Dr. B Music Theory Lesson 11 (Voice Leading 101)
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- Опубликовано: 30 июл 2024
- TOPICS
0:00 - Voice leading
0:55 - The Melodic Line (Rhythm, Harmony, Contour, Leaps, Tendency Tones)
10:08 - Analyzing a Melodic Line
20:19 - SATB Notation
22:00 - Voicing (Range, Voice Crossing, Spacing, Open vs. Close)
29:43 - Examples of voicing specific chords 
Видеоклипы
What a clear and precise teacher. Thank you for the amazing video. I hope you keep them coming for curious minds far away.
My pleasure! I have not been able to post any new videos in two months but have been planning a new series that I'll be starting in May! Stay tuned.
Thank you. I look forward to your videos.
I agree Chris has the gift of teaching, in part bc he does have a real love of music and just wants to share that love with the world. That makes Chris a super powerful teacher!
This rules are pure gold to make studies (études) with only one main focus and avoiding in the same moment all kind of "smart musical events" on other aspects of musicmaking.
Yes, this all makes sense to me, as an autodidact music composer.
Thanks for the comment. Best wishes, Dr. B
I can't put into words how clearly you articulate this concept. I'm here because Stephen Sondheim said once he discovered leading tones, his world opened up. I'm finally beginning to understand why. Thank you so much for your teaching Dr. B. I'll keep watching
Today I found out why my music suck. It's wonderful!
Haha, knowledge is a good thing.
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
Thank you for this series!
Ive been trying to teach myself music theory for a while but there would a lot of times be just one or two pieces of information that i needed to tie a whole concept together but I could never find. You explain it slowly and simply and fill in the gaps and have thus far vastly increased my understanding of the basics which i want to have a solid foundation. Again, much appreciated!
I'm really happy to hear this! Thanks for the comment.
you saved my grades...thank you man.
Glad I could help!
Same asf
This is awesome stuff. Everything I've read up to now on voice leading has been confusing. This is clear and concise.
CLEAR and CONCISE - two of my favorite virtues, haha. Thanks for the comment.
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
This entire lessons serie is the best consistent and didactical well done audiovisualised descriptive ''handbook'' about ''all what music is really about''. It's a mindblowing goldmine.
Giving music education is an art on it's own.
Dr. B. knows exactly how to do this! Well done, Sir!
These videos have been super helpful for grad school proficiencies after many many years since undergrad! Thank you for making so thoroughly!
good lesson. watching here from brazil.
Thanks! Starting with this lesson we start learning some really fun and sophisticated things.
My thanks to Brazil for Antonio Carlos Jobim, Caetano Veloso, Joao Gilberto, Djavan, and jiu-jitsu.
Sincerely,
Dr. B
I love how clear this material is. Well done!
That's what I'm always trying for - thanks!
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
These lessons are by far the best I've found. Thank-you!
Dr. Christopher, you're a talented professor. Thank you and God bless you!
This is a PHENOMENAL lecture. They’ve all been good, but this one really lays things out clearly. Thank you!
This is SUPER helpful now that schools are all online because of COVID. Thanks for being such an amazing educator!!!
😂😂this was before covid, dont taint it with that reasoning
@@VinnysGuitar Huh??? Sorry but you didn't follow the deduction, whether it was last year or three years ago BECAUSE he already put it online it was helpful with a live classroom feel!!! Furthermore, I am blessed to receive this education for free in my bedroom!! I thank God!!
You some how make learning fun and easy to learn. I wish I was in your class.
My secret is LOVING what I do and being OBSESSED with step-by-step learning.
My music theory II class will be 100% online spring 2021, so if your finances allow it you could be in my class (haha). www.sunydutchess.edu/academyofmusic (go to Co-seat classes).
Best wishes,
Dr. B
I've been working on my theory all year. The beginning of my year started with going through these series of videos. I've found my way back here and my theory is so much better now so my understanding is much better
Awesome teacher. I am so looking forward to progressing through all of your videos.
Really clear explanations, very enjoyable lesson. Thanks, Dr. B!
Thank you dude. Love your work appreciate these videos a lot. :)
Hi Dr. B! I am preparing for a music theory placement exam next semester and have scoured the internet for an explanation of voice leading that makes sense to me. This is by far the best lesson on voice leading that I have found, because you put things into context. The rules of voice leading were easy enough for me to memorize from a textbook before I watched your video, but you actually helped me learn how and why to apply them. I used to think a lot of the rules of voice leading were arbitrary--your video addressed the "why" in a way I could understand. Bravo! Thank you.
It is important to know why the "rules" exist so you can be a better composer, arranger and performer, and then how to break them for dramatic effect! It also helps you remember them to pass exams, haha.
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
best music theory teacher on RUclips!!
I think so too!
Thank you so much for sharing your knowledge.
I'm happy to, and appreciate the comment!
Thank you Professor!
Happy to help.
Best wishes,
Dr. B
You're a blessing ❤
Thanks so much. I'm glad you like my videos.
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
I love these lectures and you sharing your insights with us. I hope you do another set of basic and advanced lectures like a college class. Handouts would be so cool. I would pay to learn at your website.
Wish I had you at my university
You could always transfer to The State University of New York at Dutchess Community College in Poughkeepsie, New York...haha
Christopher Brellochs one you got Trump, two school is too expensive south of our border (Oh Canada), three I already graduated
I don’t have a problem with learning harmony. They are very useful for me to understand why voicing is better than others on guitar. But my profs never really explained to us why we need to learn SATB and justified the theories. Thank you for doing so.
My email is darius.yang.guitar@gmail.com and I am a classical guitar teacher. Let me know if you want to stay in touch
I’m watching these to review. It’s a pleasure to nerd it up once and a while.
Excellent! Great professor!
Thank you!
Wow wow wow. Thank you, cristal clear.
Excellent! I'm so glad it was helpful.
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
Awesome 👏👏👏! You got a new subscriber!
Thank you for sharing this knowledge. ♥️
This is wonderful and my students will be tested on this video tomorrow.
Awesome, I was hoping other teachers would find this useful. :) Having these videos has changed the way I teach my classes - I have more time to answer questions and go over homework since I don't need to lecture as much during class time.
Enjoy,
Dr. B
Thank you so much for your video! Helps a lot!
My pleasure!
Best wishes,
Dr, B
Can't put a finger on what I find satisfying about music being conceptualized in the context of what one perceives to be the brain's expectations.
Yeah right! My mind is still blown away by the fact that pitched sound can make us feel stuff.
Best wishes,
Dr. B
In Theory III we went down this road:
www.researchgate.net/publication/238440245_A_Cognitive_Theory_of_Musical_Meaning
Very intersting, tying together how the brain makes connections at several levels and how music relates at those levels.
@@WilliamDavidHobbs Thoughtful of you to post this contextual piece! Might need to find a day akin to higher consciousness for ultimate comprehension. ;)
Amazing just what i been looking for my collage :)
Thanks, and I hope you learn lots.
Best wishes,
Dr. B
Amazing video! Great teacher
Thank you so much for your videos Sir!
Thank you !! So clearly
You're welcome. I'm always trying to be as clear as possible.
Best wishes,
Dr. B
Thank's your video helped me alot!!!
I appreciate the comment!
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
Thank you so much great vid.
I'm glad you liked it. Best wishes, Dr. B
this guy kicks ass !!
Great class.
Thanks, I'm glad you enjoyed it!
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
this is really2 saved me at my collage.. thankyou so much🙌🙌
Thank You that really helped. Online school really screws me over when there is no teacher to lecture. Anyways perfect explanation!
thank you so much.
How did rock music, especially in the late 60s and through the 70s, create so much amazing music with such great melodies with knowing very little or almost none of these rules or barely any music theory at all? Is it just that the music was simpler than classical?
Because all this theory is trying desperately to recreate what good musicians do naturally. Great musicians and composers can create by ear and feeling, whereas the mediocrities of this world try to create structure around this, to become technically proficient in place of their lack of talent. It's no coincidence that the more someone focuses on theory, the worse their musical output is (if it exists at all). Good music is an act of creation and emotional output, not a technical exercise.
@@robertcalley6496 No, that is not true that theory just tries to recreate what good musicians do naturally. For example, the best composers such as Mozart and Beethoven studied theory since they were little kids to the highest level and jazz musicians like Miles Davis, Herbie Hancock and Coltrane also were well-versed in theory. Maybe simple blues and classic rock is mainly by ear, but guess what? The Producers making their albums are all well-versed in theory.
@@Acujeremy It certainly is true. How do you think music developed? Experimentation, and finding out what sounds good and what doesn't. A perfect fifth sounds good - we don't need theory, or its frequency ratio, to tell us this. A major chord sounds good - we don't need theory to tell us this. It's the innate feeling within a human being that drives these things, and theory tries to explain it technically.
As an anecdote, I can't tell you how many things I composed in my early days without knowing the specific concepts of tension/release, modulation, resolution, etc. that all contained aspects of these intuitively - I didn't need to know them to know what I was feeling.
You're implying that there has to be theory before there can be great works, and that is obviously patently false, as demonstrated by the countless great bands who knew little and created masterpieces. Is it useful to know the fundamental structure of music for composing? Yes, kind of like it's useful to know the fundamental structure of a language when writing, though less so considering many great bands cannot even read music. The true language of music is the language of raw emotion evoked by sound.
When you start to be mentally bound by certain rules, viewing music from a technical scaffolding standpoint instead of an emotional one, you run into trouble. Thinking about how your melody should contain this or that, thinking about the exact chords and underlying harmonic structure before daring to play a note, etc. You become a scientist instead of an artist expressing something.
The classical composers composed within the frameworks of their time - sonatas, fugues, etc. just like modern great bands compose within the frameworks of our time. If you think these great melodies and works came from a place of technical analysis, and not an emotionally intuitive one, I think you're sorely mistaken.
Also - the vast majority of these producers aren't writing songs. They aren't writing the melodies, they aren't writing the parts. They're producing. Managing the band, aiding in their vision, refining and putting it all together into a complete product. George Martin for all his contributions did not write Strawberry Fields Forever, Eleanor Rigby, A Day in the Life, Yesterday, etc. ad infinitum. The fact that you seem to want to stretch the truth so far as to believe these magical music-theoried producers are secretly creating all these great works is a complete absurdity. But anyway...
@@robertcalley6496 I can summarize this very simply for you: Yes, Jimmy Page, Eric Clapton and Keith Richards learned to play by listening to old blues records and playing by ear. The Beatles did the same. YET, The Beatles had George Martin and all these guys had producers who were well-versed in academic music theory, without them, their albums could not have happened. But the greatest of the greatest, such as Beethoven, Mozart and Miles Davis, studied this stuff for their entire lives and did not only play by ear.
@@Acujeremy Without the music the producers would have nothing to produce. There would be a total void. The producers did not write the music, they produced it - there is a galaxy of difference there, and one comes before the other. Paul would still be able to sit down and play Yesterday on his guitar, and John would be able to sit down at a piano and play Imagine... no producers required. I also did not claim that the classical greats "only" played by ear, I claimed that their music flowed from an emotional core, not from some technical framework of theory. That's why The Beatles, etc. could craft such great music, because they had that in common.
Having technical knowledge does not make you a great composer, and does not inherently enable you to create moving pieces. You seemed to have the right idea in your original post, I'm not sure why your opinion changed since then.
Really great teaching! i wish i had a teacher like that in music school !! :) Thanks for sharing
You're welcome. I had some great teachers when I went to Ithaca College, New York University, and Rutgers, so am glad to continue those traditions. Best wishes, Dr. B.
Can you maybe recommend me a book or a way to practice this subject in depth? It would be nice to analyze simpel melodies but don't know where to start actually...
I recommend Barron's A.P. Music Theory and Harper Collins Music Theory College Outline as a good place to get started!
Thanks!
really nice.....
Thanks for the comment! I appreciate the feedback.
Hello Proffesor! I'm so exited because of discover (by ear) something interesting. There is a harmonic example in D# major scale
V chord with little variations: A# D F | v1: A# D# F | v2: A# C F / bass A# sounds common BUT if i only change the bass to: A# D# F / bass C | A# C F / bass F got some appealing progression! Why does it sound so good? And example of some cool chord progressions:
Example 1: C D# G / bass G# -> D F G / bass A# -> D# F A# / bass C -> C F A# / bass F
Example 2: C D# G / bass G# -> D F G / bass A# -> D F A# / bass G -> D# F A# / bass C
I can't figured out why it works so well yet, but trying :) I hope that your lessons helps me a lot. Thanks & bye!
i love you thank you
I know this older video
I am in my early 50’s and I play some guitar and I really want to apply this voice leading idea to my chord progressions and melody ideas
and riffs if that all possible ?
Can anyone explain the melodic line analysed from 10:09? I'm a bit confused with the relation between the Roman numerals and the actual notation - wouldn't a I-V-I progression in the key of G major go G maj-D maj-G maj? Why does the ledger show the V as an F note, for instance?
And then the Dr. asks about the A in the IV position - again, is that not a Cmaj chord? Does the notation suggest playing an A alongside a Cmaj chord?
Trying to teach myself music theory so any help would be much appreciated!
Thank you
I'm happy you like my music theory videos.
15:41 dr. Brellochs has mentioned that this chord is in scale 7, which is correct, although he has written it as scale 5 (as for DFA). Then said it’s followed by scale 3, although it’s written scale 1. I didn’t get it!
Can anyone explains this?
A question about tendency tones - in AP Music Theory context do I have to resolve 7 to 1 and 4 to 3 in only outer voices or does that also include inner voices?
QUESTION from Lesson 11 (Voice Leading 101): "A question about tendency tones - in AP Music Theory context do I have to resolve 7 to 1 and 4 to 3 in only outer voices or does that also include inner voices?" is answered here: ruclips.net/video/C1dADMUucPk/видео.html
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?)
Sir, would you be able to have examples of the voicing to be heard so that we can hear what it would sound like as a open voice , closed voice spacing errors etc ?
Hey, Dr. B. It just occurred to me that you met all of my expectations...Curiously enough, I did not find you boring in the least. Guess you defied the laws of nature! ;D
Haha, well I haven't been bored since I was in middle school, so I guess your reaction makes sense. I love music so much there is always something I'm excited about doing! I was hoping that would come across in the videos. Thanks!
Christopher Brellochs I've got to tell you Dr. B, I'm a fairly well rounded individual and my lack of "musical culture" has always gnawed at me, perhaps even more so as my four kids grew into sight-reading multi-instrumentalists without the usual benefit of a hand from dad. So, when I finally got around to seriously studying the guitar, this year, at 55, I went "all in". Piston, Kohs, Ted Greene- among others - are my constant companions but, being self-taught and not having the benefit of a teacher, sometimes it's a struggle. Perhaps even more so as my chosen instrument seems to have spawned a kind of "guitar-specific" culture that positively seems to frown upon musical literacy. So, discovering this series...Can't tell you the joy (that's the right word) it brings me, brother. Merry Xmas (or Happy Holidays) to you, man.
This makes me happy! I love music so much that I'm delighted to help people learn more. Young/old, amateur/professional...doesn't matter, everyone loves music and I want to help deepen that love. My favorite holiday saying, "Good will toward your fellow man." Best wishes, Dr. B
Thank you for the great videos. Curious what text book you recommend ?
3:45 This possibly solves a mystery for me. A tone that sounds raised or lowered sounds to me like it is intensifying forward implication; like it will probably continue in the same direction more decisively than an unaltered tone. But if an augmented interval sounds to a lot of listeners like it could be a mistake, they probably expect the melody to stop, because they are conditioned to hearing performers stop when they make a mistake. That's sad.
what is that progression you play prior to each exercise that informs us of the key?
Thanks
You are welcome. I hope you enjoy the rest of the lessons too!
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
I wish I could learn from you in person .
Dr B. I have another question!! Do the no augmented leaps etcetc-"rules" still apply if you spell a triad, AND can the triad only be spelled in root position, meaning do I have to spell an F-major triad F-A-C or can I spell it in 1st/2nd inversion? Thx so much for your videos, you are by far the best teacher I've come across in life. I love that your passion for music shines through in every video you make :) Best regards from Scandinavia (PS: Have you given out any material that I can purchase, so I can support your work?)
Thanks for the question and greetings from Scandinavia.
1) "no augmented leaps" is only for melodic movement; you can have a chord with augmented intervals
2) triads can be written in all positions: root, 1st inversion and 2nd inversion but they are treated differently.
For first inversion watch: ruclips.net/video/qpgRMG5Oz1A/видео.html
For second inversion watch: ruclips.net/video/TUrHVLu7kPk/видео.html
I don't have any music theory materials commercially available yet, but I am thinking about starting a Patreon page where people can support my work and get special subscriber materials, videos, etc. For now everything is free! Enjoy!
P.S. I do have two recordings available but both have been bootlegged and are available for free online. I have some of both albums on my website www.christopherbrellochs.com. For those who want a physical copy with liner notes there is "Apotheosis of the Saxophone" (store.cdbaby.com/cd/brellochs) and "Quiet City" (www.sonoluminus.com/p-325-quiet-city.aspx).
I just know playing lots of piano you will absorb everything about music theory and it wont be theory anymore. A symphony guy told me it would take years before I could write symphonies. But it's a small body of knowledge that can be forgotten and you can just feel your way to the right chords. Forget you ever heard terms like augmented you'll know what your doing after playing a lot of piano in familiar keys you can see what's going on.
Only reason I'm writing this is I got locked out of my piano room otherwise I'm always writing. I'm going to out write beethoven and all modern people should be trying to improve classical music.
Well, time to get into the advanced stuff, I guess…I’m a little nervous, not gonna lie, but also excited.
This is the reason I decided to learn music theory: harmony and chords. Before this, I was composing music for fun, without really understanding the basics. I could come up with an okay melody, (though this will help with that too) but harmonizing was a struggle. Now, as I get further into your playlist, I’ll be able to compose with an understanding of how music actually works!
It was hard learning that most of the music I had composed wasn’t that good. It sure beats the alternative though, which is continuing to compose bad music. And for the handful of good pieces I made by “feeling” the music - well, now I’ll be able to match that quality more easily, and even surpass it.
I’m glad I decided to watch your playlist, rather than one of the others on RUclips. Had I chosen differently, I doubt I would be learning this quickly or this well!
You’ve reinforced my belief that, considering how much information is freely available, you don’t necessarily need to pay for a course if you want to learn a skill. Because for all the silly and/or strange things most people use the Internet for, you’ve demonstrated a far superior use: sharing valuable information.
So thank you. I really appreciate it.
Nice. How has progress been lately? What are steps you’ve taken?
Do these principles of melody apply to every voicing...or just outer voices?
I am wondering the same thing
If melody mostly moves in steps and we can only use notes from the chord, does it mean the chords have to change every note of the melody?
Great question. At this point in learning music theory and in order to learn the basics the answer is YES! It is important to simplify musical options in order to understand them.
Later on in music theory study you learn how to use notes that are NOT in the chord, aka non-chord tones (NCTs). Try not to skip ahead as you want to have a solid foundation!
Best wishes,
Dr. B
Dr. B: What is the book you use for these classes?
Hi Dr. Brellochs,
thanks for your generosity in sharing with the world all this precious knowledge.
I have a somehow rookie question: I play the guitar and found the voice leading very useful, but the guitar is limited in its extension, therefore I’m not able to play notes below the E2 (in standard tuning), which are most of the bass voice notes. So, it is possible to transpose the SATB by one octave above and apply the same rules? Or should I use only 3 voices?
best regards,
Pedro.
Good question! Yes, you can transpose everything up one octave. Music theory is about the relationship of pitches so as long as the bass voice is still the lowest pitch being heard it still counts as the bass and all the relationships/intervals remain the same.
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
Thank you! I will now carefully study these lessons.
Thk u so much. I’m studying for my teacher licensure exam in Music K-12, voice leading one of my weaker points but this helped a ton. Is there a vid dealing with parallel 5ths and/ or properly preparing suspensions?
Lesson 12: Voice Leading 102 covers parallel 5ths: ruclips.net/video/anxHT-a9FHU/видео.html. I usually list the TOPICS covered in each video with a link to the exact timing where I start talking about it so you can go straight to what you need.
Lesson 24 (Non-Chord Tones) covers properly preparing suspensions: ruclips.net/video/MHOW8EKJrIA/видео.html
Good luck on the exam.
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
Thanks a ton! Wish you taught online courses! Fellow sax player here!!
@@reginafior I may teach online at some point so sign up for my e-newsletter at www.christopherbrellochs.com. As a fellow saxophonist I hope you've had a chance to look at my Music of the Gilded Age videos which include lots of 19th century music for the saxophone (along with some arrangements). Good luck with everything!
Thank you very much Dr. B. Is there somewhere that we can donate your your work? It is very much appreciated. You are an excellent teacher.
I really appreciate your comment and offer. I have a PATREON page if you'd like to donate to my work.
Thanks so much,
Dr. B
www.patreon.com/DrBMusicTheory
Having to follow all the melodic line rules for all the voices while keeping track of parallel and contrary 5ths and octaves sounds like hell
Is a "leap" in this context anything that isn't a scale-step? And when you are "outlining a triad" must this happen within the same bar or can you cross bar lines with this outlining? Great channel!
QUESTION from Lesson 11 (Voice Leading 101): "Is a 'leap' in this context anything that isn't a scale-step? And when you are 'outlining a triad' must this happen within the same bar or can you cross bar lines with this outlining?" is answered here: ruclips.net/video/C1dADMUucPk/видео.html
Sorry for all the questions Dr. B, but there's another question that popped up in my mind as I was practising all of this yesterday... Is an augmented interval okay if you spell a triad melodically? For instance, between the G and B in a G-major triad is a major 3rd which is all good, but the B and D is a minor 3rd/augmented 2nd away from each other?
So the only instance where you could have an augment interval while spelling a triad melodically would be a III+ triad if you jumped from the root to the fifth; for example you are in the key of "a" minor on a C augmented triad and melodically leap from "C" to "G#". This would be VERY unusual so you shouldn't do it if you want to sound anything like Mozart, Beethoven, etc.
However I think your confusion is realizing that in the example you gave, B and D is a minor 3rd, NOT an augmented 2nd! In music theory how you spell a triad or interval is critical, since enharmonic spellings indicate something within the larger tonal context!
B and D are notes that exist in the following tonal contexts (i.e. keys): C, G, D, A, E major (and the corresponding minor keys). If you wrote Cb and D it would be an augmented 2nd but would NOT exist in the keys I just mentioned. It would exist in Eb minor! Harmonic minor scale would be Eb F Gb Ab Bb Cb D.
I hope that helps!
This is what I've been telling myself all the time, but I've always stopped myself because I wasn't quite sure I was right. Now everything feels crystal-clear, thank you so very much!!
Hi Dr. B. Is composers of the romantic era used Voice Leading rules?. One of them (Rachmaninoff). And like always, Thank you for the Best Music Theory Tutorials on youtube.
They are, especially, Rachmaninoff, Tchaikovsky, Beethoven and Mahler.
/when he says no augmented leaps, he means like a tritone or something ? For example in the tonality of c major, the f is kinda the augmented 3rd isnt it ? Can I jump from I to IV ?
Yes, I mean if you want the music to sound smooth and flowing don't use leaps of a tritone, augmented 2nd (which can happen in minor keys, for example in "c minor" the notes Ab to B).
In your example you are mistaken but it is a great question. "E#" is enharmonically the same as "F" and "C" to "E#" is an augmented 3rd. BUT, under most circumstances in "C major" you won't hear an "E#," you'll hear an "F" which makes it a perfect 4th. That means you can jump form I to IV - it sounds great!
Enjoy,
Dr. B
Boy do I hate these types of "rules" in music. If there is one universal rule I've learned, it's that the more someone focuses on these types of things, the worse their musical output is (if it exists at all).
I think this is a good point! The more I've focused on theory, the less my musical output has been because I've been critical of how musical operates. But I'm happy with that.
18:41 didn't I just misheard or something? Is one focal point fine or not fine?
One focal point is good. Multiple focal points are bad. A focal point is usually the highest pitch in a phrase, and often occurs about 2/3 of the way within the phrase. It is uncommon but possible to have the lowest note of a phrase be the focal point as long as the melody feels like it is driving to that low note.
I hope that helps,
Dr. B
what is a boroque period piece that utilizes this lol I guess too many, so someone tell me their favorite.
Take a look at these chorales from St. John's Passion by J.S. Bach - this piece is one of my favorites from the Baroque period.
Best wishes,
Dr. B
@@ChristopherBrellochs thank you so much Dr.B i will look at it and any piano pieces. I know the preludes from him are very popular but i don’t know if it follows the cross voicing rules (new adult pianist ) here .
These two lessons are one of the more difficult to get your head around.
Thank you for all you do and continue to do!
👏🏻👏🏻👏🏻
This might be a dumb question, but what is a compound 5th?
It is NOT a dumb question. A compound 5th is an octave plus a 5th, ex. middle C to G on top of the fifth line in treble clef. Most of the time in music theory it doesn't matter what octave an interval is in so it can be a simple interval (not more than an octave) or compound interval (more than an octave). Another way to think about it is a 12th is the same as a compound 5th! Hope that helps.
I just had the same problem. It says on wikipedia a compound interval is one spanning more than one octave. So probably you can have a larger hole between alto and bass than an octave, as long as it's at most a 5th (Eb to Bb is a perfect 5th, we just don't look at the fact it's actually a 5 + 8 interval).
Correct me if i'm wrong somebody, please
The only time you are concerned with the distance between the alto and the bass is when you have a 3 voice texture (Soprano, Alto, Bass). The rule is you can't have more than a 12th (aka compound 5th) between the bass and the next voice up! In 3 voice textures that is the alto, in 4 voice textures it is the tenor!
Thank you professor, when I was writing the comment my pagwe hadn't loaded to see you'd already answered. However, I'm glad you explained it further, as I didn't realize a compound fifth is a 12th, not a 13th. For some reason I forgot 8th is already starting another octave.
I'm glad you were posting info to help answer someone's question; I think it would be awesome if more people could help answer questions!
Do you have a recommended music theory book?
My college class uses "Tonal Harmony" by Kostka/Payne which has a textbook and workbook - it is a bit wordy but otherwise pretty good. Get them used as you'll save a lot of money! Harmonic Materials in Tonal Music by Harder is also an option. At some point I'd like to write my on theory book, but until then those are some decent options.
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
Thank you Sir
To be honest : with all this lessons here every one will get the most stable fundaments to build up all what you need to make good music avoiding bad sounding music and understanding why it sounds good or bad. Breaking the rules is an art on itself. It needs to have a mean to and end when you do so and being lucid when you are doing so. All this lessons will guide everyone who works with this splendid information to that level.
I use other RUclips channels to get more specific 'secret herbal mixtures' about all kind of particularities.
But this RUclips lessons serie is mind blowing and gives us all to do the job of a musician in a right way.
When I write down all this lessons I have the best book about an deep insight overall view about ''what music is all about''.
@@username-ow7eh Good question 👍
@@ChristopherBrellochs 👍👍👍
The way he saying YOU ARE NOT ALLOW TO DO THAT , it’s like these laws are eternal and came from the sky 😄 it would be better to say its doesn’t sound good or satisfying. Nobody can say what composers allow to do or no allow to do . Music is the free land . If someone like to compose in a classical style or mood then he/she better to follow the same formula that former classical composers did
You seem to be missing his point. The reason why he says we're not allowed to do certain thing s is twofold:
1. So that we understand the basics before we advance to the more advanced stuff;
2. Because some combinations really sound awful; try using consecutive dissonances between the same voices, for example. It sounds really horrible, to the point when even people with a lack of musical training can hear it.
Music is not "free land". Music, *like everything in life* , really has its limits. And the difference between good music and bad music resides in understanding and respecting these limits, at least most of the time. All the great composers did so. And that, to a great extent, is the reason why we still play their music today.
My style is rock and blues base
How is compound fifth possible? I am music theory classes right now, and we just stopped at this point. This semester, I am picking up where I left off.
Intervals are classified as simple if they are an octave or less, and compound if they are more than an octave. Therefore an example of a compound fifth would be C3 to G4. See keyboard here: www.liveabout.com/pitch-notation-and-octave-naming-2701389
I hope that helps!
Dr. B
I have a question: hypothetically can I have all voices singing the same note?
Do you mean the exact same note (eg. C4)? Or the same note in different octaves (e.g. G2, G3 and G4)?
I don't know about the first one, but I can tell you that the opening chorale fantasia of the cantata "Bleib bei uns, denn es will Abend werden" (ref. BWV 6) by Johann Sebastian Bach has all four voices (SATB) singing the note G in different octaves at the same time. More precisely, the Bass sings G2, the Tenor sings G3, the Alto sings G4 and the Soprano sings G5.
You can do whatever, as long as it conveys what you want. Don't be boxed in by these theorists whose vocation is technical-minded mediocrity.
@@afonsodeportugal thank you for your reply.
I was curious about them all being on the exact same note, in the same octave
@@mariavizzini1626 I see, you mean having the four voices singing in unison... unfortunately, I cannot provide you with a definitive answer.
I can, however make two observations:
1. In a choral setting, the upper limit for a Bass singer is typically E4 (Dr. B and other authors consider it to be C4, which is even lower). On the other hand, the lower limit for a Soprano singer is C4. This results in a very narrow band or interval for all voices (SATB) to sing in unison, i.e. C4 to E4, only 5 notes... or just one note, C4, if you adopt Dr. B's range for Bass! 😮
2. Since the unison, being a perfect consonance, is a permitted interval between two voices, there shouldn't be, in principle, any restriction regarding all four voices singing in unison at a certain point of the choral.
However, it seems to me that having the Soprano singing a C4 and the bass singing the a C4 at the same time would create a weird effect. You see, as all voices approach their upper limit, there is a tendency to sing louder than closer to their lower limit, even if the piece requires them to sing 'mezzo forte' or 'mezzo-piano'. Thus, the Bassos in the chorale would probably muffle the Sopranos and perhaps even the Altos.
So unless the objective of the composer is to crate that muffling effect, I honestly can't see how a four-part unison could be used in a fruitful manner.
Just my two cents! 😜
He is the nicest fascistic teacher I've seen, LOL.
It is such a pleasure to learn in this way.
I know this is not the point but this professor’s voice sounds like Kyle Ren😂
QUESTION from Lesson 11 (Voice Leading 101): "A question about tendency tones - in AP Music Theory context do I have to resolve 7 to 1 and 4 to 3 in only outer voices or does that also include inner voices?" is answered here: ruclips.net/video/C1dADMUucPk/видео.html
4:20 - Ahem... Excuse me, but the proper quote is "There can be only one," not "There can only be one." Careful or I'm going to have to have to have you relinquish your Highlander fan club card. :-)
9:06 lol
QUESTION from Lesson 11 (Voice Leading 101): "Is a 'leap' in this context anything that isn't a scale-step? And when you are 'outlining a triad' must this happen within the same bar or can you cross bar lines with this outlining?" is answered here: ruclips.net/video/C1dADMUucPk/видео.html
Without me classical music will fade away to recitals. With me music rises from the soil like eden
sound quality needs improving
Yeah, you're right. I took me a while but I eventually got a lav mic and think the sound quality is a lot better for the videos I'm making now. I was making these for my classes and didn't really put a lot into production values. In hindsight, I wish I had.
Thanks!
Dr. B
@@ChristopherBrellochs oh yes sorry one forgets about time on the internet.we think everything happened "now". 🤣 just subscribed. looking forward to learning a bit more advanced music theory
Bach would voice cross.
Yes - he’s just simplifying the rules so learners aren’t overwhelmed
This guy sucks the joy out of music
That's not true at all. He's probably the very best teacher of music theory here on RUclips. The problem is that music theory is not easy, even for those who love music. It requires a lot of work and persistence.
@@afonsodeportugal It is completely true. Whether theory is hard or easy to learn is irrelevant in regards to its usefulness.
@@robertcalley6496 Sure, buddy. Since 2500 years ago to this very day, all the great composers and performers throughout history used music theory as their primary working tool... but then you came along and discovered they were all wrong!
It turns out that Mozart, Beethoven, Bach, Schumann, Brahms, and so many other great composers were all idi..ts and wasted their life composing in accordance to the rules.
The people who know nothing to very little about music theory, and whose music doesn't even come close to the classical pieces, are the real thing! 🤪
@@afonsodeportugal They knew the fundamental structure of music theory, but where is your evidence that they obsessed over it like your kind does? What's your explanation for all the great bands and great works like The Beatles, Led Zeppelin, etc. ad infinitum where they knew very little? Here's the explanation: Theory is trying desperately to recreate what good musicians do naturally. Great musicians and composers can create by ear and feeling, whereas the mediocrities of this world (you) try to create structure around this, to become technically proficient in place of their lack of talent. Good music is an act of creation and emotional output, not a technical exercise.
@@afonsodeportugal The fact that you were so immediately defensive about my fairly innocuous comment says all that it needs to.