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24,296 Views • Jan 10, 2024 • Click to toggle off description
Thanks Ben Smith for the inspiration! • "Kensington Gardens" - Hook | Score R...
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Views : 24,296
Genre: Education
Date of upload: Jan 10, 2024 ^^
Rating : 4.939 (22/1,418 LTDR)
RYD date created : 2024-05-12T02:11:01.450958Z
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YouTube Comments - 63 Comments
Top Comments of this video!! :3
This is the first time I’ve heard a clear explanation of a 6/4 chord and why it’s called that. Thank you!
Also, the “give people what they expect but not necessarily how they expect it” Is a great concept.
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Hook is one of John Williams' best scores
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Very interesting thought! Williams sets fire to the rule book in this regard so often that when I'm analysing I rarely look much beyond the functional harmony in his music. He does use more second inversions throughout this cue and others, but they could (for the most part) be considered to bend one of the four rules rather than break them. I'm glad you found something that peaked your interest, that's why I make these videos!
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Great job, really well explained! I’ve been recommending your videos to my students as well.
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Nicely done. JW is a master at these . Thank you
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Great! New Ryan Leach video !
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nice !!! luv all the theory stuff coming out lately !!
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Great explanation and examples!
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Great explanation! Love your video
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Nice vids bro! Keep going 💪
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Excellent explanation
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Gorgeous passage from an excellent score by the Maestro. Thanks for sharing your thoughts on the harmonic progression there!
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Great datum! Thank you.
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As a choral singer, I tend to think of melodic lines and how they are phrased -- gives a different perspective on the chords, leading tones, etc. Enjoyed your presentation!
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Harmony and Voice Leading by Aldwell & Schachter identifies the "accented 6/4", which is much like a cadential 6/4, but not cadential. So the IV 6/4 chord here would be functioning as the I chord to which it resolves. Definitely seems like what Williams is doing here, though he "denies" the resolution with the modulation. Does seem to be an oddly overlooked use of the 6/4 chord in many textbooks though.
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I think it's important to remember Johnny is a jazzer. Often his orchestrations are simply what played at the piano while writing.
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I always find these videos helpful, especially the melodic structure and orchestration ones 👌
I wondered if you'd have any helpful tips and tricks for adding ornamentations to melodies. It's easy to Google examples, but I find incorporating them in a way that feels appropriate can be tricky. Hopefully you've some insight on adding ornamentations in a way that adds to a melody and doesn't distract or feel unnecessary.
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I think you kind of forgot one important relation: B major as a key is parallel to G# minor, which in turn enharmonically speaking (Ab minor) is the "minorized" subdominant of Eb major - a classic in romantic era composing. The melody resembles this quite clearly actually. The harmony is just there to obfuscate this imho. Or to try a different version of this well known path.
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While the specific usage here is awesome, as someone who struggles a little with the application of inversions, I also really appreciated the traditional use of second inversions as devices.
Would love some more of those, for first inversions and chord with extensions too!
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@finlayrivers9839
4 months ago
And a tritone subsitution is doubly as effective if you include the seventh of the chord too (as the seventh of the tritone substitution is the third of the regular dominant chord, which are both tension notes within the chord)!
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