Harmonic Progressions used by Famous Composers - Music Composition
video description
Date: 2022-03-28
Related videos
Comments and reviews: 10
laffikdcaps
My options would be:
the meyer: c(I) b(III) f(IV) e(VI)-
the jupiter: c(I) d(V) f(II) e(VI, III)-
the aprile: c(I) b(III) d(V) c(I)-
the pastorella: e(III) d(V) f(II) e(VI, III)-
sol-fa-mi: g(V) f(II) f(IV) e(VI, III)-
the romanesca: g(V) g(I) c(VI) g(I, V)-
the prinner: a(VI) g(I) f(IV) e(VI, I, III)
Is this wrong? For my taste it's cleaner. Without all these bloody 7ths and VIIs.
This is according to Laffik's schemata: Keep the tone in prime or fifth, rarest the third and change as little tones from chord to chord as possible.
If melody and bass is given there is no much choice. Just to add third voice to fill up the chord.
Regards.
reply
My options would be:
the meyer: c(I) b(III) f(IV) e(VI)-
the jupiter: c(I) d(V) f(II) e(VI, III)-
the aprile: c(I) b(III) d(V) c(I)-
the pastorella: e(III) d(V) f(II) e(VI, III)-
sol-fa-mi: g(V) f(II) f(IV) e(VI, III)-
the romanesca: g(V) g(I) c(VI) g(I, V)-
the prinner: a(VI) g(I) f(IV) e(VI, I, III)
Is this wrong? For my taste it's cleaner. Without all these bloody 7ths and VIIs.
This is according to Laffik's schemata: Keep the tone in prime or fifth, rarest the third and change as little tones from chord to chord as possible.
If melody and bass is given there is no much choice. Just to add third voice to fill up the chord.
Regards.
reply
superblonde
This type of material is totally skipped in current college music education. Learning many types of very good progressions is like learning new, good vocabulary words in a language. When I ask about progressions or how to write better harmony the answer is always the same: -use the ears, try writing out some notes, how does it sound.- But fundamentally what is needed is more & better material on the vocabulary of music, like this video, and applying the vocabulary in new writing, which makes for richer compositions.
reply
This type of material is totally skipped in current college music education. Learning many types of very good progressions is like learning new, good vocabulary words in a language. When I ask about progressions or how to write better harmony the answer is always the same: -use the ears, try writing out some notes, how does it sound.- But fundamentally what is needed is more & better material on the vocabulary of music, like this video, and applying the vocabulary in new writing, which makes for richer compositions.
reply
PabloD120
Outstanding video - thank you so much!!! I'm wondering whether these Schemata are related to (or perhaps drawn from?) the -Rule of the Octave- I've heard about recently, which seemed like a brilliant method of learning harmony & composition in Classical times. From what I've read Mozart and others used the Rule of the Octave both in teaching and in their own works . . . It might make another wonderful Music Matters course, if you'd consider it! :-)
reply
Outstanding video - thank you so much!!! I'm wondering whether these Schemata are related to (or perhaps drawn from?) the -Rule of the Octave- I've heard about recently, which seemed like a brilliant method of learning harmony & composition in Classical times. From what I've read Mozart and others used the Rule of the Octave both in teaching and in their own works . . . It might make another wonderful Music Matters course, if you'd consider it! :-)
reply
Caters
I am writing a Theme and Variations based on another famous progression, La Folia. I will try to write as many as I can possibly think of including but not limited to:
- Rhythmic intensification(usually in Variations 1-3)
- Syncopation
- Time signature change
- Canon
- Possibly a fugue
I'm writing it for Solo Piano, so I have no idea how many variations I will get, but I'm sure it will surpass my previous maximum of 9 variations.
reply
I am writing a Theme and Variations based on another famous progression, La Folia. I will try to write as many as I can possibly think of including but not limited to:
- Rhythmic intensification(usually in Variations 1-3)
- Syncopation
- Time signature change
- Canon
- Possibly a fugue
I'm writing it for Solo Piano, so I have no idea how many variations I will get, but I'm sure it will surpass my previous maximum of 9 variations.
reply
Kre-imir
It is pointless to learn about the Galant schemata without examples from real music. The only way to appreciate the schemata is to learn to recognise them in real music, and once you do, you them you hear them in almost every music piece written between 1680 and 1820 (and in many pieces before and after that). They change the way you think about music.
But if you just show the dry prototypes, that's a complete waste of time.
reply
It is pointless to learn about the Galant schemata without examples from real music. The only way to appreciate the schemata is to learn to recognise them in real music, and once you do, you them you hear them in almost every music piece written between 1680 and 1820 (and in many pieces before and after that). They change the way you think about music.
But if you just show the dry prototypes, that's a complete waste of time.
reply
uhoh007
Would you be talking about Galant Schemata without Dr Robert Gjerdingen's 2007 -Music in the Galant Style-? Perhaps it's time for a book review, considering the influence of the work presently. Maybe a field trip to Napoli? There is a treasure trove of musical tools in the current -Italian Revival-. Learn them, share them, please.
reply
Would you be talking about Galant Schemata without Dr Robert Gjerdingen's 2007 -Music in the Galant Style-? Perhaps it's time for a book review, considering the influence of the work presently. Maybe a field trip to Napoli? There is a treasure trove of musical tools in the current -Italian Revival-. Learn them, share them, please.
reply
Aftrn
-The Jupiter!- I'm kind of surprised you said -has a funny name- but didn't explain. Those four notes are the main theme to the fourth movement of Mozart's Jupiter Symphony. When you played those four notes I recognized it immediately.
reply
-The Jupiter!- I'm kind of surprised you said -has a funny name- but didn't explain. Those four notes are the main theme to the fourth movement of Mozart's Jupiter Symphony. When you played those four notes I recognized it immediately.
reply
chrissansum
Very interesting, thank you for the informative video! Are there any contemporary treatises where all of the the galant schemata can be found in one place? Or do we need to look to modern writings to find them listed together?
reply
Very interesting, thank you for the informative video! Are there any contemporary treatises where all of the the galant schemata can be found in one place? Or do we need to look to modern writings to find them listed together?
reply
Stephen
Hi Gareth,
In 2. The Jupiter, has there been a typo in the second chord - isn't a simple triad chord in first inversion 6 3 in figured bass not 6 5 which implies a 7th chord (as per the third chord)?
reply
Hi Gareth,
In 2. The Jupiter, has there been a typo in the second chord - isn't a simple triad chord in first inversion 6 3 in figured bass not 6 5 which implies a 7th chord (as per the third chord)?
reply
linda
Very familiar to my ears...which is exactly how I hear/play...but it is so good to know the naming and numbers and hear that wonderful word -resolution-...Thanks so much!
reply
Very familiar to my ears...which is exactly how I hear/play...but it is so good to know the naming and numbers and hear that wonderful word -resolution-...Thanks so much!
reply
Add a review, comment
Other channel videos
