Harmonic Progressions used by Famous Composers - Music Composition

[@MusicMattersGB]

Learn Music Online - Check out our courses here! www.mmcourses.co.uk/courses

[@fausto2649]

More videos about harmony, please! Love them!

[@MusicMattersGB]

Will do. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@winterdesert1]

"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.

[@MusicMattersGB]

😀

[@rchandos]

So did I. Wondering if Mozart inspired the name, or vice versa.

[@winterdesert1]

It's funny I was just looking at this again and I actually made a mistake when I wrote that. The main theme was CDFE, but he's playing CBFE which is also played during the developmental section. Yes, you can hear the rolling, frolicking, even dance-like "Galant" style with Mozart. Not sure who inspired it.

[@MusicMattersGB]

😀

[@russellbaston974]

@@MusicMattersGB Great video and explanation. The 'four note theme' of the "Jupiter" is a quite ancient motif it occurs in plain chant. J S Bach used it in his "Saints in Glory" fugue. My theory? is that Mozart consciously used it as a deliberate reference to 'the past', as I feel Mozart's Symphony 41 is very much a janussary work, looking back to the classical forms and forward to what was to come.

[@carlstenger5893]

Excellent video. Thanks so much!

[@MusicMattersGB]

Thanks.

[@RichardMooreMusic59]

Excellent presentation, Gareth! Thank you!

[@MusicMattersGB]

A pleasure. Glad it’s helpful.

[@benthepen3336]

Could you do a video on some harmonic progressions of the Romantic era? Chopin specifically if you could! I would really appreciate it.

[@MusicMattersGB]

Ok. Will do.

[@claudefazio]

That would be wonderful because Chopin's harmony is often considered to be the most interesting aspect of his oeuvre. It is certainly audacious at times.

[@benthepen3336]

@@claudefazio I agree!

[@kofiLjunggren]

PLEASESE

[@MusicMattersGB]

😀

[@scne3175]

Hei, i want to thank for this lessons, and you always replay to our questions, i really dont knew how to thank you, I love you so much as i love my father,

[@MusicMattersGB]

That’s very kind of you. Thank you.

[@lawrencetaylor4101]

Third time looking at this, and it's beginning to make sense.

[@MusicMattersGB]

Keep going!

[@lawrencetaylor4101]

@@MusicMattersGB I've been practicing the Rule of the Octave and it's helped me finally get a basic grasp of ear training. I probably have Aural Aphantasia, but I'm now singing (badly) and staying (badly) in tune. I've got psychological baggage with singing so that's a major accomplishment.

[@MusicMattersGB]

You’re making great headway

[@iwright621]

Very interesting . Triad inversions and extensions are very powerful if used methodically and imaginatively . Seems to work for me anyhow ,and awkward connections can sometimes produce surprising effects . Thanks again Gareth 👍

[@MusicMattersGB]

A pleasure. Hope all well.

[@lindamcdermott2205]

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!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@HanStanwell]

Robert Gjerdingen's (and his teachers) work keeps inspiring

[@MusicMattersGB]

😀

[@davidwhite2949]

I like how these musical basic ideas are given proper names

[@MusicMattersGB]

Yes it’s good.

[@banoffibear]

As a piano noob I'm finding this an excellent resource for practicing chord voicings in different keys. Many thanks for posting!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@keithjohnstone3446]

Wonderfully resolving.

[@MusicMattersGB]

😀

[@oritderi]

thank you very much! These videos are great for learning, use them to study for B.A. exams at the University. More orderly information than the lecturers give.

[@timdovecool7202]

More of this plz.....very good harmony lesson.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@virnaalbasi2313]

Hi Gareth, great video (as usual)! I'm realizing I might have used some of these schemata in harmonization exercises without even knowing they exist, or I might have used some awkward progressions to try and reach this effect. I have learnt so much with this video. Thanks a lot! ☺️

[@MusicMattersGB]

That’s great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@jameshighmore]

Great video, thank you

[@MusicMattersGB]

That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@bryonharper7660]

Thank you so very much for this exposition/lesson, Gareth. I love this sort of thing. Very useful indeed. Keep doing what you do. Cheers.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@lawrencetaylor4101]

Ever since you talked about the Rule of the Octave, my approach to the keyboard has completely changed. I'm sure you know of Robert Gjerdingen since you seem to be an old-fashioned Italian maestro. I have started doing the exercises from Kellner and it's putting a whole new light on how to move my fingers. As I was practicing cadenzae I saw this was reinforcing chord inversions.

[@MusicMattersGB]

Brilliant

[@pathaks1]

Subtle principles on harmony ❤

[@MusicMattersGB]

😀

[@luxinveritate3365]

Its good to ote for the pastorella how the hidden 5th there is an exception to the paralell 5th guideline.

[@MusicMattersGB]

😀

[@afafsalem5600]

Excellent lesson thank you

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@superblondeDotOrg]

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.

[@MusicMattersGB]

I completely agree and many people approach me for consultation lessons on this very subject because they’re frustrated with the ‘try it and hear if it works’ approach.

[@r5u26d3]

A bit like Professor Hill’s ‘Think System’ in the Music Man

[@MusicMattersGB]

😀

[@tastrs7121]

Thanks!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@caterscarrots3407]

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.

[@MusicMattersGB]

That sounds like an exciting project and La Folia is great to work with. Have you thought about joining our composers group on Maestros level three? See the link at www.mmcourses.co.uk for more information.

[@caterscarrots3407]

@@MusicMattersGB You know, I might if I could afford it, but I can't.

[@MusicMattersGB]

Sorry about that.

[@francisliu9202]

The Jupiter sounds like the opening of 3rd Mvt from Mozart’s Jupiter Symphony

[@MusicMattersGB]

😀

[@petermerelis]

surprised how few noticed this...

[@MusicMattersGB]

😀

[@Tyrell_Corp2019]

So the aesthetic movement of Galant Schemata was driven by the similar impulse that we saw in 20th century minimalism. Everything in cycles.

[@MusicMattersGB]

An interesting parallel

[@johnjacquard863]

top notch video information here

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@MrMikomi]

Truly wonderful stuff! Many thanks.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@juliafarber6170]

Another great video, thanks! I would love to see you show the harmonic analysis of your theme music, please 😊

[@MusicMattersGB]

Ok. Will try to include that. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@michaelcalder9089]

The Jupiter example has the same thematic opening of Mozart Symphony 41 final movement ( nickname Jupiter).

[@CommentaryCentral]

Great stuff as usual :)

[@MusicMattersGB]

That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@arashabolhasani7596]

Excellent lesson, but also interesting stuff about history. thank you.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@josephinebrown6631]

Thank you kindly🤍

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@cantabilius5945]

I guess the Jupiter progression gets its name from its use in the finale of Mozart's last symphony (though this dates it a bit later than the Galant period)?

[@MusicMattersGB]

More a coincidence but an interesting observation.

[@goodcyrus]

@@MusicMattersGB A lot of these were named much later. Robert Gjerdingen admits having named some .

[@MusicMattersGB]

Indeed.

[@scottweaverphotovideo]

A different era, but Chopin worshipped JS Bach. I'd be interested in your analysis of the coda of Chopin's first Scherzo.

[@MusicMattersGB]

😀

[@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.

[@MusicMattersGB]

All good stuff

[@brucetheukuleleteacher9008]

This is great thank you so much 🙏

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@carlstenger5893]

In your first example of the Jupiter sequence, shouldn't the figured bass be simply "6" rather than "6 5"?

[@MusicMattersGB]

65 makes sense because it’s a 7th chord in first inversion ie 5 is the melodic F and 6 is G the root of the V7 chord.

[@roses2155]

@@MusicMattersGB The first of the V chords (your V'b") is reflected as a V7 in your figure bass (6-5). It's simply a contradiction in notation.

[@MusicMattersGB]

Indeed. It’s making the point that so often in figured bass in real music numbers are missing or are added and that we sometimes have to make musical judgments. In this case of course 6/5 means a 7th chord in first inversion from the original figures while a later editor is suggesting the possibility of a possible Vb.

[@hansbendixen5430]

This is why i just use the roman numerals so much easier imo.

[@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.

[@MusicMattersGB]

If you find it easier to see it that way go for it!

[@moo639]

One improvement I would make is for the minor chords to be in small Roman numerals: I ii iii IV V vi viiº That way you can also make it clear when there is a major second degree (II) or a minor fourth degree (iv) for example.

[@MusicMattersGB]

By all means use Extended Roman. I use Basic Roman on these videos to keep it simple.

[@Grivendal]

Amazing content. The most useful channel for composing music.

[@MusicMattersGB]

That’s great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@edwardp.gannon9320]

The second chord in the Jupiter has figured bass 6-5, so the 7 is there already. I presume this is just a typo.

[@MusicMattersGB]

Yes. It’s a first inversion V7.

[@willianbatista9082]

Aula fantástica

[@MusicMattersGB]

😀

[@stephenbashforth8257]

Hello Gareth - disconnected to this specific video, but a music theory question. If I am writing a piano part in C maj (as an example) and I have a treble clef (say) and introduce an accidental (say a Bb middle line of staff) in beat 1, then change clef (to bass clef) write some notes and on beat 4 revert to treble clef and have a B on the same middle line of the staff, does the rule that accidentals apply on the line or space through out the bar apply? or would a B without explicit accidental be read as natural? (It's a bit academic - in practice I would write a flat if I expected the note to be flat - but I feel I should understand how the basic rules work. Any help welcome.

[@MusicMattersGB]

In that example the Bb would still stand but this is a good example of where one might well use a cautionary accidental.

[@Stemma3]

Do they keep the same names if you do it in minor? They sound pretty good too.

[@MusicMattersGB]

Same for minor.

[@Stemma3]

@@MusicMattersGB Amazing, thanks

[@MusicMattersGB]

😀

[@mechanussunrise]

Excellent and helpful! Where should I look to find many more of these?

[@MusicMattersGB]

Have a look for the Feranoli collection.

[@mechanussunrise]

@@MusicMattersGB Thank you very much!

[@MusicMattersGB]

😀

[@Timrath]

Where those names used back in the 18th century, or are they recent inventions?

[@MusicMattersGB]

Most of these follow the names given by the more modern musicologist Gjerdingen.

[@GeodesicBruh]

:) thank you

[@MusicMattersGB]

That’s great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@AlexSimesky]

The melody of the Jupiter progression reminds me of the synth riff from Tina Turner's version of "The Best" :)

[@MusicMattersGB]

Interesting connection.

[@AlexSimesky]

@@MusicMattersGB I wonder if the songwriters took a hint from that.

[@MusicMattersGB]

😀

[@petergreen1869]

Also last movement of Mozart's Jupiter symphony.

[@martinreynolds8152]

Jupiter - Mozart Jupiter symphony fugue theme. Sorry if that's obvious.

[@MusicMattersGB]

😀

[@moo639]

Yes, there is nice counterpoint in the first one, but there is also a skip of a tritone in the melody.

[@MusicMattersGB]

Yes that makes it even more engaging

[@moo639]

@@MusicMattersGB Engaging is one way to put it, but I believe tritones and augmented seconds are believed to be "against the rules" for writing a good melody. In other words, difficult to sing. Bernstein, of course, was notorious for using several in his score for West Side Story. But it was clear that he was setting out to purposely "break the rules."

[@MusicMattersGB]

@moo639 Absolutely

[@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?

[@MusicMattersGB]

Hi. Many thanks. There are collections eg Feranolli.

[@gspaulsson]

Is the Jupiter named for the symphony, or the other way around?

[@MusicMattersGB]

These came before the symphony.

[@SebastianAmmerlynd]

Which onscreen piano keyboard tool do you use?

[@MusicMattersGB]

Synthesia

[@Nick-ui9dr]

What was that harmonic progression that we use to learn in algebra during school days I wonder. Something that deal with reciprocality? I mean geometric or arthematic progressions I remember clearly but what was the harmonic one. Cant remember exactly but something to do with reciprocal or or what u say one by values. Okay let me google it first. 😀

[@MusicMattersGB]

Sounds like fun

[@jaydenhoward8670]

Can anyone please list the chords in the progressions ??? I’m kinda new.

[@MusicMattersGB]

It begins I IIb Ic V in the first bar.

[@jaydenhoward8670]

@@MusicMattersGB I don’t fully understand the Roman numerals

[@demolicionesdemexico]

After watching a few class videos from you i composed a little melody wich will be great if i can send to you

[@MusicMattersGB]

😀

[@mt-nv4jd]

He skipped the do-re-mi, which is very 1812-esque.

[@MusicMattersGB]

😀

[@mt-nv4jd]

l should add I meant no disparagement to this gentleman's fine lecture.

[@MusicMattersGB]

😀

[@markchapman6800]

3:34 Should the figured bass for the second chord include a 6, or is that taken for granted because of the 4? Also, taking the F in the third chord down the octave means replacing a diminished 5th with an augmented 4th, and resolving outside the interval, which ones harmony teacher might frown on 😇

[@MusicMattersGB]

43 is a standard abbreviation for 643. There are a number of standard abbreviations in figured bass so players don’t have to cope with too many numbers

[@MusicMattersGB]

Fair point about the bass movement. I’m just using the original exercises.

[@markchapman6800]

@@MusicMattersGB Thanks.

[@StephenB_LE9]

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)?

[@MusicMattersGB]

The figures are per the original but it is interesting that the original figures do raise questions such as this one.

[@Potatointhehood]

V7-I always sound so classical to me :0

[@MusicMattersGB]

😀

[@nicolevich6358]

un esquema se llama jupiter por la sinfonía 41 de mozart jajaja

[@MusicMattersGB]

Absolutely

[@nicolevich6358]

@@MusicMattersGB su canal es de los mejores que he encontrado, gracias por hacer este contenido

[@MusicMattersGB]

😀

[@divinodayacap3313]

I keep hearing Mozart's "Leck Mich Im Arsch".

[@MusicMattersGB]

😀

[@jsw0278]

Any videos on how to elaborate these schematas to create music? Is it mostly a matter of adding lots of inessential notes?

[@MusicMattersGB]

Exactly correct

[@keithparker1346]

Change the chords to arpeggios then use them as bases to apply a few changes to rhythm or change note pitch, add passing notes etc

[@MusicMattersGB]

@keithparker1346 😀

[@pjny123]

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! :-)

[@MusicMattersGB]

The Rule of the Octave is indeed a significant factor in relation to the Schemata. We could run a video on that subject. Good suggestion.

[@pjny123]

@@MusicMattersGB Oh thank you so much! I've learned a great deal from you over this past year - both from these KZbin videos (such a generous gift!) and from your superb Music Matters Courses. You are truly a light in dark times, for which so many of us are deeply grateful.

[@MusicMattersGB]

That is so lovely of you. Thank you so much.

[@pjny123]

@@MusicMattersGB You are so very welcome. :-)

[@MusicMattersGB]

Bless you

[@DGaryGrady]

Pedantic point: "Schemata" is the plural of "schema."

[@MusicMattersGB]

Absolutely

[@Lalulalala824]

Why is this called V7c? 11:32

[@MusicMattersGB]

Dominant 7th in second inversion

[@Lalulalala824]

@@MusicMattersGB shouldn’t it be V7d? Thanks so much for the great content.

[@MusicMattersGB]

This is definitely a V7c because it’s in second inversion. V7d would be third inversion with the 7th, F, in the bass.

[@nettpolice]

is this A level music or gcse music?

[@MusicMattersGB]

More A level but useful for both

[@davidschnittman7954]

What do the “b” and “c” mean after chord labels?

[@MusicMattersGB]

b is first inversion c is second inversion

[@davidschnittman7954]

@@MusicMattersGB has this nomenclature replaced traditional figured bass? I’d never come across it before.

[@MusicMattersGB]

It’s not replaced it. There are two systems that sit alongside each other, with emphasis on one or the other often varying according to which part of the world you’re in.

[@politereminder6284]

@@davidschnittman7954 I grew up with the a b c method of denoting inversions. You can imagine my shock when I encountered figured bass in Uni. 😅

[@MusicMattersGB]

😀

[@rjlchristie]

6:50 second chord is six three not six five.

[@MusicMattersGB]

It depends if it includes the 7th or not.

[@rjlchristie]

@@MusicMattersGB Your commentary makes it clear that it doesn't contain the 7th. The label is wrong.

[@MusicMattersGB]

I’m using the labelling from the original text. There are some inconsistencies but this is one of a few examples in which one has to decide if the 7th is intended or not. You’re right to identify an inconsistency here.

[@SolarMumuns]

I swear some people cruise KZbin simply to criticise others with no care about whether they are rude or not.

[@MusicMattersGB]

Unfortunately it happens but we are very grateful to the vast majority who make positive comments.

[@michaeltroke7239]

These schemata sound like Beethoven!

[@MusicMattersGB]

They certainly appear in Beethoven.

[@patrickcunningham618]

!!!!!!!!!!!

[@MusicMattersGB]

😀

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.

[@MusicMattersGB]

I think showing the prototypes is an essential starting point to being able to recognise the schemata in real music. That’s the point of the video.

That's putting the cart before the horse. Memorising a bunch of boring prototypes is useless in itself. A proper way to learn schemata is to listen to music that has them in common. For example, you listen to Pachelbel's Canon, and then you listen to the opening of C. P. E. Bach's Magnificat, and after that you listen to Beethoven's Sonata No. 30, Op. 109. And you ask: "what do they all have in common?" The answer is: Romanesca, which is a Spanish 15th century tune called "Guárdame las vacas". After that, you don't need to remember the boring formula, it is engraved in your musical memory.

[@MusicMattersGB]

You don’t need to memorise them but to know what they look like and sound like is surely helpful.

[@kofiLjunggren]

The meyer sounds like mozarts lich mich im arsch

[@MusicMattersGB]

Indeed.

[@luismolina8257]

I dont understand the symbols at the bottom of the notes hahaha

[@MusicMattersGB]

We have other videos that explain

[@sapiensfromterra5103]

I know I won't make any friends with this opinion, but I don't care... I think the classical style was a clear downgrade to the baroque, not even a question to me frankly. Complexity out of order has never been done again after the baroque period, only complexity out of chaos or complete simplicity.

[@Pladask]

It's a totally fair opinion, I think plenty will agree. :) Have you ever dug deep into C.P.E. Bach's works, though? If not, I highly recommend it. It's like a terribly underrated, weirdly colorful eccentric mix of both worlds.

[@MusicMattersGB]

I think it’s simply a matter of seeing both periods from different starting points but of course one might have a preference.

[@MusicMattersGB]

I agree re CPE Bach. Wonderful music.

[@MusicMattersGB]

😀

[@superblondeDotOrg]

That's why 80's rock & metal guitarists (extravagant, ala baroque) don't like 90's and current grunge guitarists (stripped to basics, ala classical). History repeats itself..

[@bart4277]

Whoever started the Galant movement sounds like music's first punk 😆

[@MusicMattersGB]

😀

[@zpicypanda5487]

First

[@MusicMattersGB]

😀

[@AzadRatzki]

Thanks!

[@MusicMattersGB]

A pleasure! Thank you very much for your generosity and support for the channel! musicMatters