I can watch your videos for hours straight. I thirst for the knowledge you're so clearly presenting with such captivating enthusiasm. Music theory at the University of Texas was useless by comparison. Thanks so much for sharing your knowledge. ❤
thank you, you're making complicated things easier, and after your lectures it is not hard to dive deeper in the books, where suddenly all main concepts look already familiar. Great stuff
Dr. B, thank you so much for sharing these! You explain part writing in such a thorough, comprehensible way. I recently completed my undergrad and I want to go through tonal harmony again. My theory teachers were not always clear and precise, so these lectures are a godsend. Thanks!
Thanks! I could use lots of big fancy words and try to impress people but I prefer trying to be understandable to as many people as possible. Best wishes, Dr. B
QUESTION from Lesson 13 (Part Writing/Voice Leading), "What about situation when in orchestra Violas and Cellos voices are crossing. Is it arbitrary bad or it depends on the style?" is answered here: ua-cam.com/video/C1dADMUucPk/v-deo.html
Hi Christopher. Great series of videos to refresh this concepts! In the 3rd example of V-I part writing (20:00) doesn´t the b (leading tone) in the tenor need to resolve to c? Thank you!
Great question. This is tricky! The leading tone ONLY has to resolve up a half step IF it is in an outer voice (soprano or bass). In the 3rd example it is in an inner voice (tenor) so you have the option to move it down instead. Your ear wants to hear the leading tone resolve and when it is in an outer voice it is so obvious that it must! Inner voices aren't as obvious to the ear so they don't have to resolve as expected. Why wouldn't you resolve as expected? The most common reason is so you have a complete chord. You'll notice that if I didn't drop the leading tone to the "G" I'd have a tripled root and a 3rd. My choice was: 1) resolve the leading tone and have an incomplete chord, or 2) don't resolve the leading tone and have a complete chord. Both are valid options and composers/arrangers determine which is best based on what they want the music to do at that moment.
Hi Dr. B, please consider making a video for piano accompaniment and techniques on how to use them in my melody. Thank you for your videos, kind sir. 🙂
Good question. The motion of the voices is what is most important in this example so it does NOT matter in what order they occur. Another way to say that is: in most cases the pitches in the soprano (top voice), alto, and tenor can be rearranged in any order! The exceptions include rules specific to the outer voices (soprano & bass): 1) leading tone (scale degree 7) must be resolved up by step when in an outer voice (but it doesn't have to be if it is in the alto or tenor), 2) direct 5ths and 8ves. I hope that helps! Best wishes, Dr. B
Hey Dr. B! Back at it again with two questions... 1) Since it's okay to leap several times in a row melodically as long as you spell a triad, does this apply for triads in inversions as well or do you have to spell the triad in root position? 2) When writing in three-voice-textures, what do you do when faced with a 6/4= (C-A-F, F-B-D and so forth). What do you omit in that specific case?
Welcome back! 1) You can melodically spell the triad in any inversion or use root position. Mozart wrote great arpeggio patterns so look to his music for inspiration! 2) For 6/4 chords in a three--voice-texture you generally don't omit anything, but if you had to for voice leading purposes you'd omit the 6 above the bass, i.e. the third of the 6/4 chord. Hope that helps, Dr. B
31:09 correct me if I’m wrong. This is 4 parts voice and it is V to i, in which should be a deceptive resolution. And to double the 3rd but not the root. Am I mix the 3rd parts with 4th parts?
another excellent lecture, thank you! I have another question but I reckon I've missed something obvious - at 21:08 which scale are we in? I've not seen sharps below the stave like that before. I've assumed we're in A harmonic minor because you've analysed the V and VI as major chords, but what do the sharps under the stave refer to? Thank you
The sharps below the staff are figured bass. They indicate that the third of the chord must be raised by half a tone. Since the root of the chord is given (E), the third note of the chord must be G (as the chord is EGB). Thus, the sharps tell us that the note G must be raised to G# (the chord then becomes EG#B). If you don't understand why this is, you should check Dr. B's lessons on figured bass and roman numerals. This lessons are supposed to be watched in sequence. If you missed any of the previous lessons and have no solid musical background, you will struggle. I strongly recommend that you follow the sequence.
Thank you Dr.B ....... How long does it take from your experience/opinion, for these and other advanced musical "rules " to become like second nature, so you can implement them in composition instinctively and so on...
Hi Dr. Brellochs! I am really enjoying the lectures. I just wondered about a possible mistake. At 34:52, you seem to write a contrary motion P8(octave) between the tenor and bass. Please correct me if I'm wrong but I dont believe that this is allowed. Thanks and keep up the great work!
Hello! This lecture is a year old, but if you don't mind let me give you an advice (for future reference) - you played the final solution of Am example - cool, but there is lack of example for opposite side. I mean when we broke the rules - I want to hear too and compare these "solutions" by ear. How bad is it or how good is the propoper resolution. Thanks Professor!
That is a great suggestion! Of course it is valuable to hear what it sounds like when you "follow the rules," but it is also important to compare it to when you don't. Thanks!
Hi, great lecture! I have a question. Should I preferably stick to the same soprano voice or should I move it by a 3rd? Is the emphasis on making the soprano more melodic or is it more important to move as little as possible? Thanks for your time.
In the example, you have a leap and a step in the same direction on the last three movements. Doesn't it break that rule that the leap should be followed by a step in the opposite direction? As always, thanks for the marvellous lecture!
Thanks for the question. I think you are referring to 29:50 in the video of the example in 'a' minor measure 3. There is a leap of a m3 down from 'D' to 'B' and then a step down to 'A'. So here's the deal. An interval of a 3rd is sometimes considered a leap (especially if the note is not in the chord, i.e. if the iv had stayed and we went to the 'B') and sometimes a step. In this situation it is closer to being heard as a step because both notes are in their respective chords and the melodic line is driving down to tonic at a cadence. Another way to remember this is that a leap generates a sense of tension that needs to be resolved by stepping back in the opposite direction (it can sometimes be delayed with ornamentation, etc. but will usually eventually resolve). But if you listen to a triad arpeggio it sounds like a single unit and doesn't generate the same kind of tension that a leap of a 5th, 6th, etc. creates. The interval of a 3rd will sometimes sound more like a step which it does in this situation. Great question!
First of all, THANKS A LOT FOR THE GREAT CONTENT! Question: why do you only consider the bass note to determine the chord in the Roman Numeral Analysis? Couldn’t it be an inversion?
In lesson 11, you say all voices must follow the rules for good melodic writing, including the rule about leaps. In this video, we have a lot of leaps in the bass line that do not follow that rule. How does that work?
Good question. I should have explained that until we cover inversions (Lesson 18-19) and non-chord tones (Lessons 24-27) frequent leaps in the bass are more common as we learn the basics. Also, an exception is sometimes made for the bass voice when it functions more harmonically than melodically. This often happens towards a cadence! Hope that helps. Thanks for the question. Dr. B
@@ChristopherBrellochs Thanks for getting back to me so quickly Dr. B! That does help. Also I just became a Patreon supporter of yours! I'm pumped to keep diving deeper into theory with you! I'm currently writing music for my feature film. Up to this point I've been reading theory books and playing by ear alone to learn. But there really is something different to having a teacher walk through the material with you. And even when you cover material I've already digested, I find myself getting a deeper and richer understanding of the music. You have a gift. Thanks!
So you double the Eb to make the deceptive cadence less "deceptive by having two Eb's? Hmmm seems silly to me. What if you want the chord to be more deceptive?
Yes! Actually if your V chord was complete (root, 3rd, 5th) the best option would likely be to have one root, two 3rds and omit the 5th in the vi chord. If your V chord is incomplete (two roots and one 3rd) then you would probably have a complete vi chord (root, 3rd, 5th).
QUESTION from Lesson 13 (Part Writing/Voice Leading), "What about situation when in orchestra Violas and Cellos voices are crossing. Is it arbitrary bad or it depends on the style?" is answered here: ua-cam.com/video/C1dADMUucPk/v-deo.html
For the example on doubling the third in the deceptive cadence, couldn’t the d resolve down to the c? I know that it can resolve up by a half step, but why is doubling the c not valid? I know you said you should double the note you expect, but for me that wasn’t a very satisfying explanation.
Good question. There are four different types of motion: 1) similar, 2) parallel, 3) contrary, 4) oblique (some textbooks have "static" but that isn't really motion but simply repetition). All four types of motion can be acceptable in certain situations. The only time similar motion is "undesirable" is when it is between outer voices moving into a perfect octave or fifth with a leap in the soprano. Review "Lesson 12 (Voice Leading 102)" where I talk more about this at the beginning of the video. ua-cam.com/video/anxHT-a9FHU/v-deo.html Best wishes, Dr. B www.patreon.com/DrBMusicTheory
Dr. B...what is the best way to practice and master part writing and voice leading without have the privilege of an expert to check your work? Can it be done as independent study?
Hi Dr. Be! I would like to ask your help, could you please tell me, in Minor key for all steps what are the notes that can be doubled and what inversions are accepted? Ex. In A minor key i) - a minor Chord (can we double in root position: the root, the 3rd, the 5th? / in 1st inversion: can we double the root, the 3rd, the 5th? / In 2nd inversion: can we double the root, the 3rd and the 5th?) ii0) - bi diminished (can we double in root position: the root, the 3rd, the 5th? / in 1st inversion: can we double the root, the 3rd, the 5th? / In 2nd inversion: can we double the root, the 3rd and the 5th?) III )- C major Chord (can we double in root position: the root, the 3rd, the 5th? / in 1st inversion: can we double the root, the 3rd, the 5th? / In 2nd inversion: can we double the root, the 3rd and the 5th?) IV)- D minor Chord (can we double in root position: the root, the 3rd, the 5th? / in 1st inversion: can we double the root, the 3rd, the 5th? / In 2nd inversion: can we double the root, the 3rd and the 5th?) V)- E major Chord (can we double in root position: the root, the 3rd, the 5th? / in 1st inversion: can we double the root, the 3rd, the 5th? / In 2nd inversion: can we double the root, the 3rd and the 5th?) VI) - F major Chord (can we double in root position: the root, the 3rd, the 5th? / in 1st inversion: can we double the root, the 3rd, the 5th? / In 2nd inversion: can we double the root, the 3rd and the 5th?) Vii0) - G# diminished Chord (can we double in root position: the root, the 3rd, the 5th? / in 1st inversion: can we double the root, the 3rd, the 5th? / In 2nd inversion: can we double the root, the 3rd and the 5th?)
It's a perfect fifth above or below the octave of the root. So (moving consistently upward for example) Root, Fifth, Octave is just a fifth, but Root, Octave, Fifth is a compound Fifth.
This caught my "ear" " The human ear hears the fifth" So let me get this right Root doubled , then the third, and your "ear" will fill in the blanks where the fifth was missing? I'm not a theory guy, although I have Big ears. So, my thinking is... to me, the"Human ear" is only Relative to the region of Harmonic education in a given society. I don't think "The human ear" in India gravitates to the Western triad color. I don't think they look for the same kind of cadence resolution of the harmonic story. You appear to be describing the expectations of the 'Western exposed "Ear". Therefore I would amend the generalization "Human ear" It is not " The human ear" ie: geneticly built into humans to hear the five. It is social harmonic exposure. Just saying...but I'm not a theory guy. All the best Ed
Yeah, but you're watching a UA-cam video with a guy teaching tonal music theory at a New York university, and tonal harmony, which is what this series is predominantly about, has its roots in western music. You're not wrong for sure, but your argument is kind of invalid here as there's an assumption that's already being made diving into tonal music.
OK. Perhaps he prefaced that at the beginning of the course. I admit to dropping by somewhat into the series . Point well taken. He's very strong in his field for sure. It wasn't meant as a slam.
I believe he explains in another video that it’s really the overtone series that produces the perfect fifth. When you play a note on a string, the string vibrates at multiple frequencies, and one of those frequencies is the frequency of the compound perfect fifth. So the fifth is literally already there in some form.
Don't like some things. Such as the iv -> V. 4 -> 2 and 6 -> 5. Hidden fifths, with soprano moving by leap. I know you set the rule that hidden fifths don't matter unless they're between the bass and the soprano. But if the goal's having all 4 voices independent, this quite clearly goes against it. And I also don't like how you say hidden octaves and even hidden fifths -> octaves are fine, as long as they're not between the bass and the soprano. Those should be last resorts, not "that's fine, let's move on". I bet the entire reason hidden octaves with leap in soprano are even acceptable between soprano and inner voices is specifically because otherwise IV -> V leading would be impossible. Because it honestly sounds just as bad as between soprano and bass. But it honestly is even worse, because bass and the soprano you can hear anyway. I'd in fact even argue that the inner voices should be treated more delicately with hidden fifths and octaves, since they're the most difficult ones to hear. This attitude of "let's hide them even more" that this focus on just soprano and the bass causes completely goes against making every voice individual. It makes bass and soprano stand out, and buries the inner voices into a blur. Such lenient rules turn it from four-part part-writing to soprano, bass and accompaniment. Personally, I follow the hidden octave rule for every voice, not just bass and soprano.
I can watch your videos for hours straight. I thirst for the knowledge you're so clearly presenting with such captivating enthusiasm. Music theory at the University of Texas was useless by comparison. Thanks so much for sharing your knowledge. ❤
Your passion for musical knowledge really inspires me, Dr B
This is like being back in undergrad! Except now I'm paying better attention! Thank you for the refresher!!
There's nothing like making sure you've got all the fundamentals!
Enjoy,
Dr. B
thank you, you're making complicated things easier, and after your lectures it is not hard to dive deeper in the books, where suddenly all main concepts look already familiar. Great stuff
You are very welcome, and I'm happy to hear you are making great progress!
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
Dr. B, thank you so much for sharing these! You explain part writing in such a thorough, comprehensible way. I recently completed my undergrad and I want to go through tonal harmony again. My theory teachers were not always clear and precise, so these lectures are a godsend. Thanks!
You explain the topic in detail and make it so simple. I appreciate the way you explain it in plain simple English. Keep up the work sir.
Thanks! I could use lots of big fancy words and try to impress people but I prefer trying to be understandable to as many people as possible.
Best wishes,
Dr. B
This is great! Thanks again for posting these lectures! I'm going through the tonal Harmony book along with your lectures!
Good plan! I just added that as a suggestion to the "Thank You" email to people who support me on PATREON. You are already ahead of the curve!
@Kenneth Rawdon "Tonal Harmony" by Kostka & Payne. There is a textbook and workbook, and you can get older editions for less online.
Thanks, your step by step approach is very instructive and the energy of lecturing to an audience comes across.
One of my best findings on UA-cam ! Great channel.
Thanks a lot !
I can really see you really love this material. Thanks for the lectures.
I learned so much from your videos! These are gems!
Thank you so much your explanation is crystal clear.
Man you just helo my study much more easy thank you so much!
QUESTION from Lesson 13 (Part Writing/Voice Leading), "What about situation when in orchestra Violas and Cellos voices are crossing. Is it arbitrary bad or it depends on the style?" is answered here: ua-cam.com/video/C1dADMUucPk/v-deo.html
Thank you so much! You helped a lot!!
Hi Christopher. Great series of videos to refresh this concepts! In the 3rd example of V-I part writing (20:00) doesn´t the b (leading tone) in the tenor need to resolve to c?
Thank you!
Great question. This is tricky! The leading tone ONLY has to resolve up a half step IF it is in an outer voice (soprano or bass). In the 3rd example it is in an inner voice (tenor) so you have the option to move it down instead.
Your ear wants to hear the leading tone resolve and when it is in an outer voice it is so obvious that it must! Inner voices aren't as obvious to the ear so they don't have to resolve as expected.
Why wouldn't you resolve as expected? The most common reason is so you have a complete chord. You'll notice that if I didn't drop the leading tone to the "G" I'd have a tripled root and a 3rd. My choice was: 1) resolve the leading tone and have an incomplete chord, or 2) don't resolve the leading tone and have a complete chord. Both are valid options and composers/arrangers determine which is best based on what they want the music to do at that moment.
Hi Dr. B, please consider making a video for piano accompaniment and techniques on how to use them in my melody. Thank you for your videos, kind sir. 🙂
So question: at 19:41 on leap common, step does chord have to go in that order or can be step, common, leap or common, step, leap?
Good question. The motion of the voices is what is most important in this example so it does NOT matter in what order they occur. Another way to say that is: in most cases the pitches in the soprano (top voice), alto, and tenor can be rearranged in any order!
The exceptions include rules specific to the outer voices (soprano & bass): 1) leading tone (scale degree 7) must be resolved up by step when in an outer voice (but it doesn't have to be if it is in the alto or tenor), 2) direct 5ths and 8ves.
I hope that helps! Best wishes, Dr. B
Hey Dr. B! Back at it again with two questions... 1) Since it's okay to leap several times in a row melodically as long as you spell a triad, does this apply for triads in inversions as well or do you have to spell the triad in root position? 2) When writing in three-voice-textures, what do you do when faced with a 6/4= (C-A-F, F-B-D and so forth). What do you omit in that specific case?
Welcome back! 1) You can melodically spell the triad in any inversion or use root position. Mozart wrote great arpeggio patterns so look to his music for inspiration! 2) For 6/4 chords in a three--voice-texture you generally don't omit anything, but if you had to for voice leading purposes you'd omit the 6 above the bass, i.e. the third of the 6/4 chord. Hope that helps, Dr. B
31:09 correct me if I’m wrong. This is 4 parts voice and it is V to i, in which should be a deceptive resolution. And to double the 3rd but not the root. Am I mix the 3rd parts with 4th parts?
another excellent lecture, thank you! I have another question but I reckon I've missed something obvious - at 21:08 which scale are we in? I've not seen sharps below the stave like that before.
I've assumed we're in A harmonic minor because you've analysed the V and VI as major chords, but what do the sharps under the stave refer to? Thank you
The sharps below the staff are figured bass. They indicate that the third of the chord must be raised by half a tone. Since the root of the chord is given (E), the third note of the chord must be G (as the chord is EGB). Thus, the sharps tell us that the note G must be raised to G# (the chord then becomes EG#B).
If you don't understand why this is, you should check Dr. B's lessons on figured bass and roman numerals. This lessons are supposed to be watched in sequence. If you missed any of the previous lessons and have no solid musical background, you will struggle. I strongly recommend that you follow the sequence.
Thank you so much for these videos! how can one practice the material?
16:30
18:52
20:11
32:30
Thank you Dr.B ....... How long does it take from your experience/opinion, for these and other advanced musical "rules " to become like second nature, so you can implement them in composition instinctively and so on...
Hi Dr. Brellochs! I am really enjoying the lectures. I just wondered about a possible mistake. At 34:52, you seem to write a contrary motion P8(octave) between the tenor and bass. Please correct me if I'm wrong but I dont believe that this is allowed. Thanks and keep up the great work!
It's P5 to P8 in Contrary motion,it's ok
You are the best!!!
25:28 So we rather have the least number of leaps in spite of similar motion on the outer voices? :) thank you in advance
Thanks I learned a lot
At 25:35 isn’t there an example of a hidden 5th between the outer voices ?
Thank you very much
The leap is done by the bass but still isn’t it a direct/hidden fifth between S and B?
Thank you
Hello! This lecture is a year old, but if you don't mind let me give you an advice (for future reference) - you played the final solution of Am example - cool, but there is lack of example for opposite side. I mean when we broke the rules - I want to hear too and compare these "solutions" by ear. How bad is it or how good is the propoper resolution. Thanks Professor!
That is a great suggestion! Of course it is valuable to hear what it sounds like when you "follow the rules," but it is also important to compare it to when you don't. Thanks!
Hi, great lecture! I have a question. Should I preferably stick to the same soprano voice or should I move it by a 3rd? Is the emphasis on making the soprano more melodic or is it more important to move as little as possible? Thanks for your time.
At 25:14 isn't those two steps change a parallel?
In the example, you have a leap and a step in the same direction on the last three movements. Doesn't it break that rule that the leap should be followed by a step in the opposite direction?
As always, thanks for the marvellous lecture!
Thanks for the question. I think you are referring to 29:50 in the video of the example in 'a' minor measure 3. There is a leap of a m3 down from 'D' to 'B' and then a step down to 'A'.
So here's the deal. An interval of a 3rd is sometimes considered a leap (especially if the note is not in the chord, i.e. if the iv had stayed and we went to the 'B') and sometimes a step. In this situation it is closer to being heard as a step because both notes are in their respective chords and the melodic line is driving down to tonic at a cadence.
Another way to remember this is that a leap generates a sense of tension that needs to be resolved by stepping back in the opposite direction (it can sometimes be delayed with ornamentation, etc. but will usually eventually resolve). But if you listen to a triad arpeggio it sounds like a single unit and doesn't generate the same kind of tension that a leap of a 5th, 6th, etc. creates.
The interval of a 3rd will sometimes sound more like a step which it does in this situation. Great question!
Christopher Brellochs Wow! Thanks a lot!!
You're welcome. Haha, today is your day. I just answered some of your other questions!
First of all, THANKS A LOT FOR THE GREAT CONTENT! Question: why do you only consider the bass note to determine the chord in the Roman Numeral Analysis? Couldn’t it be an inversion?
In lesson 11, you say all voices must follow the rules for good melodic writing, including the rule about leaps. In this video, we have a lot of leaps in the bass line that do not follow that rule. How does that work?
Good question. I should have explained that until we cover inversions (Lesson 18-19) and non-chord tones (Lessons 24-27) frequent leaps in the bass are more common as we learn the basics.
Also, an exception is sometimes made for the bass voice when it functions more harmonically than melodically. This often happens towards a cadence!
Hope that helps. Thanks for the question.
Dr. B
@@ChristopherBrellochs Thanks for getting back to me so quickly Dr. B! That does help. Also I just became a Patreon supporter of yours! I'm pumped to keep diving deeper into theory with you! I'm currently writing music for my feature film. Up to this point I've been reading theory books and playing by ear alone to learn. But there really is something different to having a teacher walk through the material with you. And even when you cover material I've already digested, I find myself getting a deeper and richer understanding of the music. You have a gift. Thanks!
It is great that you have a specific goal of writing music for your film! That means you will be applying everything you learn right away.
So you double the Eb to make the deceptive cadence less "deceptive by having two Eb's? Hmmm seems silly to me. What if you want the chord to be more deceptive?
Would we be able to double the third if we were using deceptive resolution with three voices?
Yes! Actually if your V chord was complete (root, 3rd, 5th) the best option would likely be to have one root, two 3rds and omit the 5th in the vi chord. If your V chord is incomplete (two roots and one 3rd) then you would probably have a complete vi chord (root, 3rd, 5th).
What about situation when in orchestra Violas and Cellos voices are crossing, is it arbitrary bad or its depends on the style?
QUESTION from Lesson 13 (Part Writing/Voice Leading), "What about situation when in orchestra Violas and Cellos voices are crossing. Is it arbitrary bad or it depends on the style?" is answered here: ua-cam.com/video/C1dADMUucPk/v-deo.html
For the example on doubling the third in the deceptive cadence, couldn’t the d resolve down to the c? I know that it can resolve up by a half step, but why is doubling the c not valid? I know you said you should double the note you expect, but for me that wasn’t a very satisfying explanation.
32:04 But your four voice is similar motion. In harmony I think is error🤔
Good question. There are four different types of motion: 1) similar, 2) parallel, 3) contrary, 4) oblique (some textbooks have "static" but that isn't really motion but simply repetition). All four types of motion can be acceptable in certain situations.
The only time similar motion is "undesirable" is when it is between outer voices moving into a perfect octave or fifth with a leap in the soprano. Review "Lesson 12 (Voice Leading 102)" where I talk more about this at the beginning of the video.
ua-cam.com/video/anxHT-a9FHU/v-deo.html
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
Sir please clarify. Whether parallel 5th can go to parallel octaves or vice versa.
Here is a video answer to your question! Thanks. ua-cam.com/video/oKdUao7ydMk/v-deo.html
Dr. B...what is the best way to practice and master part writing and voice leading without have the privilege of an expert to check your work? Can it be done as independent study?
Merci
Do these voice leading techniques also apply the same way to seventh chords?
Hi Dr. Be! I would like to ask your help, could you please tell me, in Minor key for all steps what are the notes that can be doubled and what inversions are accepted?
Ex. In A minor key
i) - a minor Chord (can we double in root position: the root, the 3rd, the 5th? / in 1st inversion: can we double the root, the 3rd, the 5th? / In 2nd inversion: can we double the root, the 3rd and the 5th?)
ii0) - bi diminished (can we double in root position: the root, the 3rd, the 5th? / in 1st inversion: can we double the root, the 3rd, the 5th? / In 2nd inversion: can we double the root, the 3rd and the 5th?)
III )- C major Chord (can we double in root position: the root, the 3rd, the 5th? / in 1st inversion: can we double the root, the 3rd, the 5th? / In 2nd inversion: can we double the root, the 3rd and the 5th?)
IV)- D minor Chord (can we double in root position: the root, the 3rd, the 5th? / in 1st inversion: can we double the root, the 3rd, the 5th? / In 2nd inversion: can we double the root, the 3rd and the 5th?)
V)- E major Chord (can we double in root position: the root, the 3rd, the 5th? / in 1st inversion: can we double the root, the 3rd, the 5th? / In 2nd inversion: can we double the root, the 3rd and the 5th?)
VI) - F major Chord (can we double in root position: the root, the 3rd, the 5th? / in 1st inversion: can we double the root, the 3rd, the 5th? / In 2nd inversion: can we double the root, the 3rd and the 5th?)
Vii0) - G# diminished Chord (can we double in root position: the root, the 3rd, the 5th? / in 1st inversion: can we double the root, the 3rd, the 5th? / In 2nd inversion: can we double the root, the 3rd and the 5th?)
I must've missed a part what is a compound perfect fifth could someone please reply
It's a perfect fifth above or below the octave of the root. So (moving consistently upward for example) Root, Fifth, Octave is just a fifth, but Root, Octave, Fifth is a compound Fifth.
@@IvyWillowMusic so like a 13th is a compound 5th I'm just gonna go back to that part I think this is above my head and below my knees lol
@@jayroy179 Yeah! Exactly.
It first shows up in the first voice leading video I believe.
Sir, please teach how to compose four parts with formula. Thanks 👍
b-b-b-but Dr. Brellochs!... :-)
This caught my "ear" " The human ear hears the fifth" So let me get this right Root doubled , then the third, and your "ear" will fill in the blanks where the fifth was missing? I'm not a theory guy, although I have Big ears. So, my thinking
is... to me, the"Human ear" is only Relative to the region of Harmonic education in a given society. I don't think "The human ear" in India gravitates to the Western triad color. I don't think they look for the same kind of cadence resolution of the harmonic story. You appear to be describing the expectations of the 'Western exposed "Ear". Therefore I would amend the generalization "Human ear" It is not " The human ear" ie: geneticly built into humans to hear the five. It is social harmonic exposure. Just saying...but I'm not a theory guy. All the best Ed
Yeah, but you're watching a UA-cam video with a guy teaching tonal music theory at a New York university, and tonal harmony, which is what this series is predominantly about, has its roots in western music. You're not wrong for sure, but your argument is kind of invalid here as there's an assumption that's already being made diving into tonal music.
OK. Perhaps he prefaced that at the beginning of the course. I admit to dropping by somewhat into the series . Point well taken. He's very strong in his field for sure. It wasn't meant as a slam.
I believe he explains in another video that it’s really the overtone series that produces the perfect fifth. When you play a note on a string, the string vibrates at multiple frequencies, and one of those frequencies is the frequency of the compound perfect fifth. So the fifth is literally already there in some form.
Don't like some things. Such as the iv -> V. 4 -> 2 and 6 -> 5. Hidden fifths, with soprano moving by leap. I know you set the rule that hidden fifths don't matter unless they're between the bass and the soprano. But if the goal's having all 4 voices independent, this quite clearly goes against it. And I also don't like how you say hidden octaves and even hidden fifths -> octaves are fine, as long as they're not between the bass and the soprano. Those should be last resorts, not "that's fine, let's move on". I bet the entire reason hidden octaves with leap in soprano are even acceptable between soprano and inner voices is specifically because otherwise IV -> V leading would be impossible. Because it honestly sounds just as bad as between soprano and bass. But it honestly is even worse, because bass and the soprano you can hear anyway.
I'd in fact even argue that the inner voices should be treated more delicately with hidden fifths and octaves, since they're the most difficult ones to hear. This attitude of "let's hide them even more" that this focus on just soprano and the bass causes completely goes against making every voice individual. It makes bass and soprano stand out, and buries the inner voices into a blur. Such lenient rules turn it from four-part part-writing to soprano, bass and accompaniment. Personally, I follow the hidden octave rule for every voice, not just bass and soprano.
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