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Great presentation 👍 It helped e feel the different parts while the music was playing… That is great 👍

very interesting and educational video

excellent info. clear and concise. much appreciated

The spelling Eb9sus expresses in full text: Eb dominant with a suspended fourth and a major ninth. But because it's a dominant, D should be flat. As it is voiced here on the score what we have is Ebmaj9sus4.

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Hi Dr. Kati. How about that ♭IIIdim7 in the 3rd bar of I've Got Rhythm? Can it be considered a common-tone diminished seventh chord? It is inserted between two minor chords.

Trini

Thanks for this video. In the 12 mins 48 seconds mark you have chord V rather than a cadential 6/4 which usually goes to V. I would not treat that chords as a V but rather a I 6/4 to V

I'm very impressed with your teaching style, please I need you to continue teaching me.

you know with this video it's like a teacher is teaching me and I'm understanding it very well thank you very much

0:56

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thank you dr meyer 🎓

thanks dr kati 🎵

''Do not double leading tones and 7ths'' I did not know that. Explanation was very simple to understand. Thank you for sharing. I have a question. If i don't have the root note of the chord on the bass, do i still have to double the root of the chord? Like the last example? Dm/F

I thought the leap of a 3rd is acceptable and does not need to be resolved by a counter step? So D - B - G is OK. Or not?

Thank you for all of these playlists and helping me with my return to school after a long hiatus, and my theory placement exam. I think I passed.

what about in atonal, or moreover 1920s style music? I'm one who shuns rules in music, for the composer should create music with all freedom of choice. But then again, I'm more like that of Messiaen, or Eric Whitacre when it comes to voice writing.

I don't understand why the Beach example is not balanced. By my understanding, they both are PACs in the key of D minor... Is it because the Vs are not exactly the same? Please help!

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Thank you so much. From Malawi (Africa). I just discovered you recently and I love your videos

We love your channel 😊

Hi Dr. Katie. Between 1:36 and 1:41 you said, “The meter of a phrase is usually draped over four bars with one big downbeat.” To better understand, would it be fair to say, “The meter of a phrase is usually draped over four bars with each phrase ‘STARTING’ on one big downbeat?” Forgive the upper-case as I simply wanted to clarify my question. Thank you Katie. Great youtube channel!

May I know why the in practice part the (final) I chord is not closed but open? Thanks in Advance.

3:38 the answer is a 4th higher, not a 5th

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I wanted to ask you.

Thank you so much.

Oh my is this useful. Im trying to wrap up a guitar course, but for the final assignment I got a bit ambitious and well... Need to research how to properly arrange for a small ensemble (the muse is quite unforgiving :P) Seriously, very helpful. I wonder though when part writing for instruments how much would the crossings themselves affect clarity? I suppose its very dependent on the instrumentation (if the tone is pleasant across the range, capable of taking over while not being in any way confused then your more likely to get away with it)... Guess you keep things like this in mind and experiment for effect but always with the understanding that there should be a musical purpose because theres a good chance this will cause issues with and need reworking. Still I always think of the Great Fugue and how delightful those crossings are, but then again Beethoven spent a lifetime rewriting the rule book, and could get away with making just about anything sound wonderful through his unwavering diligence and prodigious talent. Anyway wonderful stuff

Hello Again, how many times can a Model Sequence be repeated???

Thank you much for taking your gift of music and share it with people like us. I have a question: How long can a Model the length be. How many times is it practical to copy a Model. How long can a musical phrase be. How can you tell by the length what is the type of musical sequence??? If you can spare a few moments please answer when you can. Again, your video has generate much thinking on the matter. Thank you,

You are the best teacher, thank you so much for this!

2:55 what about in the aeolian natural minor scale? Are there any other chords besides the 5 chord that has a dominant function?

useful information

1:08 3:35 5:05 7:01 8:39

FYI around 6:30 the 3rd set of intervals b-c is m2 and c-b is M7.

Error in labeling the 9-8 and 7-6

Dr K, I do enjoy your lectures. One errata, though. Tenor Sax sounds a M9th below the written pitch.

For the parallel period, does it have to be the exact same (basic idea)? What if there’s a little bit of embellishment but keeps there same idea?

I wish Dr. Kati were my teacher...😭

Hello Brava: I am writing to you first to thank you for taking the time for someone like me to teach, actually, teach something. I am also writing in regards to the Sequences you have outlined in your video time set 7:29 Descending 2nds Ascending 2nds Descending 3rds. Do you have a model for Descending 2nds - Ascending 2nds and Ascending 3rds and/or a video. Also, is the Chromatic Sequence Video out yet. Again, please accept my sincerest gratitude, A

5:36 how can 9/8 be accepted as dotted quarter beat. y is it mentioned there

In 6:28 how is the root doubled in the II6? Sorry I can't see it!

Excellent ,Thank you

Very nice presentation. I think it's important to note the commonly-encountered use of vii°7/V between the N6 and V (that is, if you've already introduced secondary functions; if not, then I completely understand).

I would like to have private lesson abour this ...how can i reach you?

How about a borrowed major IV chord in a minor key context?

8000 subscribers!!! Woohoo!

Just discovering this channel! I already knew the concept but this is so complete and well exemplified! From Guatemala, thank you for the class!

I believe I've heard many people refer to melodic embellishments as "non-essential" tones. So is it correct to say that if all of the melodic embellishments were stripped away from a piece of music, that there would remain enough melodic structure to still be able to create a unique piece of music and still be identifiable? Stripping away all of the melodic embellishments would seem to just leave a series of chords without any uniquely identifiable melody! So it would seem to me that melodic embellishments are very critical and very essential in creating the main melody. Not sure why melodic embellishments are referred to as non-essential!