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@jayducharme Жыл бұрын
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.
@MusicMattersGB Жыл бұрын
Thank you
@Offshoreorganbuilder Жыл бұрын
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!
@MusicMattersGB Жыл бұрын
A pleasure. Much more at www.mmcourses.co.uk
@MrDanilop45Ай бұрын
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.
@MusicMattersGBАй бұрын
A pleasure. Much more at www.mmcourses.co.uk
@larrymack265926 күн бұрын
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
@MusicMattersGB26 күн бұрын
Excellent. Much more to help at www.mmcourses.co.uk
@conforzo Жыл бұрын
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.
@MusicMattersGB Жыл бұрын
😀
@lawrencetaylor410111 ай бұрын
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.
@MusicMattersGB11 ай бұрын
Thanks for your generous comments. Yes, repeat until it’s second nature.
@davidwhite2949 Жыл бұрын
I love these analyses of counterpoint, four-part writing, fugue and writing in the style of Bach. Elegant illustration, as well. Thanks.
@MusicMattersGB Жыл бұрын
Most kind. I never tire of engaging with this counterpoint
@malzola347 Жыл бұрын
One of the best videos you made on this subject, and that is saying a lot!
@MusicMattersGB Жыл бұрын
A pleasure. Much more at www.mmcourses.co.uk
@DenisPuscaOfficial Жыл бұрын
Thank you for this video. I've been looking for a such one for months! Your Videos are very informing and intresting thank you!
@MusicMattersGB Жыл бұрын
That’s most kind. Much more at www.mmcourses.co.uk
@steveharvey8156 Жыл бұрын
Well explained. As a senior (64) I am really enjoying your videos and find grade 6 a big challenging jump from 5, thanks
@MusicMattersGB Жыл бұрын
That’s most kind. Yes there’s a leap between those grades. See our Advanced Theory course at www.mmcourses.co.uk
@johnparker22311 ай бұрын
Thank you so much for this - you're a great teacher!
@MusicMattersGB11 ай бұрын
You’re most kind. Many more resources at www.mmcourses.co.uk
@CalebePriester Жыл бұрын
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.
@MusicMattersGB Жыл бұрын
😀
@rogerramjet6615 Жыл бұрын
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.
@MusicMattersGB Жыл бұрын
Absolutely
@malzola347 Жыл бұрын
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
@MusicMattersGB Жыл бұрын
Many thanks. We will produce more material with melodic lines elsewhere in the texture
@andrewfaleatua4398 ай бұрын
You're a brilliant teacher. This was so easy to follow. Thank you!
@MusicMattersGB8 ай бұрын
That’s most kind. See the full course at www.mmcourses.co.uk
@msw11746 ай бұрын
Excellent explanation
@MusicMattersGB6 ай бұрын
Glad it’s helpful. Much more at www.mmcourses.co.uk
@paigewheeler29838 ай бұрын
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.
@MusicMattersGB8 ай бұрын
Welcome! Much more at www.mmcourses.co.uk
@paulchamberlain48105 ай бұрын
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.
@MusicMattersGB5 ай бұрын
Enjoy the course.
@BazColne Жыл бұрын
Lots of stuff there to work on. Thanks very much indeed.
@MusicMattersGB Жыл бұрын
A pleasure. Much more at www.mmcourses.co.uk
@jesseth94199 ай бұрын
Nice video!
@MusicMattersGB9 ай бұрын
That’s great. Much more at www.mmcourses.co.uk
@erandao5 ай бұрын
Thank you maestro!
@MusicMattersGB5 ай бұрын
A pleasure. Much more at www.mmcourses.co.uk
@amyferebee Жыл бұрын
Love this stuff...Thank You!....🎶😎🎶
@MusicMattersGB Жыл бұрын
That’s great. Much more at www.mmcourses.co.uk
@dan27music Жыл бұрын
Great demo, thank you.
@MusicMattersGB Жыл бұрын
A pleasure. Much to see at www.mmcourses.co.uk
@NomeDeArte Жыл бұрын
Love this kind of videos, so useful!
@MusicMattersGB Жыл бұрын
A pleasure. Much more at www.mmcourses.co.uk
@g.p616 Жыл бұрын
Brilliant!
@MusicMattersGB Жыл бұрын
That’s kind. Much more at www.mmcourses.co.uk
@frankspears4597 Жыл бұрын
Excellent explanation as always
@MusicMattersGB Жыл бұрын
Thanks for your support
@lawrencetaylor4101 Жыл бұрын
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?
@MusicMattersGB Жыл бұрын
Keep going. You’ll get there. Resources to help at www.mmcourses.co.uk
@lawrencetaylor4101 Жыл бұрын
@@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.
@carlstenger5893 Жыл бұрын
Great video! Thanks so much!
@MusicMattersGB Жыл бұрын
You’re a gem.
@VEM24 Жыл бұрын
... I've been thinking for awhile, what I had been Forgotten about it, hmm... O! :) A! To Thank You for this video! ;)
@MusicMattersGB Жыл бұрын
A pleasure
@paulking2919 Жыл бұрын
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.
@MusicMattersGB Жыл бұрын
Stick with it. You’ll get there!
@timdovecool7202 Жыл бұрын
Nice tuturoial sir.. .. Kindly, consider giving us four part piano playing fingering tactics, especially, batch chorales.
@MusicMattersGB Жыл бұрын
😀
@dankleffmann247311 ай бұрын
❤
@MusicMattersGB11 ай бұрын
😀
@patrickemmanuvela957 Жыл бұрын
Can u make a video about how to effectively use polychord & what are the great piece ever written using polychord :)
@MusicMattersGB Жыл бұрын
😀
@andrewlord3398 Жыл бұрын
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
@MusicMattersGB Жыл бұрын
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.
@andrewlord3398 Жыл бұрын
@@MusicMattersGB Thanks! I have to say, after comparing yours and my solutions - you win :)
@MusicMattersGB Жыл бұрын
No worries. It’s not a competition!
@andrewlord3398 Жыл бұрын
@@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?
@MusicMattersGB Жыл бұрын
I think it gives us plenty of musical insight.
@FrancescaBettiMusic Жыл бұрын
2--5-1 in jazz come from this?
@MusicMattersGB Жыл бұрын
It’s been around a very long time
@BelliniHighTV Жыл бұрын
nice!
@MusicMattersGB Жыл бұрын
That’s most kind. Much more at www.mmcourses.co.uk
@SportMinsitry Жыл бұрын
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?
@MusicMattersGB Жыл бұрын
G# would be used to modulate or to create a chromatic decoration.
@Vasioth Жыл бұрын
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.
@MusicMattersGB Жыл бұрын
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.
@johnharringtonguitar6559 Жыл бұрын
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?
@MusicMattersGB Жыл бұрын
Thanks. Secondary Dominants don’t have to be major. Also in the harmonic minor V is a major chord.
@johnharringtonguitar6559 Жыл бұрын
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.
@MusicMattersGB Жыл бұрын
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.
@johnharringtonguitar6559 Жыл бұрын
Thanks for your response once again! Are you suggesting that leading tone function can still happen with a whole step?
@MusicMattersGB Жыл бұрын
It can but from V it’s normally a half step eg G# to A in A minor.
@simongross3122 Жыл бұрын
Nice lesson thanks. Is the II-I movement a common thing? I've normally seen II moving to V.
@MusicMattersGB Жыл бұрын
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.
@simongross3122 Жыл бұрын
@@MusicMattersGB Thanks for clarifying
@MusicMattersGB Жыл бұрын
A pleasure. Much more at www.mmcourses.co.uk
@alcyonecrucis8 ай бұрын
Just got into orgel buchlein
@MusicMattersGB8 ай бұрын
Beautiful Chorale Preludes.
@Tim.G. Жыл бұрын
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?
@MusicMattersGB Жыл бұрын
It’s a great piece. The parts are in the same key as each other but there’s a melody and an accompaniment.