this is a concept i've been toying with for around a year now - i call it "downwards extension" and i'm currently working on fitting it into a larger, codified theoretical framework! really cool to see someone else arrive at essentially the same thing independently, even though i think about it in a slightly different way. hopefully i'll remember to come back here and share my Google doc whenever i get it in a presentable state.
Definitely a possibility, especially for those starting to experiment with extensions. It's a great way to teach extensions or get people started with progressions.
wow it was very insightful for me! even enlightening in almost a literal way, since it helped me clear things i didn’t see in harmony and it was like in the dark. thank you so much!
Bezifferung (‘figur’d Bass / Thorough Bass) refers to numbers plac’d under the baseline - in order to tell the keyboard player how to fill out ‘the right hand’ with full chords. If C-major is your bass-key and a dominant 7th (G-7) is written in Bezifferung (G-B-D-Fnatural) it allows for 4 possible combinations : the first has the Root G in the Bass (mark’d as 7 in figur’d bass) if the 3rd (B) is in the bass in any 7th chord it is mark’d as 6/5; if the 5th (D) occurs in the Bass, it is mark’d in figur’d bass as 4/3 under the bass note; if the 7th (= F-natural) occurs in the Bass it is written as a 2- All easy to remember since the Bezifferung thorough bass numerals all descend in a clear sequence (7 6/5 4/3 2) which immediately tell the keyboard player that they’re dealing with some form of a 7th chord
When I saw the title, I thought you were just going to add the seventh into the bass, which I've seen happen. I think it's just as valid and as versatile.
Hopping over to relative minor like this is a nice way to add extra movement without disrupting the mode. Either as a way to subdivide the movement, or just repeating a whole harmony down a third to connect phrases with just enough movement. Never really thought of it as a backward extension before but it makes sense.
Great video! Very interesting concept. I wish I’d used that idea in some of my previous compositions. I’ll definitely keep in mind on my current projects. Thanks!
Thank you very much for this lesson. Is this what musicians on "The Lawrence Welk" show learn? Since the Pandemic which is thankfully over, we have been listening to those musicians, and they are fascinating in their work.
I like what you are doing here. Often I feel, when learning "the rules", that these reflect a simpler underlying theory. For example, the basic tonic-predominant-dominant-tonic progression that underlies so many satisfying chord progressions. But there is another aspect I feel that is important, and that is that when moving from one chord to another, it sounds much better if there are as many common tones as possible. And I think that's the lesson you are showing here. It doesnt matter if you add a third above or below, so long as you are keeping the central three constant. I'm sure some theorist could come up with a new set of rules for adding a third below, as if its a different thing altogether, but I like that you present it just as a simple variant of the existing addition of a third above. PS, when you are playing the C major-D minor 7th, in my head, I feel a strong pull to ACDF# then D,BDG Whatever they are. inversions of some sort.
I don't why it's taken me so long to realise, this is kind of the principle Brahms was onto with his intermezzo in B minor that you did the interpretation on. It may not be a theory he had but he built a triad and extended it upside down.
Thanks for another informative video! - Speaking of chords, I've looked through your video repertoire and notice you don't have one yet on spelling chords. Key chord notation etc... I'm trying to teach my daughter. She is at the Fø9/D stage if she builds her own chords etc... I would love for her to be able to analyze most pieces from the notes given in the measures and starting with the usual triad and building up, know that it might be a F7(sus2) if those were the notes etc... You don't have to go to 11 or 13 or (add b9) etc... just enough basics so that she can see patterns that will help her when composing. If you think it sounds fun, I would love to see a video that teaches how to build chords from the bottom up. - Thanks! 😊
Okay. Will think about that. We have quite a number of videos that unpack chords in terms of Roman Numerals. You’re asking for the same thing lead sheet style?
@@MusicMattersGB Yep. I didn't really realize it was a 'jazz' thing so to speak. I have been using the info more to analyze a Bach prelude. Learning the order of triad + 7th + dim + slash if inverted, blah blah. It was very interesting once I knew what to do and how to break down the individual notes in one measure and figure out how to turn them into the proper chords (1,3,5,7) in order to know what they actually were without knowing their place in the chord progression etc... I'm sure it could be made into a sort of primer with a (first you do) and (then you do) and it would help us to know why the composer decided to use that exact note in the chord, what he was trying to accomplish etc... ok, enough yapping. - Love your channel. Have a lot of your theory/composition videos in a playlist. 🙂
From the title, I thought the video would be about using 7ths in fourth inversion. It made me think that a similar though more static progression is to add a sixth for your upside down 7th putting it in first inversion. I am not so sure how useful this would be, but I can see that on chords I, IV and V a tendency for the bottom note to rise a semitone and the possibility of a modulation.
That was quite interesting. I'd never thought about that. When you first wrote out the VI-7 on the second staff, I immediately thought, "Well, that's an Am7." But I hadn't considered how it would vary the choices of how to progress from there.
when I can Master! ....it would be interesting to make a short video about the golden zone...for example in...! Bartok !!.., and to be able to observe,.. if it is! objective or subjective! .. the zone of structural balance.... a hug !!
@@MusicMattersGB You are an academic resource. I'm learning how you guys communicate notes to melody and structure. It's becoming clearer to me how the language you use related to many songs. I'm not sure chords are a necessary line to communicate all emotions. Thanks for your efforts.
Some are major 7ths and some are minor 7ths. The underlying triads also vary. It doesn’t change the principle under discussion. How you use them then depends on the context.
@@MusicMattersGB Thank you for your response. What I meant is that for example IV7 have a seventh that is half-step higher above the chord root than V7's seventh is above its chord root. So IV7 and V7 have a different "character". So reversing it has in this video should have different effects. Thank you very much. Excellent video!
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Brilliant, opens up the world of harmony
That’s great. Much more at www.mmcourses.co.uk
this is a concept i've been toying with for around a year now - i call it "downwards extension" and i'm currently working on fitting it into a larger, codified theoretical framework! really cool to see someone else arrive at essentially the same thing independently, even though i think about it in a slightly different way. hopefully i'll remember to come back here and share my Google doc whenever i get it in a presentable state.
That’s great. Much more at www.mmcourses.co.uk
Definitely a possibility, especially for those starting to experiment with extensions. It's a great way to teach extensions or get people started with progressions.
😀
wow it was very insightful for me! even enlightening in almost a literal way, since it helped me clear things i didn’t see in harmony and it was like in the dark. thank you so much!
A pleasure. Much more to help you at www.mmcourses.co.uk
Fantastic video. You have given me so many more possibilies. Thanks for sharing.
A pleasure. Much more at www.mmcourses.co.uk
Bezifferung (‘figur’d Bass / Thorough Bass) refers to numbers plac’d under the baseline - in order to tell the keyboard player how to fill out ‘the right hand’ with full chords.
If C-major is your bass-key and a dominant 7th (G-7) is written in Bezifferung (G-B-D-Fnatural) it allows for 4 possible combinations :
the first has the Root G in the Bass (mark’d as 7 in figur’d bass)
if the 3rd (B) is in the bass in any 7th chord it is mark’d as 6/5;
if the 5th (D) occurs in the Bass, it is mark’d in figur’d bass as 4/3 under the bass note;
if the 7th (= F-natural) occurs in the Bass it is written as a 2-
All easy to remember since the Bezifferung thorough bass numerals all descend in a clear sequence (7 6/5 4/3 2) which immediately tell the keyboard player that they’re dealing with some form of a 7th chord
😀
very intuitive, never seen a video like this - honestly!
That’s great. Much more at www.mmcourses.co.uk
Fantastic lesson, thanks Gareth!
A pleasure
What a cool and inventive way to describe this. It feels much easier to grasp, building on the notion of chord "building". Thanks.
That’s great. Much more at www.mmcourses.co.uk
When I saw the title, I thought you were just going to add the seventh into the bass, which I've seen happen. I think it's just as valid and as versatile.
Of course. This is just a different approach
Hopping over to relative minor like this is a nice way to add extra movement without disrupting the mode. Either as a way to subdivide the movement, or just repeating a whole harmony down a third to connect phrases with just enough movement.
Never really thought of it as a backward extension before but it makes sense.
It’s another way of seeing it
Nice and interesting little way to do it!
That’s great. Much more at www.mmcourses.co.uk
Great video! Very interesting concept. I wish I’d used that idea in some of my previous compositions. I’ll definitely keep in mind on my current projects. Thanks!
😀Just another way to think about it.
Useful idea for composing
Glad it’s helpful
@@MusicMattersGBsure is helpful and good for composition . really good to know the theory behind it..
😀
Thank you very much for this lesson. Is this what musicians on "The Lawrence Welk" show learn? Since the Pandemic which is thankfully over, we have been listening to those musicians, and they are fascinating in their work.
That’s great
I'm too much of a Newbie to really appreciate this, but it sounds interesting. I'll want to listen to this in another year.
That’s great. Much more to help you make the journey at www.mmcourses.co.uk
I really enjoyed this video. I must go through it again and copy all your progressions!
Glad it’s useful
Aha! Thanks for one more interesting insight! About time to get me a keyboard to use parallell to the fretboard, s.t.s.
Excellent plan
Thank you very much. This is very interesting idea - as usual in your excellent tutorials!
That’s most kind. Much more at www.mmcourses.co.uk
Thank you kindly🤍
Glad it’s helpful
Very good advice!
A pleasure.
I like what you are doing here. Often I feel, when learning "the rules", that these reflect a simpler underlying theory. For example, the basic tonic-predominant-dominant-tonic progression that underlies so many satisfying chord progressions. But there is another aspect I feel that is important, and that is that when moving from one chord to another, it sounds much better if there are as many common tones as possible. And I think that's the lesson you are showing here. It doesnt matter if you add a third above or below, so long as you are keeping the central three constant. I'm sure some theorist could come up with a new set of rules for adding a third below, as if its a different thing altogether, but I like that you present it just as a simple variant of the existing addition of a third above.
PS, when you are playing the C major-D minor 7th, in my head, I feel a strong pull to ACDF# then D,BDG Whatever they are. inversions of some sort.
Absolutely.
Great things! Thanks!
That’s most kind. Much more at www.mmcourses.co.uk
I don't why it's taken me so long to realise, this is kind of the principle Brahms was onto with his intermezzo in B minor that you did the interpretation on. It may not be a theory he had but he built a triad and extended it upside down.
I’ve often wondered that.
Thanks for another informative video! - Speaking of chords, I've looked through your video repertoire and notice you don't have one yet on spelling chords. Key chord notation etc... I'm trying to teach my daughter. She is at the Fø9/D stage if she builds her own chords etc... I would love for her to be able to analyze most pieces from the notes given in the measures and starting with the usual triad and building up, know that it might be a F7(sus2) if those were the notes etc... You don't have to go to 11 or 13 or (add b9) etc... just enough basics so that she can see patterns that will help her when composing. If you think it sounds fun, I would love to see a video that teaches how to build chords from the bottom up. - Thanks! 😊
Okay. Will think about that. We have quite a number of videos that unpack chords in terms of Roman Numerals. You’re asking for the same thing lead sheet style?
@@MusicMattersGB Yep. I didn't really realize it was a 'jazz' thing so to speak. I have been using the info more to analyze a Bach prelude. Learning the order of triad + 7th + dim + slash if inverted, blah blah. It was very interesting once I knew what to do and how to break down the individual notes in one measure and figure out how to turn them into the proper chords (1,3,5,7) in order to know what they actually were without knowing their place in the chord progression etc... I'm sure it could be made into a sort of primer with a (first you do) and (then you do) and it would help us to know why the composer decided to use that exact note in the chord, what he was trying to accomplish etc... ok, enough yapping. - Love your channel. Have a lot of your theory/composition videos in a playlist. 🙂
Glad it’s all useful
From the title, I thought the video would be about using 7ths in fourth inversion. It made me think that a similar though more static progression is to add a sixth for your upside down 7th putting it in first inversion. I am not so sure how useful this would be, but I can see that on chords I, IV and V a tendency for the bottom note to rise a semitone and the possibility of a modulation.
All sorts of possibilities
Thanks🎉
A pleasure
That was quite interesting. I'd never thought about that. When you first wrote out the VI-7 on the second staff, I immediately thought, "Well, that's an Am7." But I hadn't considered how it would vary the choices of how to progress from there.
Glad it’s helpful
🤓 very interesting and very cool
That’s great. Much more at www.mmcourses.co.uk
Sir: Do you have a video on Major Third Above the Bass;
We have plenty of harmony videos.
when I can Master! ....it would be interesting to make a short video about the golden zone...for example in...! Bartok !!.., and to be able to observe,.. if it is! objective or subjective! .. the zone of structural balance.... a hug !!
Sure. It’s a real thing. We could produce a video on that topic.
@@MusicMattersGB ok thank you teacher! ..no one touched this topic,...yet!
@@MusicMattersGB ok thank you teacher! ..no one touched this topic,...yet!
A pleasure. Much more at www.mmcourses.co.uk
🙂
😀
👍🏻🍀✝️🇺🇲👊🏻
Glad it’s helpful
@@MusicMattersGB You are an academic resource. I'm learning how you guys communicate notes to melody and structure. It's becoming clearer to me how the language you use related to many songs. I'm not sure chords are a necessary line to communicate all emotions. Thanks for your efforts.
That’s most kind. Much more at www.mmcourses.co.uk
All those 7th chords are not equals. Some are major 7 other are dominant 7. Why not mentioning it? It doesn't change anything?
Some are major 7ths and some are minor 7ths. The underlying triads also vary. It doesn’t change the principle under discussion. How you use them then depends on the context.
@@MusicMattersGB Thank you for your response. What I meant is that for example IV7 have a seventh that is half-step higher above the chord root than V7's seventh is above its chord root. So IV7 and V7 have a different "character". So reversing it has in this video should have different effects. Thank you very much. Excellent video!
Absolutely