Dominant Seventh Chords Part 1: Theory || Tonal Voice Leading 11
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- Опубліковано 29 вер 2024
- In this video we look at the music theory of dominant seventh chords, the role that it plays in the harmonic cadence, and the perspectives it voice leading of Jean-Philippe Rameau and Johann Philipp Kirnberger.
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/ jacobgran
#musictheory #composition #rameau
Very Interesting!
Your channel is a treasure. First time I took actual physical notes from youtube content. Thanks so much man
I still don't understand why voice leading dissonances don't include appogiature. Like, are your ears THAT feeble?
Hahahahahahahaha😂
"If you cannot wear a hat in church, then you definitely cannot sing unprepared dissonant intervals" ~Jacob Gran
*wears a hat in church while singing unprepared dissonant intervals*
Interesting quote, as in some cultures / time periods - wearing a hat to church (for women) was considered proper
Really glad I found this channel! You're videos are extremely informative and easy to understand
Glad you enjoy them!
You are a hero
👍🙂
funny how medieval music was much more “modern” than this as far as dissonance.. and rhythmic ideas
👏
very nice, wow these new age composers are getting more "loose" with their composition techniques. They will be playing blues in no time :)
At the pace I'm going, it will take a few years before we get to any modern music!
You said that Jean Phillipe defined the cadence on the descending root motion by 5th but you also said that the bass cadence could be approached from below making it a leap of a 4th up to the tonic. So this is an upward leap by a 4th. Shouldn't the defenition be reworded somehow to includ the upward motion by 4th as well?
Root motion isn’t the same thing as the motion of the bass voice. Rameau used to add a clef that he labeled “fundamental bass” to show the root motion between each chord in his examples that was independent of any of the particular parts. So we commonly call root motion “down the circle of fifths” even if the bass voice literally moves in some other way.
@@JacobGran ok so root motion means backward on the circle of fifths... got it. thank you
At 7:30 wouldn't G-G be another acceptable Alto Cadence?
Yes and no. That would be produce 4-voice V - I authentic cadence with plain triads rather than seventh chord, and those do happen all the time. However we wouldn't call that repeated G any kind of melodic cadence, because it didn't move anywhere (it isn't a form of melodic closure) and it isn't one of the traditional "clausulae." I can highly recommend Early Music Sources' video on "16th and 17th Century Cadences." Although textbooks gradually stop mentioning the clausulae in favor of Rameau-style harmonic cadences, everything Rotem mentions in that video related to melodic closure persists in strict counterpoint pedagogy through the 18th century.
@@JacobGran Does this mean I should use this type of dominant 7th cadence even back in our four-voice counterpoint exercises (Tonal Voice Leading 9)?