Keyboard Harmony - The Rules of Harmony and Some Things to Avoid
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Date: 2022-03-28
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Comments and reviews: 8
Nigel
Thanks for this video (and all your others, too), it's to the point and highly instructive as usual. I'm not a keyboard player by any stretch of the imagination, but I do compose electronic music, and feel that a good knowledge of music theory is essential to get the best out of my compositions. My question is this: Are perfect fourth (5 semitones) and perfect fifth (7 semitones) melodic intervals to be avoided in music composition? I've heard other educators say that these intervals should be avoided in melodies and bass lines because they have a certain resonance that can make it hard for the ear to detect the change of note (or something like that). However, I find these intervals cropping up in my music all the time, and spend a lot of time trying to fix them with passing notes and the like, but I would love to get your take on this question if possible. Thanks, and keep up the great work :-)
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Thanks for this video (and all your others, too), it's to the point and highly instructive as usual. I'm not a keyboard player by any stretch of the imagination, but I do compose electronic music, and feel that a good knowledge of music theory is essential to get the best out of my compositions. My question is this: Are perfect fourth (5 semitones) and perfect fifth (7 semitones) melodic intervals to be avoided in music composition? I've heard other educators say that these intervals should be avoided in melodies and bass lines because they have a certain resonance that can make it hard for the ear to detect the change of note (or something like that). However, I find these intervals cropping up in my music all the time, and spend a lot of time trying to fix them with passing notes and the like, but I would love to get your take on this question if possible. Thanks, and keep up the great work :-)
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Mark
Was inverting the II by moving the bass to F not in the scope of this video? I'm glad in a way to hear you make the point about consecutives, because I've often wondered how well-defined the -voices- in a keyboard part are, in practical use.
One of these days I'm going to write a piece that uses consecutive/parallel 5ths, and goes hard on them, because I quite like the sound ;-)
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Was inverting the II by moving the bass to F not in the scope of this video? I'm glad in a way to hear you make the point about consecutives, because I've often wondered how well-defined the -voices- in a keyboard part are, in practical use.
One of these days I'm going to write a piece that uses consecutive/parallel 5ths, and goes hard on them, because I quite like the sound ;-)
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Doc
Thank you so much for this. I generally make synthy sound based music but having tried to cover a couple of Folk and classical pieces I have really started thinking about harmony and actual musical composition. This level is exactly what I need to start thinking about 4 part harmonies.
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Thank you so much for this. I generally make synthy sound based music but having tried to cover a couple of Folk and classical pieces I have really started thinking about harmony and actual musical composition. This level is exactly what I need to start thinking about 4 part harmonies.
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Charles
Yeah the major 3rd is so aggressive (powerful) as it-s possibly in danger of being a leading tone or if doubled (double trouble), it somehow vaguely threatens to be treated as a tonic (just a thought:).. This is a great lesson here and thanks again.
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Yeah the major 3rd is so aggressive (powerful) as it-s possibly in danger of being a leading tone or if doubled (double trouble), it somehow vaguely threatens to be treated as a tonic (just a thought:).. This is a great lesson here and thanks again.
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Gridnode
This is a great tutorial on the importance of avoiding the sorts of compositional problems you might be finding with certain DAW midi chord devices, thanks so much for this great compositional advice. -
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This is a great tutorial on the importance of avoiding the sorts of compositional problems you might be finding with certain DAW midi chord devices, thanks so much for this great compositional advice. -
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Ilovetosingem
Very nice again. The C to G, if the G was G7, could you not follow the E with an F and no doubling of the G, although the latter isn't consecutive! Thanks again, brill.
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Very nice again. The C to G, if the G was G7, could you not follow the E with an F and no doubling of the G, although the latter isn't consecutive! Thanks again, brill.
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Jos-
Great video, but I wonder about the consecutive fifths between tenor and alto in your I-V solution; are they allowed just because they occur between middle voices?
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Great video, but I wonder about the consecutive fifths between tenor and alto in your I-V solution; are they allowed just because they occur between middle voices?
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Sliman
very good video..i wonder if u could make video about how to create tension and when using consonants and dissonant..thanks
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very good video..i wonder if u could make video about how to create tension and when using consonants and dissonant..thanks
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