You are welcome. If you watch the Lessons in order you should have a thorough understanding of the material. Save my "Ask Dr. B" series until after you finish the lessons. Best wishes, Dr. B
Thank you, Professor, for these wonderful educational videos. I'm not talking about just this one, I'm talking about the whole series fo Music theory. To me, you are your one of the three best Educators, on internet and youtube.We use to pay lots a money for this kind of educative videos.
Im not HDF Okoy, but some other good educators are seth monahan, Donald sloan, David E. Farrell, "learning music with ray", and "in music theory", although I give the Gold to you, as yours does seem to cover everything in a logical sequence of videos, while providing context for the exceptions of "rules" etc., and using direct & clear explanations. You seem to be the video version of walter pistons's "harmony" , but with additional information, such as species counterpoint as well etc.
I love these videos. I took theory in college 30 years ago. My career took a different path, but now I want to get back into writing music. So these have been an awesome review.
This lecture (like your others) was very impressive! To me, part writing surpasses harmony, melody, and rhythm in terms of complexity; but I still consider it to be at the upper echelon of music fundamentals. I didn't know SATB or SAB could be for instrument parts and not just for choir voices. So that's how you write for multiple instruments, hey. Very cool!
Thanks so much for the comment. I agree with you, and it is so interesting that good voice leading can allow you to have the most bizarre harmonies but still make them work. Check out the opening chords this Carlo Gesualdo composition: ua-cam.com/video/s_q3EJNUKis/v-deo.html Enjoy, Dr. B
Another way to transpose from an Eb instrument into concert key is to replace (mentally) the treble clef for the bass clef and go three step backs in the circle of fifths towards the flat keys (same effect as a M6). Then it is a matter of moving from bass clef to treble clef again.
This is a great tip! Sometimes when I play a cello part on bari sax (in Eb) I pretend it is written in treble clef instead of bass clef and add 3 sharps to the key signature. Thanks for sharing! Dr. B
Good question. Keep in mind that this style of music was intended to be performed by singers or an orchestra - which doesn't always translate to being played on a piano. Does that make sense? Best wishes, Dr. B www.patreon.com/DrBMusicTheory
Imagine 4 part voice leading rules but you're a grown up so you accept full chords (with 6ths for major, minor, and minor 7ths for dominant) instead of just triads
No, but good questions! A hidden fifth can ONLY occur between the soprano and bass, because they are the most obvious to the ear. Hidden fifths aren't as problematic as parallel fifths so they are o.k. when an inner voice is concerned.
Thank you for the answer! Only between the soprano and bass? Interesting. Im studying using the Walter Piston's Harmony book and that is not what its written there. I've been doing my exercises always following this rule for all voices. I've doing it wrong since then, so? :O
I haven't read to Piston book in a long time so I don't remember everything he says. Most theory books only identify hidden fifths as a problem when between the soprano and bass. What you've been doing isn't wrong - just harder!!
Christopher Brellochs Thank you! Indeed, sometimes it was really Hard to write some phrases, as I would even have to change my melody to avoid the inner voices hidden fifths. It's so good to have feedback from a great teacher like you, as by studying by myself there is no way to correct the exercises
I noticed that you are making a leap on the soprano on the third beat of the second measure (D - G - F), and you are not stepping back in the opposite direction afterwards. Shouldn't that be avoided?
I think you are correct, but let me make sure. Did you mean in the first example I go over that starts at the beginning of the video? 1) I think you meant the first measure (there is a quarter note pick up to the first complete measure). 2) I think you meant the "C" on beat two, leaping to the "G" on beat three, which does NOT step back in the opposite direction as expected, and instead goes down a step to "F" Sometimes in music theory we are given an exercise that "breaks" a rule. In this case a melody that treats leaps in an untraditional way was given. My recommendation when learning music theory is for the student to only WRITE what is traditional, even though you might have to analyze music that "breaks" those rules. Once you understand why the rules exist and how they make the music sound good, you can begin to learn HOW to break the rules for specific emotional effect. Good catch and excellent question!
heya im confused about a part where you said about the transposing instruments when you said the easy way of writing it would be to put 1435 under the notes I think it was? what do you mean with those numbers?
I'm not sure what time in the video you are referring to, but I think it was my suggestion to analyze and write the "scale degrees" under the notes of the original, so that when you know what key your are transposing into you can just refer to the scale degrees to get the exact letter names in the new key. Let me know if this doesn't help! Best wishes, Dr. B www.patreon.com/DrBMusicTheory
I'm a little confused on the french horn. It is a F horn and when it sees a C, it sounds like a F. You say that it is a P5 but I'm counting a P4. What am I missing?
My guess is you are counting up a P4 whereas I am counting DOWN a P5. You get the same pitch name but in a different octave. French horn is a fairly big instrument with all that tubing wound up so it sounds LOWER than what you'd normally see as written - that is why I say it is DOWN a P5 to go from French horn written music to concert pitch. This transposition chart I found online might help too! longbranch.apsva.us/wp-content/uploads/legacy_assets/longbranch/406a5970b0-Transp_Chart.pdf
Why can't all these instruments be concert? Just tell the Bb clarinet players that the fingering that produces a concert C is a C and not a Bb. So much confusion avoided.
Great question! All instruments could be concert and it would make it much easier for composers, arrangers and music theory students. It would make it much harder for performers who play more than one instrument. For example the Bb clarinet player in your example would need to learn an entirely new set of fingerings to play Eb clarinet and yet another for A clarinet (both of which are still in use). Another issue if all instruments were in concert is that some would be reading a greater number of ledger lines; this is not so much an issue for performers since flute players become accustomed to this, but historically the printing of music with moveable type was limited regarding ledger lines!
Thank you so much !!!!!
I am grateful.
I will watch each and every video!
You are welcome. If you watch the Lessons in order you should have a thorough understanding of the material. Save my "Ask Dr. B" series until after you finish the lessons.
Best wishes,
Dr. B
Thank you, Professor, for these wonderful educational videos. I'm not talking about just this one, I'm talking about the whole series fo Music theory. To me, you are your one of the three best Educators, on internet and youtube.We use to pay lots a money for this kind of educative videos.
I really appreciate your comment. I have to know - who are the other two Educators? I love to see other people's approach to teaching.
Im not HDF Okoy, but some other good educators are seth monahan, Donald sloan, David E. Farrell, "learning music with ray", and "in music theory", although I give the Gold to you, as yours does seem to cover everything in a logical sequence of videos, while providing context for the exceptions of "rules" etc., and using direct & clear explanations. You seem to be the video version of walter pistons's "harmony" , but with additional information, such as species counterpoint as well etc.
I love these videos. I took theory in college 30 years ago. My career took a different path, but now I want to get back into writing music. So these have been an awesome review.
This lecture (like your others) was very impressive! To me, part writing surpasses harmony, melody, and rhythm in terms of complexity; but I still consider it to be at the upper echelon of music fundamentals. I didn't know SATB or SAB could be for instrument parts and not just for choir voices. So that's how you write for multiple instruments, hey. Very cool!
Thanks so much for the comment. I agree with you, and it is so interesting that good voice leading can allow you to have the most bizarre harmonies but still make them work. Check out the opening chords this Carlo Gesualdo composition: ua-cam.com/video/s_q3EJNUKis/v-deo.html
Enjoy,
Dr. B
@@ChristopherBrellochs Will do. Thanks!
Another way to transpose from an Eb instrument into concert key is to replace (mentally) the treble clef for the bass clef and go three step backs in the circle of fifths towards the flat keys (same effect as a M6). Then it is a matter of moving from bass clef to treble clef again.
This is a great tip! Sometimes when I play a cello part on bari sax (in Eb) I pretend it is written in treble clef instead of bass clef and add 3 sharps to the key signature.
Thanks for sharing!
Dr. B
A play Bari and do this to cover tuba, bassoon, bass, and sometimes cello parts. Just change clef and add 3 sharps.
Thank you Professor ! I learn the harmony so I.m in the game again ! :)
Thanks for the lesson Dr. B
You're welcome and I'm glad you enjoyed it.
Best wishes,
Dr. B
Hi.why we cant use inverted intervals for change concert to twc ?for example in this case: C => Bb =>down M7 or up m2
🧐How is the tripled root (e) in the G clef played, at the end of the part writing melody?
Good question. Keep in mind that this style of music was intended to be performed by singers or an orchestra - which doesn't always translate to being played on a piano. Does that make sense?
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
Christopher Brellochs : absolutely 😊…Thank you
Imagine 4 part voice leading rules but you're a grown up so you accept full chords (with 6ths for major, minor, and minor 7ths for dominant) instead of just triads
At 10:58 you are writing F to D in the alto, but the bass is going D to G. Isn´t that a hidden fifth between bass and alto?
No, but good questions! A hidden fifth can ONLY occur between the soprano and bass, because they are the most obvious to the ear. Hidden fifths aren't as problematic as parallel fifths so they are o.k. when an inner voice is concerned.
Thank you for the answer!
Only between the soprano and bass? Interesting. Im studying using the Walter Piston's Harmony book and that is not what its written there. I've been doing my exercises always following this rule for all voices. I've doing it wrong since then, so? :O
I haven't read to Piston book in a long time so I don't remember everything he says. Most theory books only identify hidden fifths as a problem when between the soprano and bass. What you've been doing isn't wrong - just harder!!
Christopher Brellochs Thank you!
Indeed, sometimes it was really Hard to write some phrases, as I would even have to change my melody to avoid the inner voices hidden fifths.
It's so good to have feedback from a great teacher like you, as by studying by myself there is no way to correct the exercises
I noticed that you are making a leap on the soprano on the third beat of the second measure (D - G - F), and you are not stepping back in the opposite direction afterwards.
Shouldn't that be avoided?
I think you are correct, but let me make sure.
Did you mean in the first example I go over that starts at the beginning of the video?
1) I think you meant the first measure (there is a quarter note pick up to the first complete measure).
2) I think you meant the "C" on beat two, leaping to the "G" on beat three, which does NOT step back in the opposite direction as expected, and instead goes down a step to "F"
Sometimes in music theory we are given an exercise that "breaks" a rule. In this case a melody that treats leaps in an untraditional way was given. My recommendation when learning music theory is for the student to only WRITE what is traditional, even though you might have to analyze music that "breaks" those rules. Once you understand why the rules exist and how they make the music sound good, you can begin to learn HOW to break the rules for specific emotional effect.
Good catch and excellent question!
All of this can be applied to Bachs keyboard music ? Because it uses usually 2 or 3 parts.
heya im confused about a part where you said about the transposing instruments when you said the easy way of writing it would be to put 1435 under the notes I think it was?
what do you mean with those numbers?
I'm not sure what time in the video you are referring to, but I think it was my suggestion to analyze and write the "scale degrees" under the notes of the original, so that when you know what key your are transposing into you can just refer to the scale degrees to get the exact letter names in the new key.
Let me know if this doesn't help!
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
I'm a little confused on the french horn. It is a F horn and when it sees a C, it sounds like a F. You say that it is a P5 but I'm counting a P4. What am I missing?
My guess is you are counting up a P4 whereas I am counting DOWN a P5. You get the same pitch name but in a different octave. French horn is a fairly big instrument with all that tubing wound up so it sounds LOWER than what you'd normally see as written - that is why I say it is DOWN a P5 to go from French horn written music to concert pitch.
This transposition chart I found online might help too!
longbranch.apsva.us/wp-content/uploads/legacy_assets/longbranch/406a5970b0-Transp_Chart.pdf
Thank you, I appreciate the feedback. Your videos with music theory really helps.
Why can't all these instruments be concert? Just tell the Bb clarinet players that the fingering that produces a concert C is a C and not a Bb. So much confusion avoided.
Great question! All instruments could be concert and it would make it much easier for composers, arrangers and music theory students. It would make it much harder for performers who play more than one instrument. For example the Bb clarinet player in your example would need to learn an entirely new set of fingerings to play Eb clarinet and yet another for A clarinet (both of which are still in use).
Another issue if all instruments were in concert is that some would be reading a greater number of ledger lines; this is not so much an issue for performers since flute players become accustomed to this, but historically the printing of music with moveable type was limited regarding ledger lines!
Hahaha. I agree, it is very strange, but don't shot the messenger - I'm just trying to explain how it is done!
no, if you play an A on the instrument it will still sound as A 440, it will just be written different (maybe an E , etc) on a transposed instrument.