Want to support me on patreon for my work? --> www.patreon.com/user?u=3320377 Want to buy me a coffee (or a beer)? buymeacoffee.com/timoncomposer Paypal: paypal.me/timondenood Other socials: --> instagram.com/timon.de.nood/ --> soundcloud.com/timon_dn If you have other questions please don't hesitate to ask me.
I did not touch on every single aspect of the melody, just to keep the video in a reasonable time frame. Here are some additional concepts to keep in mind: - Color/texture of the melody - Character/expression, what do you want to express at a certain moment. For example are you going for a major or minor melody.. or even modal melody... - Dynamics (you can analyse this one yourself with this work) - Purpose of the melody. For example, what are you going to do with the melody in the remainder of a work. You could write your melody in such a way that it has a lot of features that are interesting to use in a development section. For fugues & other contrapuntal works (in traditional harmony), your melody will need distinct features. - Chromaticism vs. Diatonicism (chromatic intervals are generally harder to memorize and sing, but they can be very usefull for tension, coloring, ...) - probably many more ;) BTW: made a little mistake at 7:33, the notes are eight-notes ofcourse, not quarter ones.
So V in the tonality of E maj is: B D# F#, the dominant chord. If we make it a dominant seventh chord: V7, we have: B D# F# A. A is the seventh of the chord. If we place the seventh, A in the bass, we get A - B - D# - F#. This is one possible inversion of a chord. The distance between the functional bass note A and the root of the chord: B is one hole tone, thus two semitones, hence the 2 in the V2
@@TimondeNood oh, I see thank you. My teacher taught me that the last inversion of a dominant 7th or other 7th chord is a 4/2. But in roman numerals I've never used V2. Very interesting to see other ways of analysing. Other cool stuff is that you've point out suspensions which is very important and many people forget.
The 4/2 and 2 are equal. 4 is just an extra distance mentioned. The distance from A the bass to D# is an augmented fourth. So V 4 2. Some roman numeral systems have subtle differences like this one we just mentioned
Want to support me on patreon for my work?
--> www.patreon.com/user?u=3320377
Want to buy me a coffee (or a beer)?
buymeacoffee.com/timoncomposer
Paypal: paypal.me/timondenood
Other socials:
--> instagram.com/timon.de.nood/
--> soundcloud.com/timon_dn
If you have other questions please don't hesitate to ask me.
One of my most favorite CZcams channels, Thanks a lot for sharing knowledge with us Timon, We really appreciate it
Thank you so much Reza! That's how it should be IMO, sharing knowledge just for the passion of it!
This is glorious. But I need to watch it a few times to take it in. Thanks Timon.
It's my pleasure!
As a composer, myself.
This video is very useful to improvise (and compose) a music.
Super, glad it helps!! :D
@@TimondeNood Thanks a lot
Excellent, thank you. Your analysis is very interesting. Do more analysis like this.
Thank you friend!!
Dude, you are amazing! I really appreciate that and love your analysis. Thank you and keep it up!!
Yeeej, so glad it helps!! I'll try to upload another one in a few weeks!
Fabulous work. Really clear. Good video structure easy to follow.
Thank you William, glad it worked!
Exellent! I'm composing a piano sonata, this could be really helpful🌈
I did not touch on every single aspect of the melody, just to keep the video in a reasonable time frame.
Here are some additional concepts to keep in mind:
- Color/texture of the melody
- Character/expression, what do you want to express at a certain moment. For example are you going for a major or minor melody.. or even modal melody...
- Dynamics (you can analyse this one yourself with this work)
- Purpose of the melody. For example, what are you going to do with the melody in the remainder of a work. You could write your melody in such a way that it has a lot of features that are interesting to use in a development section. For fugues & other contrapuntal works (in traditional harmony), your melody will need distinct features.
- Chromaticism vs. Diatonicism (chromatic intervals are generally harder to memorize and sing, but they can be very usefull for tension, coloring, ...)
- probably many more ;)
BTW: made a little mistake at 7:33, the notes are eight-notes ofcourse, not quarter ones.
A tip : you can watch series on Flixzone. Me and my gf have been using them for watching loads of movies lately.
@Milan Jamari Yup, I've been using flixzone for years myself :)
At 10:29 what is V2 in the measure 4 in terms of roman numerals?
I really enjoy the video
So V in the tonality of E maj is: B D# F#, the dominant chord. If we make it a dominant seventh chord: V7, we have: B D# F# A. A is the seventh of the chord. If we place the seventh, A in the bass, we get A - B - D# - F#. This is one possible inversion of a chord. The distance between the functional bass note A and the root of the chord: B is one hole tone, thus two semitones, hence the 2 in the V2
@@TimondeNood oh, I see thank you. My teacher taught me that the last inversion of a dominant 7th or other 7th chord is a 4/2. But in roman numerals I've never used V2. Very interesting to see other ways of analysing. Other cool stuff is that you've point out suspensions which is very important and many people forget.
The 4/2 and 2 are equal. 4 is just an extra distance mentioned. The distance from A the bass to D# is an augmented fourth. So V 4 2. Some roman numeral systems have subtle differences like this one we just mentioned