The Best Chords to Follow Chord III (in Minor Keys) - Music Composition

[@MusicMattersGB]

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[@oveys.takhvar]

I really thank you for your making these perfect videos in a period of time that (modern) music's quality is damaged. Making these videos and publishing them for free without any expectations isn't something everyone can do!

[@MusicMattersGB]

It’s a pleasure

[@lawrencetaylor4101]

Well said. I'm surprised at the number of musicians that say they play in a metal band, and use Gareth for their education. His knowledge of musica and his ability to explain it simply is a rare gift.

[@MusicMattersGB]

@lawrencetaylor4101 You really are very generous.

[@chaiteamusic9222]

Just gonna say, your beaming smile on the thumbnail was enough to brighten my day. I hope you keep teaching us more things about music for years to come.

[@MusicMattersGB]

You’re most kind

[@marc-antoinegiguere6323]

for some time I didn't know if I really loved your videos but now I'm convinced I do, I'm a jazz trained musician but I love the strength of your logic in all of the example presented, your understanding of the underlying harmonic systems is great and it helps showcase the forces at work underneath harmonic progressions. Very interesting stuff!

[@MusicMattersGB]

That’s great. I’m glad it’s helpful.

[@basslobster]

Thanks for this one! I tell my students, everything/anything in music is allowed. Just be creative and go nuts.

[@MusicMattersGB]

😀

[@pathaks1]

Great learning on harmonic minor by IIIb❤

[@MusicMattersGB]

😀

[@NYPmusictheory]

Thank you for the suggestions on how to use IIIb with care, and for the purpose of coloring. Keep the common notes and resolves by step. Use it not in the cadence but in normal progressions. I like all these reminders. Thanks!

[@MusicMattersGB]

A pleasure. Glad it’s helpful

[@SquidKing]

Hello Gareth! I have just started learning Berg's Piano Sonata and it is very fun! Thankyou for making me interested in the piano!!

[@MusicMattersGB]

I’m so glad you’re enjoying it

[@karlosed]

Love the thumbnail

[@MusicMattersGB]

😀

[@bettyennin6335]

You're really appreciated, sir.

[@MusicMattersGB]

That’s most kind.

[@greg1569]

I haven't been classically trained and haven't listened to much classical on purpose, but that IIIb to I totally sounds like a cadence to me

[@martinbennett2228]

Yes it does sound like a cadence to me too: G, B to C, C are the key features of a strong V to I cadence and the Eb does not have to move acting as the anticipation of the cadence.

[@MusicMattersGB]

😀

[@alexmantua]

Dear Garrett, In Belgium we use for a chord in root position nothing, the b chord is 6, the c chord is 6 4 We do not use 5 because that chord is obvious. (3) Example. I6 or V6 4 The seventh chords are as swell with numbers. Example. 7. or +4. or +6 what considers the dominant chord. + In a French Traité d'Harmonie from Théodore Dubois they use 5 as a chord in root position. I teach classical harmony in the arts academy of Brussels. grt. (Alex Van de Meulebroecke )

[@MusicMattersGB]

Yes, many countries use your system and many others employ our system. There’s figured bass logic in yours and simplicity in ours.

[@martinbennett2228]

The symmetry of the augmented chord means that its tonality is inherently ambiguous so Eb (or D#), G, B could equally well be in C min, E min or Ab min. I think you might have said something about this when you did a video on Liszt's harmonic landscape.

[@MusicMattersGB]

There’s always more to say but yes augmented chords open possibilities. Of course enharmonics suggest voice leading in particular key directions.

[@oneeyemonster3262]

You could play it into the N6 chord Eb aug into E Maj7 F# min B dim into C min Eb Aug EMaj7 F# min B dim/G into C min Just PRETEND you played into E MAJOR it works becuase 4th of F# min or MAJ Most people are going to just see 2, 4, b6, 7 CHORD degree of Harmonic MAJOR or Harmonic min...via from the TONIC. I simply see/COUNT it of the ROOT of a MAJ or min chord.lol The B dim is the COMMON chord The B dim is perfect 4th from F# or Eb AUG E min A min D dim into C min or Eb AUG D min G7 into C min ( the D min is dor b2 of C melodic min) Eb AUG Ab min Db dim G7 into C min The Ab min is Ab lyd#2 of C Harmonic min The Db dim is the N6 of C min

[@GrimScarFayn]

I would actually love more information on Augmented chords in general . I have been messing with the Double Harmonic Major scale and it has been a challenge.

[@MusicMattersGB]

Okay

[@markchapman6800]

I'm sure that Baroque composers, Purcell in particular, cheerfully used IIIb in minor keys when harmonising dominant pedals, shifting between it, V, and Ic (another chord that is only a semitone in a single voice away) before resolving to I or VI.

[@MusicMattersGB]

Purcell certainly does as part of his somewhat individual harmonic approach

[@markchapman6800]

@@MusicMattersGB I've done it in one of my own compositions!

[@MusicMattersGB]

Excellent

[@benedictdsilva3954]

Nice ..just the Roman numeral would be best with the extended system.. Its just that the b looks like a flat... preferably written down at the level of the Roman numeral. Yes ...All augmented and diminished chords are best used in the 1st inversion.

[@MusicMattersGB]

😀

[@abagatelle]

Gareth, do you have an online shop? I'd like to buy a "Make chord iii great again" hat!

[@MusicMattersGB]

Great idea

[@MichaelJFroelich]

Is the reason you recommend the first inversion of the III chord because it's potentially augmented? Is that for the same reason that diminished chords are usually in first inversion?

[@MusicMattersGB]

Certainly when chords are augmented or diminished they often function better in first inversion but even in a major key the first inversion normally assists stepwise bass movements.

[@andreavocino]

What about IIIb to IV always in a melodic minor?

[@MusicMattersGB]

Possible

[@no1really...]

I'm trying to formulate my vocal melodies without the usage of music theory( i like the enigma of not using musical theory, it's the way i like my art) but i feel like i have no direction with my pitches and rhytm, word of advice?

[@MusicMattersGB]

That’s where theory really helps you. Think about phrase length, phrase shape, balancing conjunct and disjunct movement.

[@gurkenhamster]

I don't get why the third chord is supposed to be augmented? Every site I searched lists the III chord of Cminor as Eb Major. And that's also the chord I get when I start on the third scale degree (E), and leave out one degree between each note, getting Eb G Bb. What am I missing?

[@MusicMattersGB]

In minor keys III is major in the natural minor but in the harmonic minor it’s augmented. In the Western tradition since 1600 we have used the harmonic minor as the default situation when dealing with harmony. Many contemporary genres use the natural minor. That’s probably the source of the confusion.

[@gurkenhamster]

@@MusicMattersGB That was it, thank you kindly.

[@MusicMattersGB]

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

[@davidsobel3303]

So, what we know as music theory, were composers aware of the "math" involved in this or just composing what they heard? I'm not a classical afficionado so I can't speak to certain artists.

[@MusicMattersGB]

It’s not really maths. More the theorists observing how the greats did things and sharing it with us.