How the Great Composers Used Voice Leading | How Composers Use Series | The Soundtrack of History
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- Опубликовано: 1 июн 2024
- Explore the fundamentals of voice leading in tonal music, where chords progress smoothly from one to the next, forming harmonic sequences. Discover the intricate guidelines governing four-part harmony exercises, emphasizing smooth movement in upper voices and occasional leaps in the bass. Delve into the five types of motion between intervals, crucial for understanding chord progressions. Witness these principles in action through excerpts from Mozart's Fantasy in D minor and Beethoven's Piano Sonata Number One, showcasing perfect intervals approached with careful consideration. Gain insights into how composers manipulate these rules to craft compelling musical narratives.
0:00 Intro
0:10 What is a Chord Progression?
0:26 The 4 voices in 4-part Harmony
0:38 The rules for Voice Leading are stricter than actual Music
0:53 How the 4 voices should move in Voice Leading
1:23 Chord Skips
1:46 Leaps in the Bass
2:25 The Five Kinds of Motion
3:26 Looking at Pairs of Voices to see the different types of motion
4:41 The types of motion in Mozart Fantasia in Dm
6:50 The Two Most Important Rules for Voice Leading
7:17 How Beethoven approached Perfect Intervals in Op.2 No.1
8:42 How to Resolve the Leading Tone in Voice Leading
9:22 Resolving Chordal 7ths
10:07 Conclusion
10:24 Beethoven Piano Sonata No. 8 mvt. ii Analysis
11:39 Outro 
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Thanks for the chord notation in the Beethoven piece. I never could figure out what was going on with the chord after the first V chord in root position...it's a half-diminished chord in 2nd inversion, lol. After all of these years, if finally makes sense, thanks!
I do have to say, the comment about actual music composition being different from the rules themselves really gets me. Back when I was learning Bach's 2-part inventions as a kid, I was constantly puzzled by things like great leaps in bass parts (like the beginning in Invention 13), octaves between the voices, intervals like aug-4th and minor 2nd, etc. It was years later then I finally understood that rules were supposed to help us get to the sounds we want, not restrict us from that, so it's okay to break the rules sometimes to achieve good music. So it was really nice to see that put out up front. Nice job!
Yeah, they aren't actually rules, but just guidelines for writing good harmony.
I'm glad you enjoyed that! Yeah, I think it's super important to know these guidelines so you can freely bend and manipulate them to achieve the sound you are desiring. Thanks for watching!
Very well presented! Love the blue background! 😊
Thanks so much! I'm glad you enjoy the background too! Thanks for watching!
Great video. I love the editing, it must have been a lot of work.
Thanks so much! I'm glad you enjoyed the video! This channel is somewhat of a passion project. Thanks for noticing all the work that goes into it.
There are two composers whose music I would die to see featured as examples in your videos, which are remarkably good at explaining complex aspects of music theory without dumbing them down. Those two being in my opinion the epitomy of complex late-romantic music: Rachmaninoff, who's a household name but whose output is still underrated except for the couple of pieces that everybody knows, and in my opinion the ultimate authority in textural writing for the piano, bar none, but also an absolute master of complex harmony, counterpoint and orchestration, and of course, melody; and Joseph Marx, a completely unknown composer, who in my opinion ranks all the way up there among the greatest musical geniuses, has a shot at the title of greatest orchestrator who ever lived (in my opinion next to Debussy, Ravel, Scriabin and, again, Rachmaninoff), but also wrote incredibly complex, rich and lush harmony and counterpoint that almost nobody ever analysed even though it's some of the most complex yet effective harmonic writing in all of the (post-)romantic period.
I agree, Rachmaninoff is my favorite composer ever. I don't know Joseph Marx, sounds like I should check him out
Putting debussy and ravel next to scriabin? Lmao. They are not so great. They are incompetent even.
@@DiamondSpider-rd9qk You should. Try his "five pieces" for piano, his "ballade" for string quartet, and "Idylle" for a sample of his orchestral genius, and then his other two "nature" symphonic poems and finally, his magnum opus, the Herbstsymphonie, the most complex orchestral score you've ever seen. Make sure to listen to the Swierczewski premiere recording, it's the only good one. The piano concertos, violin sonatas and basically everything else are great too.
Mahler is the greatest orchestrator of all time imo
Or Schoenberg
Necesitaba este vídeo desde hace mucho, gracias!
I'm happy it helped! Thanks for watching.
Awesome, thanks!
Glad you enjoyed it!
Great video
Thank you! Thanks for your support!
Hey! Amazing video! I don't know if I understand the part at 2:15 of the video, about the leading tone, I shouldn't have the previous note coming below the leading tone? Or should I not follow an ascending line with a leading tone?
Thanks for the great lesson sir!
Thanks so much! I'm glad you enjoyed it!
It's not so much the ascending part, but the leap before the leading tone. You typically don't want to approach a leading tone by leap. It is typically approached by step. Hope this answers your question.
@@TheSoundtrackofHistory Oh I got it now! Thank you so much for the explanation sir! Many greetings.
9:39 the resolution of the V7-I is wrong. F# has to go to G and since is a perfect cadence the I grade has to be incomplete, otherwise, there are parallel fifths. This happens BOTH times and BOTH TIMES the resolution of the V7 is incorrect leading tones have to always resolve correctly unless there is a differed resolution because of a broken cadence. If imma see an educational video, I would like to see academic correction in it. I’m sure there are more mistakes in the vid but I don’t want to check I don’t feel like it. Just get it right next time, it’s just fundamental stuff. U won’t se beat composers make this mistakes unless there is a clear reason of why they do it.
The leading can either resolve up to tonic or down by a skip. There are plenty of examples in great Masterpieces that showcase this rule.
Could you name the voices that show Parallel 5ths? I couldn't find any. Also, these examples come from a music theory textbook and most likely have been reviewed several times.
You seem angry, most likely not about this video but other things going on in your life. You won't find an enemy here, my friend. I only wish you the best for your life and family.
If you'd like to discuss more about leading tones and resolving chordal 7ths, I'd be happy to.