Being able to teach AND inspire people like that is a real gift. That was one of the funniest and most eficient lessons I've ever had! Thank you Dr. B. Greetings from Brazil!
Ah, Brazil! There is so much music I love that comes from Brazil: Villa-Lobos, Jobim, Caetano Veloso, Djavan, etc. I try to keep students awake in my classes, so I'll try anything to keep them entertained. Thanks so much the comment. Best wishes, Dr. B www.patreon.com/DrBMusicTheory
Dr. B, your teaching strength is, you explain "why" to the music composition rules.. You make us understand so that we don't need to memorize those rules for music composition.
sometimes i wonder if hes actually talking to a class... hes like the best teacher ever and even makes some funny jokes. i srsly laughed at the screen. never thought i'd be soo into a lecture. ur GODSENT dr. B!!
ahhhh man. I wish I had come across this 2 years ago. thank you so much for sharing the light and not only simplifying it but making it interesting. if only there were cash tips on UA-cam, i bet you would've made a mil by now :-) thank you once again.
Good to hear from a London viewer. I spent an awesome week there a few years ago. My top two high points were seeing the musical "Charlie and the Chocolate Factory" and visiting Frederic Leighton's home.
So clear. I'm reviewing theory, and you are one of the best theory teachers I have ever seen. Things that I wondered about the first time I took Theory you are making clear to me in a way that I can apply it to what I'm doing; which is composition. Yes, it's been a few years for me since I've had some Theory and you are clearing the cobwebs on some of the murky issues, and I truly appreciate this being on UA-cam, and you're gliding expertise through the concepts and the mistakes that can easily be made if you don't get the foundation laid properly. Thank you so much.
Hi, professor Christopher. Congratulations from Brazil! I've been watching your lectures and I'm so impressed and happy, because I've been spent almost my whole life trying to learn and understand that subject without succed. The only book that we have access here, in Brazil, for those who can't read in English, is Paul Hindemith's Traditional Harmony. Now, I've come across with your marvellous lectures and the Kostka and Payne' book. Hence, I can say that everything is gonna be clear to me. Thank you very much for your help!
You are welcome and thanks for the comment! I intend to add new series of videos called, "Ask Dr. B About Music Theory," starting in August that answer some of the questions people post as comments - look for more good info soon. Best wishes! Dr. B
I just watched lesson 11 again (voice leading 101) and you mention at ca. 5:30 that leaps of a 7th and octave+ are not allowed and that you need to step in opposite direction after a leap, but you don't mention these two rules in your checklist. Were they just the very beginner rules than can be broken easily or which checklist colour would you assign to them? The checklist is really helpful, much appreciated!
Thank you so much for making these videos. I'm learning so much from you because you teach in an easy way making it easier for us to understand Such an skillful teacher💖👌🏻🌺
QUESTION from Lesson 16 (Part Writing Checklist & Triads in First Inversion): "Why are we not allowed to write consecutive 5th or 8th in contrary motion?" is answered here: ua-cam.com/video/C1dADMUucPk/v-deo.html
I just bought Strauss's newest textbook "concise introduction to tonal harmony", which is said to be an excellent one (and it costed me a fortune as well...). But I must say that this video has taught me better than that textbook. So a big thank you Dr. B!
I thoroughly enjoyed this video, I'm learning a lot, I will watch all the videos as time permits. One thing I picked up on was 1st inversions, when I've create a chord progression I tend to just use root position rather than inverting it, I'll be honest to say that it's easier, having said that you do end up with a stronger cadence even though it's more predictable. (correct me if I'm wrong). Often my ears though disagree with how you voice even a chord and where it's leading, this is where music theory and my ears tend to disagree with one another. Futher on in the video you discussed adding a voice in the Soprano, I've noticed when I look for songs to learn I tend to favour the right hand melody that's rich in texture, where the chords can be the melody, versus single note right hand melodies, they have their place in music but when the entire song is just using single notes in the right hand it's lacking something.
Hi Dr. B, thanks for another great lesson. Could you please explain what a tritone leap is (around 36:50 in the video) and why we don't want one in our part writing? Edit: You mention the same thing at the last note of the last exercise in the next lesson.
A tritone is an interval that is either a diminished 5th (ex. C - Gb) or augmented 4th (C - F#); you will notice Gb and F# are enharmonically the same pitch! This interval is dissonant and therefore a bit jarring/funky/weird to hear as a melodic interval (i.e. in succession). For this reason, in traditional voice leading, you do not use a melodic interval of a tritone as you won't get the harmonious flow desired! Hope that helps! Dr. B
Yes! When you say "pedal motion" I am assuming you mean the bass note of the chord or chords preceding the second inversion triad are the same pitch as the bass for the second inversion triad. The pedal (also called neighbor) 6/4 is a perfect example: I - IV6/4 - I. If you have longer, more expansive pedals you usually stop identifying inversions since the bass pedal negates the exact part you use to determine inversion. An example of that would be: With a C pedal under each of the following chords: C - Bb - F - G - C. You don't really have inversions for the Bb, F, and G chords because of the pedal. Best wishes, Dr. B
Hello! I was under the impression that you should only double the bass of a first inversion triad under very specific circumstances (diminished triads being one of them). This lesson has gotten me confused about it! Could you please explain further?
I want to thank you Dr. B for these amazing lectures that i really enjoy and benefit from even though i already learned a bunch before in collage but i wanna ask a question if you’d be so kind to answer. i’ve learned that if the chord is in first inversion we never double the third of a chord and here you say otherwise unless it’s a leading tone, why is that?, and thanks in advance.
Regarding the rule against using consecutive first inversions for the V-I progression: Is the rationale "resolve LT up to the tonic if in an outer voice?" Thank you!
Great lesson as usual! Just a note (I think) - in the "White Card" list, shouldn't the Alto range be G3-D5? Also, question to anyone reading this: in a diatonic I(maj)7 chord (C-E-G-B, for ex.), the 7th of the chord is the leading tone. So does it resolve to C, or to an A (or A#?)
AWESOME video. All of yours have been so far, thank you so much for posting this well of knowledge. I'm confused though. One rule: no leap of over a M6. I get it. Later you say no leap of any augmented interval? Does the distance not matter here, only that it's augmented? Apologies if you may have mentioned it, I've been "relaxing" after work...
Hi Dr. B! The yellow card section contained "vii° must be used in 1st inversion only", is it also the case for ii° in minor keys then? (It seems to be the case when you talk again about diminished triads later on in the video but I was wondering why it was not indicated for yellow cards). Another question: does a I to a iii (for example) also qualify as a parallel sixths although the qualities of the 6th intervals differ (m6 -> M6) ? Thanks for your great lectures!
You are correct! All diminished triads should be in 1st inversion only - both viio and iio. I should make a new yellow card to replace that one with this more "global" rule. Thanks, Dr. B
Hello Dr. B, in the blue card, why we are not allowed to write consecutive 5th or 8th in contrary motion? Some textbooks say perfect 5/8 are not allowed to be approached by parallel motion, but they did not mention that contrary motion is forbidden as well. Thank you in advance!
QUESTION from Lesson 16 (Part Writing Checklist & Triads in First Inversion): "Why are we not allowed to write consecutive 5th or 8th in contrary motion?" is answered here: ua-cam.com/video/C1dADMUucPk/v-deo.html
I'm totally loving your lectures! I have a question, would you say there's a visual component that can develop throughout years of being a musician? Sometimes I can tell just by looking at a score that something's 'off'. And that happens without me knowing right away what that could be. Or is it a common illusion?
Thanks for the compliment! YES, there's a visual component. This is true for composers & conductors who look at scores a lot, pianists who have to play two staves filled with notes, and music theory experts. There absolutely are expected visual patterns that you can pick up on consciously or subconsciously. For example, root position triads have a "look" (all spaces or all lines), and 1st inversion have a different look, etc. Being aware of the visual component will speed things up for you both in composition and analysis. Best wishes, Dr. B
Hahaha, that's part of the test! A common teaching tip is to tell your students that you typically put one or more mistakes on test, and that they can get extra credit if they find them...just to make it seem like everything is on purpose. +1 point Garry! Dr. B
Not yet; I cover part-writing and voice-leading which contain aspects of counterpoint but I haven't covered anything like species counterpoint..YET! I intend to add new series of videos called, "Ask Dr. B About Music Theory," starting in August that answer some of the questions people post as comments - lots of people have asked about counterpoint.
On the whiteboard, don't you really mean that A=G3-D5 instead of D4? It wouldn't make sense at D4 with Alto only being a 5th in size. I have a book stating that A=G3-C5, and D5 would only be a whole tone more.
Hi Christopher :-) First I would like to say I am enjoying your Music Theory playlist. Regarding the "White Card" ranges, for the Alto range, you go from G3 to D4. That is only a perfect fifth and it seems a bit tight. Should that be G3 to D5, which is a compound fifth? cheers andy
I've been watching all videos in this series, and was wondering if you use a textbook to supplement your lectures. I've been taking notes like crazy but it'd be great if you could give some recommendation on a book that has all of this stuff clearly outlined, and perhaps has some exercises with solutions.
The textbook I use is "Tonal Harmony" by Kostka and Payne. It is a little wordy but o.k. I also frequently recommend Barron's AP Music Theory book...that is until I write my own book, haha!
Will wait with baited breath for your book! What I think would be great is to have a hands-on workbook that has tons of exercises with solutions in the back, even if there are multiple right answers to them. For adult learners without a teacher, that would be invaluable. I have the Kostka and Payne book but had not really looked at it, so will do. I'm enjoying your lectures tremendously, I have had rudimentary music theory at music school when I learned the piano back in the sixties in the Netherlands as a pre-teen/teenager, but it was never this systematic and comprehensive. I had a lot of gaps so thanks for filling those for me in a systematic way.
Yes I saw. I have the 2nd edition, so a really old one, but I found the 2nd ed. workbook second hand at an online vendor so I ordered it. I'm having fun with this. I have no clue where this will eventually lead me but that's not important. I am going into jazz more (on guitar and voice) so knowing more about harmony in general is helpful.
Great question. The leading tone really stands out to the listener and creates the "tendency" that it should resolve up to tonic. If you were to double the leading tone both would "want" to resolve up but you can't do that without having parallel octaves or unison. Doubling the leading tone would also make it stand out so much that the blend of all the parts would be out of balance. Does that make sense to you? Best wishes, Dr. B
Haha, you know how to flatter someone. I have been thinking about writing a music theory and music history book for years, but have yet to do so. I think that as I post more and more videos eventually they will become the foundation of my book. More critical, I really want to develop a workbook with examples for people to practice everything discussed. Thanks for commenting, Dr. B
I didnt flatter you hhaaa... I learned alot from u.. Your knowledges help me alot with my composer career and my musical career... So admire you I just want to learn more from you.. I am a Composer/Singer from Vietnam
Being able to teach AND inspire people like that is a real gift. That was one of the funniest and most eficient lessons I've ever had! Thank you Dr. B. Greetings from Brazil!
Ah, Brazil! There is so much music I love that comes from Brazil: Villa-Lobos, Jobim, Caetano Veloso, Djavan, etc.
I try to keep students awake in my classes, so I'll try anything to keep them entertained. Thanks so much the comment.
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
@User Hey man, I from brazil as well! I'm glad to know there's other brazilians watching this serie, I'm not alone!
Dr. B, your teaching strength is, you explain "why" to the music composition rules.. You make us understand so that we don't need to memorize those rules for music composition.
sometimes i wonder if hes actually talking to a class... hes like the best teacher ever and even makes some funny jokes. i srsly laughed at the screen. never thought i'd be soo into a lecture. ur GODSENT dr. B!!
These cards and the associated degree of punishment is soooo Zappa! Love it!
Also very nice of you to have this on youtube, thanks
ahhhh man. I wish I had come across this 2 years ago. thank you so much for sharing the light and not only simplifying it but making it interesting. if only there were cash tips on UA-cam, i bet you would've made a mil by now :-) thank you once again.
Thank you, thank you, from a pensioner in London! You're a great teacher and this is really beefing up my college study!
Good to hear from a London viewer. I spent an awesome week there a few years ago. My top two high points were seeing the musical "Charlie and the Chocolate Factory" and visiting Frederic Leighton's home.
You are a really good teacher! Your students are truly blessed to have you.
So clear. I'm reviewing theory, and you are one of the best theory teachers I have ever seen. Things that I wondered about the first time I took Theory you are making clear to me in a way that I can apply it to what I'm doing; which is composition. Yes, it's been a few years for me since I've had some Theory and you are clearing the cobwebs on some of the murky issues, and I truly appreciate this being on UA-cam, and you're gliding expertise through the concepts and the mistakes that can easily be made if you don't get the foundation laid properly. Thank you so much.
Dear Dr. B, your lecturing is SUPER, thanks a lot 🎻
Studying for the 2020 AP Music Theory Exam! Love your videos! Laughed way too much here hahah
Hi, professor Christopher. Congratulations from Brazil! I've been watching your lectures and I'm so impressed and happy, because I've been spent almost my whole life trying to learn and understand that subject without succed. The only book that we have access here, in Brazil, for those who can't read in English, is Paul Hindemith's Traditional Harmony. Now, I've come across with your marvellous lectures and the Kostka and Payne' book. Hence, I can say that everything is gonna be clear to me. Thank you very much for your help!
You are welcome and thanks for the comment!
I intend to add new series of videos called, "Ask Dr. B About Music Theory," starting in August that answer some of the questions people post as comments - look for more good info soon.
Best wishes!
Dr. B
what a cruel teacher, hahaha, neatly elaborated full of with rich rhetoric, thanks dr. B
Haha, Dr. B Penalty Cards usually make students laugh a lot - even if they end up getting additional homework.
thank u for saving my music theory grade
I just watched lesson 11 again (voice leading 101) and you mention at ca. 5:30 that leaps of a 7th and octave+ are not allowed and that you need to step in opposite direction after a leap, but you don't mention these two rules in your checklist. Were they just the very beginner rules than can be broken easily or which checklist colour would you assign to them? The checklist is really helpful, much appreciated!
Thank you so much for making these videos. I'm learning so much from you because you teach in an easy way making it easier for us to understand
Such an skillful teacher💖👌🏻🌺
Thanks so much. Best wishes, Dr. B
QUESTION from Lesson 16 (Part Writing Checklist & Triads in First Inversion): "Why are we not allowed to write consecutive 5th or 8th in contrary motion?" is answered here: ua-cam.com/video/C1dADMUucPk/v-deo.html
I just bought Strauss's newest textbook "concise introduction to tonal harmony", which is said to be an excellent one (and it costed me a fortune as well...). But I must say that this video has taught me better than that textbook. So a big thank you Dr. B!
I'm really glad you're finding my videos helpful. I'll be answering your question about consecutive 5ths by contrary motion in a new video this week!
Hello Dr. B, thanks a lot and I am looking forward to your new video!
Really helpfull lectures. Thank you so much for sharing.
My pleasure! Thanks for commenting.
thank u so much for your efforts..that was great !!!
I thoroughly enjoyed this video, I'm learning a lot, I will watch all the videos as time permits.
One thing I picked up on was 1st inversions, when I've create a chord progression I tend to just use root position rather than inverting it, I'll be honest to say that it's easier, having said that you do end up with a stronger cadence even though it's more predictable. (correct me if I'm wrong).
Often my ears though disagree with how you voice even a chord and where it's leading, this is where music theory and my ears tend to disagree with one another.
Futher on in the video you discussed adding a voice in the Soprano, I've noticed when I look for songs to learn I tend to favour the right hand melody that's rich in texture, where the chords can be the melody, versus single note right hand melodies, they have their place in music but when the entire song is just using single notes in the right hand it's lacking something.
Pure Gold!
Hi Dr. B, thanks for another great lesson. Could you please explain what a tritone leap is (around 36:50 in the video) and why we don't want one in our part writing?
Edit: You mention the same thing at the last note of the last exercise in the next lesson.
A tritone is an interval that is either a diminished 5th (ex. C - Gb) or augmented 4th (C - F#); you will notice Gb and F# are enharmonically the same pitch! This interval is dissonant and therefore a bit jarring/funky/weird to hear as a melodic interval (i.e. in succession). For this reason, in traditional voice leading, you do not use a melodic interval of a tritone as you won't get the harmonious flow desired!
Hope that helps!
Dr. B
Yup, it sure does help! Thanks :D
Question
can we apporch second inversion triads through pedal motion
Yes! When you say "pedal motion" I am assuming you mean the bass note of the chord or chords preceding the second inversion triad are the same pitch as the bass for the second inversion triad.
The pedal (also called neighbor) 6/4 is a perfect example: I - IV6/4 - I.
If you have longer, more expansive pedals you usually stop identifying inversions since the bass pedal negates the exact part you use to determine inversion. An example of that would be:
With a C pedal under each of the following chords: C - Bb - F - G - C. You don't really have inversions for the Bb, F, and G chords because of the pedal.
Best wishes,
Dr. B
how about hidden fifth, what is that ?
Hello! I was under the impression that you should only double the bass of a first inversion triad under very specific circumstances (diminished triads being one of them). This lesson has gotten me confused about it! Could you please explain further?
I want to thank you Dr. B for these amazing lectures that i really enjoy and benefit from even though i already learned a bunch before in collage but i wanna ask a question if you’d be so kind to answer. i’ve learned that if the chord is in first inversion we never double the third of a chord and here you say otherwise unless it’s a leading tone, why is that?, and thanks in advance.
Regarding the rule against using consecutive first inversions for the V-I progression: Is the rationale "resolve LT up to the tonic if in an outer voice?" Thank you!
What note should be dobled in a second inversion III chord
Hello Dr B. Please assist with the choice of whether to use a chord in root position or one in first inversion
just what i needed
Great lesson as usual! Just a note (I think) - in the "White Card" list, shouldn't the Alto range be G3-D5?
Also, question to anyone reading this: in a diatonic I(maj)7 chord (C-E-G-B, for ex.), the 7th of the chord is the leading tone. So does it resolve to C, or to an A (or A#?)
AWESOME video. All of yours have been so far, thank you so much for posting this well of knowledge. I'm confused though. One rule: no leap of over a M6. I get it. Later you say no leap of any augmented interval? Does the distance not matter here, only that it's augmented? Apologies if you may have mentioned it, I've been "relaxing" after work...
Hi Dr. B! The yellow card section contained "vii° must be used in 1st inversion only", is it also the case for ii° in minor keys then? (It seems to be the case when you talk again about diminished triads later on in the video but I was wondering why it was not indicated for yellow cards).
Another question: does a I to a iii (for example) also qualify as a parallel sixths although the qualities of the 6th intervals differ (m6 -> M6) ?
Thanks for your great lectures!
You are correct! All diminished triads should be in 1st inversion only - both viio and iio. I should make a new yellow card to replace that one with this more "global" rule.
Thanks,
Dr. B
What is the difference between overlapping and voice crossing?
He goes over this very well in the video, watch the part about the green card, that's where he explains it : )
Hello Dr. B, in the blue card, why we are not allowed to write consecutive 5th or 8th in contrary motion? Some textbooks say perfect 5/8 are not allowed to be approached by parallel motion, but they did not mention that contrary motion is forbidden as well.
Thank you in advance!
QUESTION from Lesson 16 (Part Writing Checklist & Triads in First Inversion): "Why are we not allowed to write consecutive 5th or 8th in contrary motion?" is answered here: ua-cam.com/video/C1dADMUucPk/v-deo.html
So contour and unresolved leaps aren’t here? did you skip them for a reason?
I'm totally loving your lectures! I have a question, would you say there's a visual component that can develop throughout years of being a musician? Sometimes I can tell just by looking at a score that something's 'off'. And that happens without me knowing right away what that could be. Or is it a common illusion?
Thanks for the compliment! YES, there's a visual component. This is true for composers & conductors who look at scores a lot, pianists who have to play two staves filled with notes, and music theory experts.
There absolutely are expected visual patterns that you can pick up on consciously or subconsciously. For example, root position triads have a "look" (all spaces or all lines), and 1st inversion have a different look, etc.
Being aware of the visual component will speed things up for you both in composition and analysis.
Best wishes,
Dr. B
iv6 is possible doubling 3th? Sorry but i thought just to double ii6, viiº6, vi, I6 (when it comes from vii°6)
Another thing, the word "mispelled" is MISSPELLED... ironically. I checked with dictionary.
Hahaha, that's part of the test! A common teaching tip is to tell your students that you typically put one or more mistakes on test, and that they can get extra credit if they find them...just to make it seem like everything is on purpose.
+1 point Garry!
Dr. B
Anything in this mix about COUNTERPOINT?
Not yet; I cover part-writing and voice-leading which contain aspects of counterpoint but I haven't covered anything like species counterpoint..YET!
I intend to add new series of videos called, "Ask Dr. B About Music Theory," starting in August that answer some of the questions people post as comments - lots of people have asked about counterpoint.
You asked for counterpoint? Here you go: ua-cam.com/video/LCd7n86C1Eo/v-deo.html
On the whiteboard, don't you really mean that A=G3-D5 instead of D4? It wouldn't make sense at D4 with Alto only being a 5th in size. I have a book stating that A=G3-C5, and D5 would only be a whole tone more.
Agreed, D5 is the obvious correction. Nice catch!
Hi Christopher :-)
First I would like to say I am enjoying your Music Theory playlist.
Regarding the "White Card" ranges, for the Alto range, you go from G3 to D4. That is only a perfect fifth and it seems a bit tight. Should that be G3 to D5, which is a compound fifth?
cheers
andy
I've been watching all videos in this series, and was wondering if you use a textbook to supplement your lectures. I've been taking notes like crazy but it'd be great if you could give some recommendation on a book that has all of this stuff clearly outlined, and perhaps has some exercises with solutions.
The textbook I use is "Tonal Harmony" by Kostka and Payne. It is a little wordy but o.k. I also frequently recommend Barron's AP Music Theory book...that is until I write my own book, haha!
Will wait with baited breath for your book! What I think would be great is to have a hands-on workbook that has tons of exercises with solutions in the back, even if there are multiple right answers to them. For adult learners without a teacher, that would be invaluable. I have the Kostka and Payne book but had not really looked at it, so will do.
I'm enjoying your lectures tremendously, I have had rudimentary music theory at music school when I learned the piano back in the sixties in the Netherlands as a pre-teen/teenager, but it was never this systematic and comprehensive. I had a lot of gaps so thanks for filling those for me in a systematic way.
The Kostka Payne has "Self Help" tests at the end of every chapter with answers in the back!! You could start with those - enjoy!
Yes I saw. I have the 2nd edition, so a really old one, but I found the 2nd ed. workbook second hand at an online vendor so I ordered it. I'm having fun with this. I have no clue where this will eventually lead me but that's not important. I am going into jazz more (on guitar and voice) so knowing more about harmony in general is helpful.
Why should we not double the leading tone
Great question. The leading tone really stands out to the listener and creates the "tendency" that it should resolve up to tonic. If you were to double the leading tone both would "want" to resolve up but you can't do that without having parallel octaves or unison. Doubling the leading tone would also make it stand out so much that the blend of all the parts would be out of balance.
Does that make sense to you?
Best wishes,
Dr. B
u r such a genius... Do u write any book? I want to buy your book.
Haha, you know how to flatter someone. I have been thinking about writing a music theory and music history book for years, but have yet to do so. I think that as I post more and more videos eventually they will become the foundation of my book. More critical, I really want to develop a workbook with examples for people to practice everything discussed.
Thanks for commenting,
Dr. B
I didnt flatter you hhaaa... I learned alot from u.. Your knowledges help me alot with my composer career and my musical career... So admire you I just want to learn more from you.. I am a Composer/Singer from Vietnam
And you have a very good heart to share this. It s really true
Sorry sir....I think in harmonic progression there is problem because Vi go to V chord.......
Don’t hang head folks!
Thank you for posting all of this. I'm really learning from you.
I'm glad you find my videos useful.
Enjoy,
Dr. B
I got an orange card and chopped nuts off.
Haha, I definitely kept it PG for the classroom, but whatever motivates you.
Best wishes,
Dr. B