Thank you very much for the very insightful and informative lecture! It is very interesting that a change of a half step makes the feeling subtly different. As I follow along the series, I often add to my playlist the music pieces exemplified in the lecture. I decide to write them out here as it might be useful. Haydn: String Quartet in G, op 17/5, mvt. III, 1771 Haydn: Symphony no. 78 in C minor, mvt. I, 1782 Mozart: Piano Concerto in G, K. 453, mvt. I, 1784
Thanks a lot Prof.Monahan for your excelent lecture. It gives me clear insight to understand how tonal harmony works. Hopefully for the next Videos. Best regards
I have noticed this in terms of the frequency of leading tone sevenths and how they are used: vii°7 in minor: Extremely common, often substituting for V7 and giving an overall minor quality, versus V7 majorizing the minor key(making it sound more like it wants to go to a major key). vii halfdim7 in minor: Extremely rare and only used when modulating to a major key vii°7 in major: Not common, but not rare either, usually extends the dominant rather than substituting for it except when modulating to a minor key, in which case it might very well substitute for the dominant of the target key. vii halfdim7 in major: Rare, but again, usually extending the dominant rather than substituting for it.
@@jacobruiz97 Really? I haven’t seen much if any substitution for V7 in major keys. Coupling with V7, yes, but substitution? I’ve only really seen that in minor keys.
@@caterscarrots3407 Sorry for the late reply. There’s a few Mozart piano sonatas where the vii°7 chord (often inverted) is used in place of V7, especially following a string of secondary leading tone chords. The V7/vii°7 coupling you’re likely referring to is really an embellishment of the V7 chord with a non-chord tone and not a real vii°7-I progression.
That suspension of vii diminished in first inversion over the tonic in the bass going to the i chord is really nice. It follows i64 - V really nicely too. Kind of a double suspension thing.
One of the many musical things I do is arrange pieces by other pieces. As far as composers go, the easiest for me to arrange is Mozart(probably because of a combination of early and sustained exposure and the melodic and harmonic simplicity on the outside) and the hardest for me to arrange is Beethoven(octaves all over, lots of modulation and harmonic complexity in general, Beethoven bringing the orchestral sonority to solo piano(For example in the Pathetique Sonata first movement)). As a matter of fact, I am currently arranging Wind Seranade in C minor for piano duet. I have been told before that in my Mozart arrangements, I stick too closely to Mozart's original and I often get told to add notes that Mozart didn't even use like say adding a ninth to a dominant seventh. But I have always asked myself "Am I really sticking too closely to Mozart? I mean, I'm afraid that if I add notes that aren't obviously implied, I will lose too much of the Mozart feel for it to really sound like a Mozart arrangement. And is it really possible to stick too closely to Mozart? I mean, Mozart's complexity is on the inside, not the outside. In other words it isn't the melodic lines themselves but rather the interactions between them that give a Mozart piece its complexity." whenever I get that sort of feedback. I mean, I know I can stick too closely to Beethoven, but Mozart? It just seems impossible to stick too closely to Mozart's original.
Yes, I'm well aware of that-though they most often occur over tonic pedal points, which is why they're addressed in another lesson. Here, I'm telling a pedagogical white lie, designed to help students think of viiø7 in major as the rarity it is. (As a rule, it's bad pedagogy to introduce a brand-new idea in the middle of some other brand-new idea. I'm not pulling the car over to talk about mode mixture and borrowed chords when our destination is understanding how viio7 and its inversions relate to inversions of V7.)
Great selection of material (leaves wanting more though), clear and playful teaching; I just wish notes and chords were progressively highlighted as they play in lengthy excerpts, sometimes I get lost : ( Have you considered starting a patreon page or a plain donation something?
Hi Daniele! I'm glad you like the videos. I only make a few every year. But I've been working to make them more responsive in real time as music plays. That business with Roman numerals coming in as the music plays, cued to specific chords-I don't think I was doing that back in 2017 or so. At any rate, I'm a visual learner, so I never tire of ways to make the graphical apparatus more immersive. As for patreon and the like: I've strenuously avoided making a cent from the videos, in any way, because it jeopardizes my ability to claim Fair Use and thus use so many commercial recordings. I think the thing that separates my videos from the standard RUclips music-theory fare is that I actually show concepts in action, in (very!) carefully chosen musical examples. I've got a good job, so making high-quality content is more important than monetizing or creating any kind of revenue stream. (Plus, it's not just a hobby: I use these videos in my classes!)
I can't share the Keynote files, alas. They're huge files containing lots of fonts that the average user isn't going to have. However, I'd be happy to share copies of the scripts with you. Reach out via email if you're interested.
Hi Seth, at 9:10 you mention that chordal 7ths always resolve down by step. I feel like I must have missed this at some point but why is that the case?
Just my naive thought, not sure if it helps. You probably mean why the 6 goes down to the 5, because 5 is its neighbouring tone that is also in the tonic chord.
This gets very confusing because in major keys & minor keys the leading tone 7th chord can switch back and forth between half diminished and full diminished plus the minor keys have an addition subtonic VII chord which also can be half diminished or full diminished. In minor keys the natural minor vii chord is a Dominant 7 chord which its not a diminished chord. In harmonic minor the vii chord is a raised 7th degree but often classical composers will switch back and forth between half diminished and full diminished plus using the subtonic VII which is also can be half diminished and full diminished. The natural minor keys don't use the vii as a diminished chord because its a Dominant chord in the vii leading tone chord. But in harmonic minor the raise seventh degree vii chord can be Half dim or Full Dim and so can the subtonic VII leading tone chord? and in Major keys the leading tone vii chord can also be half dim and full Dim?
Finally, an episode where most musical samples are in minor tonalities! 🎉
These videos are great, especially all the examples straight from real music. Thanks for making them. I'm looking forward to future instalments.
Thanks, Chris! There will be three more coming soon-I think by the end of August at the latest!
Thank you very much for the very insightful and informative lecture! It is very interesting that a change of a half step makes the feeling subtly different.
As I follow along the series, I often add to my playlist the music pieces exemplified in the lecture. I decide to write them out here as it might be useful.
Haydn: String Quartet in G, op 17/5, mvt. III, 1771
Haydn: Symphony no. 78 in C minor, mvt. I, 1782
Mozart: Piano Concerto in G, K. 453, mvt. I, 1784
you are doing the lords work, this is making theory really digestible. Thanks!
And thanks to you-glad you like them!
Thanks a lot Prof.Monahan for your excelent lecture. It gives me clear insight to understand how tonal harmony works. Hopefully for the next Videos. Best regards
I have noticed this in terms of the frequency of leading tone sevenths and how they are used:
vii°7 in minor: Extremely common, often substituting for V7 and giving an overall minor quality, versus V7 majorizing the minor key(making it sound more like it wants to go to a major key).
vii halfdim7 in minor: Extremely rare and only used when modulating to a major key
vii°7 in major: Not common, but not rare either, usually extends the dominant rather than substituting for it except when modulating to a minor key, in which case it might very well substitute for the dominant of the target key.
vii halfdim7 in major: Rare, but again, usually extending the dominant rather than substituting for it.
The vii°7 chord most certainly functions as a substitute for the V7 chord in the major key.
@@jacobruiz97 Really? I haven’t seen much if any substitution for V7 in major keys. Coupling with V7, yes, but substitution? I’ve only really seen that in minor keys.
@@caterscarrots3407 Sorry for the late reply. There’s a few Mozart piano sonatas where the vii°7 chord (often inverted) is used in place of V7, especially following a string of secondary leading tone chords. The V7/vii°7 coupling you’re likely referring to is really an embellishment of the V7 chord with a non-chord tone and not a real vii°7-I progression.
Thank you, Professor Monahan!
That suspension of vii diminished in first inversion over the tonic in the bass going to the i chord is really nice. It follows i64 - V really nicely too. Kind of a double suspension thing.
Thank you very much professor monahan
thank you, very comprehensive and insightful explanation!
One of the many musical things I do is arrange pieces by other pieces. As far as composers go, the easiest for me to arrange is Mozart(probably because of a combination of early and sustained exposure and the melodic and harmonic simplicity on the outside) and the hardest for me to arrange is Beethoven(octaves all over, lots of modulation and harmonic complexity in general, Beethoven bringing the orchestral sonority to solo piano(For example in the Pathetique Sonata first movement)).
As a matter of fact, I am currently arranging Wind Seranade in C minor for piano duet. I have been told before that in my Mozart arrangements, I stick too closely to Mozart's original and I often get told to add notes that Mozart didn't even use like say adding a ninth to a dominant seventh.
But I have always asked myself "Am I really sticking too closely to Mozart? I mean, I'm afraid that if I add notes that aren't obviously implied, I will lose too much of the Mozart feel for it to really sound like a Mozart arrangement. And is it really possible to stick too closely to Mozart? I mean, Mozart's complexity is on the inside, not the outside. In other words it isn't the melodic lines themselves but rather the interactions between them that give a Mozart piece its complexity." whenever I get that sort of feedback.
I mean, I know I can stick too closely to Beethoven, but Mozart? It just seems impossible to stick too closely to Mozart's original.
5:52 I wouldn’t say that’s true. In fact, you frequently see the leading tone diminished 7th chords (borrowed from the minor mode) in major keys.
Yes, I'm well aware of that-though they most often occur over tonic pedal points, which is why they're addressed in another lesson. Here, I'm telling a pedagogical white lie, designed to help students think of viiø7 in major as the rarity it is. (As a rule, it's bad pedagogy to introduce a brand-new idea in the middle of some other brand-new idea. I'm not pulling the car over to talk about mode mixture and borrowed chords when our destination is understanding how viio7 and its inversions relate to inversions of V7.)
😊
Great selection of material (leaves wanting more though), clear and playful teaching; I just wish notes and chords were progressively highlighted as they play in lengthy excerpts, sometimes I get lost : (
Have you considered starting a patreon page or a plain donation something?
Hi Daniele! I'm glad you like the videos. I only make a few every year. But I've been working to make them more responsive in real time as music plays. That business with Roman numerals coming in as the music plays, cued to specific chords-I don't think I was doing that back in 2017 or so. At any rate, I'm a visual learner, so I never tire of ways to make the graphical apparatus more immersive.
As for patreon and the like: I've strenuously avoided making a cent from the videos, in any way, because it jeopardizes my ability to claim Fair Use and thus use so many commercial recordings. I think the thing that separates my videos from the standard RUclips music-theory fare is that I actually show concepts in action, in (very!) carefully chosen musical examples. I've got a good job, so making high-quality content is more important than monetizing or creating any kind of revenue stream. (Plus, it's not just a hobby: I use these videos in my classes!)
I love these videos! Would it be possible to get a copy of the slides?
I can't share the Keynote files, alas. They're huge files containing lots of fonts that the average user isn't going to have. However, I'd be happy to share copies of the scripts with you. Reach out via email if you're interested.
@@SethMonahanThank you so much!
Hi Seth, at 9:10 you mention that chordal 7ths always resolve down by step. I feel like I must have missed this at some point but why is that the case?
Just my naive thought, not sure if it helps. You probably mean why the 6 goes down to the 5, because 5 is its neighbouring tone that is also in the tonic chord.
This gets very confusing because in major keys & minor keys the leading tone 7th chord can switch back and forth between half diminished and full diminished plus the minor keys have an addition subtonic VII chord which also can be half diminished or full diminished. In minor keys the natural minor vii chord is a Dominant 7 chord which its not a diminished chord. In harmonic minor the vii chord is a raised 7th degree but often classical composers will switch back and forth between half diminished and full diminished plus using the subtonic VII which is also can be half diminished and full diminished. The natural minor keys don't use the vii as a diminished chord because its a Dominant chord in the vii leading tone chord. But in harmonic minor the raise seventh degree vii chord can be Half dim or Full Dim and so can the subtonic VII leading tone chord? and in Major keys the leading tone vii chord can also be half dim and full Dim?
Did you hear about the piece with a really long-sounding leading-tone seventh chord?
*Chord I wants to know your location*
(no offence).
'dim memory'
See what you did there