Dealing with Non-Harmonic Tones - Music Theory
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Date: 2022-03-28
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Comments and reviews: 10
OneEye
oh wow...I totally forgot about the aux scale.lol
It's just easier for me to comprehend certain things because Im on the guitar.
I know all 12 notes WORK.....but if i had to notate it...I'd have to be more careful
or try to make it EASIER for other people to read it
It makes sense to me becuase I play/shuffled the different scales like
this....sometimes.
aeo maj7
dor maj7
phry maj7
mix maj7
loc maj7
From the Key of C MAJOR/Amin...i still want to NOTATE it in C MAJOR/A min
i might only insert those chords..once or twice...for CADANCE
I dont expect everyone to know the different scales I know.
The Loc maj7 or Ion #6 ( possible C7)....or Mix #2...( possible G min.lol)
The A# note will makes
or if I play D dorian Maj7 ( C# note)
or E phrygian maj7........... (D# note)...ect
it'll make sense...If I say I play from the C MAJOR
to the E min chord....but use E melodic min
C Maj.....C# dim....D# dim E min F Maj G Maj into C MAJOR
I could say I used the N6 after C MAJOR.lol
Db dim Eb aug into E
but music is total COOL....
Im going to use the n6 chord after the after the A min chord..
Bb Maj7..againts the open E string....
Then F7..to G min chord....( then simply play the G min7 chord.
Then reach over to play the Bb and Ab note.
Then Eb Maj7...Then play the Db note
It;s EASY...Im just barring complete across the 3rd fret
when I play the Db..it'll be sort of G dim.lmao
But im going use the Db as a leading tone into the D min chord..
then just E min ...then A min
or D min G7 into C MAJOR...as a simple ii , V , I again
or B Maj7 is a sort of D min...
and E min is a sort of C Maj7...
I might play B Maj7 add#11....C Maj7 to the A min chord...
It happens fast..becuase they sort of like passing CHORDS/Notes
But I PRACTICE it SLOW...to hear the different SOUNDS.
it works becuase MUSIC FLOWS or is in MOTION/Moving
Im basically going to play back to the C MAJOR or Amin chord...different ways.
The key signature/Parent scale is C MAJOR.
The same will happen if I play in A MAJOR/F# min..
yes..I;ll play the the D min or E min chord....while in A MAJOR.
or the B Maj and C MAJOR while in F# min..lol
Sometimes I'll play ALL minor chord...except the TONIC chord.
or visa versa...all MAJOR chords except the relative min.lol
reply
oh wow...I totally forgot about the aux scale.lol
It's just easier for me to comprehend certain things because Im on the guitar.
I know all 12 notes WORK.....but if i had to notate it...I'd have to be more careful
or try to make it EASIER for other people to read it
It makes sense to me becuase I play/shuffled the different scales like
this....sometimes.
aeo maj7
dor maj7
phry maj7
mix maj7
loc maj7
From the Key of C MAJOR/Amin...i still want to NOTATE it in C MAJOR/A min
i might only insert those chords..once or twice...for CADANCE
I dont expect everyone to know the different scales I know.
The Loc maj7 or Ion #6 ( possible C7)....or Mix #2...( possible G min.lol)
The A# note will makes
or if I play D dorian Maj7 ( C# note)
or E phrygian maj7........... (D# note)...ect
it'll make sense...If I say I play from the C MAJOR
to the E min chord....but use E melodic min
C Maj.....C# dim....D# dim E min F Maj G Maj into C MAJOR
I could say I used the N6 after C MAJOR.lol
Db dim Eb aug into E
but music is total COOL....
Im going to use the n6 chord after the after the A min chord..
Bb Maj7..againts the open E string....
Then F7..to G min chord....( then simply play the G min7 chord.
Then reach over to play the Bb and Ab note.
Then Eb Maj7...Then play the Db note
It;s EASY...Im just barring complete across the 3rd fret
when I play the Db..it'll be sort of G dim.lmao
But im going use the Db as a leading tone into the D min chord..
then just E min ...then A min
or D min G7 into C MAJOR...as a simple ii , V , I again
or B Maj7 is a sort of D min...
and E min is a sort of C Maj7...
I might play B Maj7 add#11....C Maj7 to the A min chord...
It happens fast..becuase they sort of like passing CHORDS/Notes
But I PRACTICE it SLOW...to hear the different SOUNDS.
it works becuase MUSIC FLOWS or is in MOTION/Moving
Im basically going to play back to the C MAJOR or Amin chord...different ways.
The key signature/Parent scale is C MAJOR.
The same will happen if I play in A MAJOR/F# min..
yes..I;ll play the the D min or E min chord....while in A MAJOR.
or the B Maj and C MAJOR while in F# min..lol
Sometimes I'll play ALL minor chord...except the TONIC chord.
or visa versa...all MAJOR chords except the relative min.lol
reply
Krzysztof
Bar 2 was the bee's knees! It is exactly what was missing in the otherwise fascinating video about the minor scales. Johann Sebastian Bach consistently used raised sixth and seventh (ascending and descending) over the harmonies having a dominant function (with sixth scale degree as nonharmonic tone). And you didn't even slow down over it, because it is perfectly natural for a musician who has a good grip on the harmony, I presume. By the way, I am not able to analyse any of Bach's work, but I can understand clearly written master thesis -The melodic minor scale in selected works of Johann Sebastian Bach- by Sharon Louise Towndrow, which I discovered on the internet. Thanks a million for this video, the second bar, and a lovely piece of music.
reply
Bar 2 was the bee's knees! It is exactly what was missing in the otherwise fascinating video about the minor scales. Johann Sebastian Bach consistently used raised sixth and seventh (ascending and descending) over the harmonies having a dominant function (with sixth scale degree as nonharmonic tone). And you didn't even slow down over it, because it is perfectly natural for a musician who has a good grip on the harmony, I presume. By the way, I am not able to analyse any of Bach's work, but I can understand clearly written master thesis -The melodic minor scale in selected works of Johann Sebastian Bach- by Sharon Louise Towndrow, which I discovered on the internet. Thanks a million for this video, the second bar, and a lovely piece of music.
reply
The
I find your videos the most blind friendly as it is described in detail with audio (speaking and playing). It's hard to find videos explaining music theory concepts where everything is not just based on diagrams and -look at this- (showing what's on the screen). It really helps when you play what you are showing because I can't see what is on the screen since I'm blind. Could you perhaps in future please also play through the whole example before starting to work through it? If possible. Not sure if this message makes sense at all? But thank you so much for being so descriptive.
reply
I find your videos the most blind friendly as it is described in detail with audio (speaking and playing). It's hard to find videos explaining music theory concepts where everything is not just based on diagrams and -look at this- (showing what's on the screen). It really helps when you play what you are showing because I can't see what is on the screen since I'm blind. Could you perhaps in future please also play through the whole example before starting to work through it? If possible. Not sure if this message makes sense at all? But thank you so much for being so descriptive.
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Randolph
Great video! I would mention that, in the US, -auxiliary notes- are often called -neighbor tones-, so you'll have -upper neighbor- or lower neighbor- tones. Neighbor, not neighbour! :-) As I have mentioned before, there are also differences in Roman numeral conventions. An appoggiatura in the US doesn't say anything about -duration-: it's -an unprepared dissonance occurring on a strong beat, resolving by step, usually, in the direction opposite the leap-. Finally, we pronounce -anticipatory- with the accent on the 2nd rather than the 4th syllable. :-)
reply
Great video! I would mention that, in the US, -auxiliary notes- are often called -neighbor tones-, so you'll have -upper neighbor- or lower neighbor- tones. Neighbor, not neighbour! :-) As I have mentioned before, there are also differences in Roman numeral conventions. An appoggiatura in the US doesn't say anything about -duration-: it's -an unprepared dissonance occurring on a strong beat, resolving by step, usually, in the direction opposite the leap-. Finally, we pronounce -anticipatory- with the accent on the 2nd rather than the 4th syllable. :-)
reply
Max
Hi Gareth, thanks for this! I have a question. What's the difference between accented, unaccented, weak & strong? Some sources say (in 4/4 time) that beats 1 and 3 are strong (accented) and that beats 2 and 4 are weak (unaccented). Other sources say that (in 4/4 time) that 1,2,3,4 are accented, not necessarily saying they are -strong- and the beats in between (8th/16th) are unaccented, not necessarily calling them -weak.- Is there a difference in terminology when talking about rhythm and melody?
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Hi Gareth, thanks for this! I have a question. What's the difference between accented, unaccented, weak & strong? Some sources say (in 4/4 time) that beats 1 and 3 are strong (accented) and that beats 2 and 4 are weak (unaccented). Other sources say that (in 4/4 time) that 1,2,3,4 are accented, not necessarily saying they are -strong- and the beats in between (8th/16th) are unaccented, not necessarily calling them -weak.- Is there a difference in terminology when talking about rhythm and melody?
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Charles
-Love the (re) education we-re getting here !! Lower auxiliary tones: it seemed to me that they are by nature (rule of thumb) existing in 1/2 steps. Sometimes they are diatonic, from 1 and 4, and chromatic from 2, 3, 5, 6, and 7 etc. Upper auxiliary tones remain diatonic yes? So grateful for your videos and am considering joining in support.
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-Love the (re) education we-re getting here !! Lower auxiliary tones: it seemed to me that they are by nature (rule of thumb) existing in 1/2 steps. Sometimes they are diatonic, from 1 and 4, and chromatic from 2, 3, 5, 6, and 7 etc. Upper auxiliary tones remain diatonic yes? So grateful for your videos and am considering joining in support.
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wayne
Which chords use non harmonic tones in classical music. What I mean is that the ii half dim chord is often used as ii 4-3 half diminished using the 4-3 as non chord tones in the half diminished ii. Any other chords used like this in classical music that are using non harmonic chord tones?
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Which chords use non harmonic tones in classical music. What I mean is that the ii half dim chord is often used as ii 4-3 half diminished using the 4-3 as non chord tones in the half diminished ii. Any other chords used like this in classical music that are using non harmonic chord tones?
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Anthony
Question for you Gareth: in a lot of these videos you are rooted to the harmonic minor throughout without utilising the natural. Is that for ease of explanation? In sections that aren-t cadential wouldn-t the minor III chord work better than the augmented?
reply
Question for you Gareth: in a lot of these videos you are rooted to the harmonic minor throughout without utilising the natural. Is that for ease of explanation? In sections that aren-t cadential wouldn-t the minor III chord work better than the augmented?
reply
ChorderPOPMusic
on the bar 5 (before the last bar)
I try to add iim7b5 (G# m7b5) sound it nice too
from original is I - V7 -
but when i try I - iim7b5 V7 sound isn't bad even it change chord too much
reply
on the bar 5 (before the last bar)
I try to add iim7b5 (G# m7b5) sound it nice too
from original is I - V7 -
but when i try I - iim7b5 V7 sound isn't bad even it change chord too much
reply
Silke
Thank you so much for making these non-harmonic tones come alive and explaining them so beautifully! This complicated theory has become very logical through your fabulous video!
reply
Thank you so much for making these non-harmonic tones come alive and explaining them so beautifully! This complicated theory has become very logical through your fabulous video!
reply
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