if on the bass or the tenor. I think it would be a really interesting topic for a new video. Anyway, your videos keep getting better and better, many thanks
Good lesson. The function of the quaver 7th in the final cadence was very important to Bach in a situation like this because it ameliorates 2 problems which would otherwise arise. 1. It distracts the ear from the fact that the leading note doesn't resolve to the tonic and 2. It distracts the ear from the exposed (hidden) 5th interval occurring between the bass and alto.
Thank you. I love Bach's music and am learning harmonization. I had analyzed a number of Bach chorales years ago, but from your teaching I am now seeing the logic of it. The II7-V-I ending is beautiful. I plan on using it for the conclusion of a hymn I am harmonizing. I have enrolled in your Bach Chorale course.
This is beyond my level...for now. I'm trying to sightread 2 part harmonies of Bach now, and trying to play 3 part harmonies. My goodness, it's not as easy as it looks, n'est-ce pas?
I had a go at this before watching the video ( last 4 part harmony I did was 40 years ago :) ). I got the same final cadence as you but didn't like the alto F# falling to a D. I seem to remember leading tones more naturally rising back to the tonic. That would then leave a note out of the final G - but I guess it's ok not to have the 5th of the chord present
It’s okay not to include the 5th. The question is - does it sound better to include it or not? Also leading notes falling to the 5th of a tonic chord is an exception to the voice leading rule you correctly identify.
@@MusicMattersGB It was highly enjoyable to try it again though. But it made me reflect on the exercise - in what way is it useful to do this kind of thing? Do you think it's a bit like learning Latin?
Hey Gareth quick question, I thought the leading tone in an outer voice should resolve to the tonic. Does this rule get bypassed because of the modulation when you step down from the Vb chord? Fantastic lesson by the way.
Thanks. You don’t have to be too rigid about applying that advice. Here the modulation is one factor but it’s also about making sure the bass doesn’t get stuck repeating F#/G. V often progresses either to i or to Vi.
Great video! You seem to refer to the A minor at the end of the first line as a secondary dominant. I’ve always thought that secondary dominants had to be major. The V chord in minor is minor which would be in support of a secondary dominant being minor. Is this how you’re justifying that?
That’s interesting and expands my thinking. Thank you. I study and play jazz solo guitar and the minor 7ths can be interchanged with dominant 7ths. Pushing that thinking to secondary dominants is a new concept and like I said expands my thinking. Internet research says a minor chord cannot be a dominant because it doesn’t have a leading tone. However, a leading tone is a note which resolves to a note one semitone higher or lower and the 5th of the V chord in minor is a semitone below the root of the I chord.
Take A minor for example. EG#B is V. G# is the 3rd and that’s a semitone below the tonic. In the natural minor the 3rd is G natural and is therefore a tone below the tonic.
We should take care with II-I and some theorists discourage the progression but it works in certain places. The main thing is to avoid parallels. II -V is conventionally a strong progression.
Just a correction. You used a ii 7b and said that some people would call it ii 7-6. Actually II 7 is in root position. First inversion would be II 6/5. I haven’t followed hundreds of hours of your videos while I was asleep, n’est-ce pas?
I dont know too much about songwriting yet but I learn „Air ob the G string“ by Bach. I dont understand how he wrote it. Is it two voices in two different keys?
Learn Music Online - Check out our courses here!
www.mmcourses.co.uk/courses
What a great lesson! I love how you rarely discount any musical choices; they're just that -- choices -- and some can be more effective than others.
Thank you
Like most people, I find certain chord progressions very satisfying, but never understood how you to choose the best ones, so thanks for this enlightening this video!
A pleasure. Much more at www.mmcourses.co.uk
Loved it a lot. This is not just a good example it is also a deep inside in the process of thinking it. Thank you a lot.
A pleasure. Much more at www.mmcourses.co.uk
I'm watching this for a third time, and learning each time. Gareth showed the Rule of the Octave, and that changed my life. What impresses me is Professor Green's musical knowledge, but also his ability to explain everything in such a clear step by step fashion.
But what really impresses me is that Gareth is able to sit at a keyboard and his fingers have been trained to do this on the fly. I'm going to be practicing my cadences in every key until it becomes second nature. Then I will move on to the next step.
Good things come to those who wait.
Merci beaucoup.
Thanks for your generous comments. Yes, repeat until it’s second nature.
I love these analyses of counterpoint, four-part writing, fugue and writing in the style of Bach.
Elegant illustration, as well.
Thanks.
Most kind. I never tire of engaging with this counterpoint
I think the 4-part chorale is what is most common to learn about when studying Bach and music in general. Voice leading rules etc, but the more complex way of treating the lines contrapunctaly and not just in vertical voice leading is the real challenge for me. Would really appreciate talking about for example, the Wiedestehe doch der Sunde aria. The foundational concepts are of course the same, but they art of treating lines, imitation etc is what people IMO aren't talking enough about.
😀
Thanks so much! Getting back into big band arranging and going back to the basics has been helping reengage my tools I learned in college
Excellent. Much more to help at www.mmcourses.co.uk
Thank you for this video. I've been looking for a such one for months! Your Videos are very informing and intresting thank you!
That’s most kind. Much more at www.mmcourses.co.uk
One of the best videos you made on this subject, and that is saying a lot!
A pleasure. Much more at www.mmcourses.co.uk
Thank you so much for this - you're a great teacher!
You’re most kind. Many more resources at www.mmcourses.co.uk
fantastic video, thank you very much!
A pleasure. Much more at www.mmcourses.co.uk
You're a brilliant teacher. This was so easy to follow. Thank you!
That’s most kind. See the full course at www.mmcourses.co.uk
Thank you for this video. It was reaffriming what I was beginning to discover by studying a few Bach pieces. I'm glad that I found some of the things you mentioned, like the use of the 3 chord and inserting a chord that was outside both keys. Yay! Glad that I found your channel.
Welcome! Much more at www.mmcourses.co.uk
Another great lesson. Like you have said, there's more than one possibility to go about harmozing the melody. Instead of going ii-V-I in both cadences I guess we could have used Vsus-V-I in the first cadence and this way we could have achieved more variety.
😀
I've seen all your videos about 4part harmony, fantastic stuff. In all of them if I'm not wrong, the melody lies in the upper voice. I imagine there are special adjustments to make to ensure the melody is clearly heard if on the bass or the tenor. I think it would be a really interesting topic for a new video. Anyway, your videos keep getting better and better, many thanks
Many thanks. We will produce more material with melodic lines elsewhere in the texture
Well explained. As a senior (64) I am really enjoying your videos and find grade 6 a big challenging jump from 5, thanks
That’s most kind. Yes there’s a leap between those grades. See our Advanced Theory course at www.mmcourses.co.uk
Lots of stuff there to work on. Thanks very much indeed.
A pleasure. Much more at www.mmcourses.co.uk
Good lesson. The function of the quaver 7th in the final cadence was very important to Bach in a situation like this because it ameliorates 2 problems which would otherwise arise. 1. It distracts the ear from the fact that the leading note doesn't resolve to the tonic and 2. It distracts the ear from the exposed (hidden) 5th interval occurring between the bass and alto.
Absolutely
Excellent explanation
Glad it’s helpful. Much more at www.mmcourses.co.uk
Thank you. I love Bach's music and am learning harmonization. I had analyzed a number of Bach chorales years ago, but from your teaching I am now seeing the logic of it. The II7-V-I ending is beautiful. I plan on using it for the conclusion of a hymn I am harmonizing. I have enrolled in your Bach Chorale course.
Enjoy the course.
Love this stuff...Thank You!....🎶😎🎶
That’s great. Much more at www.mmcourses.co.uk
Thank you maestro!
A pleasure. Much more at www.mmcourses.co.uk
Love this kind of videos, so useful!
A pleasure. Much more at www.mmcourses.co.uk
Great demo, thank you.
A pleasure. Much to see at www.mmcourses.co.uk
Nice video!
That’s great. Much more at www.mmcourses.co.uk
Great video! Thanks so much!
You’re a gem.
Excellent explanation as always
Thanks for your support
Brilliant!
That’s kind. Much more at www.mmcourses.co.uk
This is beyond my level...for now. I'm trying to sightread 2 part harmonies of Bach now, and trying to play 3 part harmonies. My goodness, it's not as easy as it looks, n'est-ce pas?
Keep going. You’ll get there. Resources to help at www.mmcourses.co.uk
@@MusicMattersGB I watched this and it's starting to make sense. I'm making some progress in my playing ability and it's time to move onward.
A wonderful lesson! Though I'm not quite sure that I've understood everything, I'll surely revisit this video and hopefully figure it all out.
Stick with it. You’ll get there!
... I've been thinking for awhile, what I had been Forgotten about it, hmm... O! :) A! To Thank You for this video! ;)
A pleasure
Hello Professor! I ask you one question that off the topic. Can you explain me why and How there is G# in G major chord progression?
G# would be used to modulate or to create a chromatic decoration.
Nice tuturoial sir.. .. Kindly, consider giving us four part piano playing fingering tactics, especially, batch chorales.
😀
Can u make a video about how to effectively use polychord & what are the great piece ever written using polychord :)
😀
❤
😀
2--5-1 in jazz come from this?
It’s been around a very long time
I had a go at this before watching the video ( last 4 part harmony I did was 40 years ago :) ). I got the same final cadence as you but didn't like the alto F# falling to a D. I seem to remember leading tones more naturally rising back to the tonic. That would then leave a note out of the final G - but I guess it's ok not to have the 5th of the chord present
It’s okay not to include the 5th. The question is - does it sound better to include it or not? Also leading notes falling to the 5th of a tonic chord is an exception to the voice leading rule you correctly identify.
@@MusicMattersGB Thanks! I have to say, after comparing yours and my solutions - you win :)
No worries. It’s not a competition!
@@MusicMattersGB It was highly enjoyable to try it again though. But it made me reflect on the exercise - in what way is it useful to do this kind of thing? Do you think it's a bit like learning Latin?
I think it gives us plenty of musical insight.
Hey Gareth quick question, I thought the leading tone in an outer voice should resolve to the tonic. Does this rule get bypassed because of the modulation when you step down from the Vb chord?
Fantastic lesson by the way.
Thanks. You don’t have to be too rigid about applying that advice. Here the modulation is one factor but it’s also about making sure the bass doesn’t get stuck repeating F#/G. V often progresses either to i or to Vi.
nice!
That’s most kind. Much more at www.mmcourses.co.uk
Great video! You seem to refer to the A minor at the end of the first line as a secondary dominant. I’ve always thought that secondary dominants had to be major. The V chord in minor is minor which would be in support of a secondary dominant being minor. Is this how you’re justifying that?
Thanks. Secondary Dominants don’t have to be major. Also in the harmonic minor V is a major chord.
That’s interesting and expands my thinking. Thank you. I study and play jazz solo guitar and the minor 7ths can be interchanged with dominant 7ths. Pushing that thinking to secondary dominants is a new concept and like I said expands my thinking. Internet research says a minor chord cannot be a dominant because it doesn’t have a leading tone. However, a leading tone is a note which resolves to a note one semitone higher or lower and the 5th of the V chord in minor is a semitone below the root of the I chord.
Take A minor for example. EG#B is V. G# is the 3rd and that’s a semitone below the tonic. In the natural minor the 3rd is G natural and is therefore a tone below the tonic.
Thanks for your response once again! Are you suggesting that leading tone function can still happen with a whole step?
It can but from V it’s normally a half step eg G# to A in A minor.
Nice lesson thanks. Is the II-I movement a common thing? I've normally seen II moving to V.
We should take care with II-I and some theorists discourage the progression but it works in certain places. The main thing is to avoid parallels. II -V is conventionally a strong progression.
@@MusicMattersGB Thanks for clarifying
A pleasure. Much more at www.mmcourses.co.uk
Just a correction. You used a ii 7b and said that some people would call it ii 7-6. Actually II 7 is in root position. First inversion would be II 6/5.
I haven’t followed hundreds of hours of your videos while I was asleep, n’est-ce pas?
Which bar and beat are we talking about? I can then check it out.
I dont know too much about songwriting yet but I learn „Air ob the G string“ by Bach. I dont understand how he wrote it. Is it two voices in two different keys?
It’s a great piece. The parts are in the same key as each other but there’s a melody and an accompaniment.
Just got into orgel buchlein
Beautiful Chorale Preludes.