Dr. B Music Theory Lesson 15 (Harmonic Progression)
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- Опубликовано: 25 июл 2024
- TOPICS
0:00 - Harmonic Progression (in major)
5:07 - Harmonic Progression (in minor)
6:56 - How to harmonize a melody (5 step method using diatonic root position triads only - no viio)
7:46 - Start & end with "I" if possible
8:11 - Penultimate chord is "V" if possible
8:34 - Write all other chord options under other melody notes
14:58 - Check harmonic progression
15:25 - Change chords for every melody note
22:20 - Part write
29:21 - Analysis of J.S. Bach
31:44 - CLARIFICATION: measure 3 on beat 1, it is D in first inversion - D/F# and IV6) & non-chord tone on the "and of one" is G# not E 
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Finally! Someone on RUclips that actually teaches the way people learn. I was getting pretty discouraged trying to learn this. Thanks a lot! Best theory teacher online!
I'm glad my videos are helping you learn! Thanks for the comment.
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
Watching this a beginner learning music theory, every second is a gold mine of knowledge, I can feel myself getting stronger with every word that’s said. Saving my life with easy to digest yet important information taught in such a coherent way. Thank you!
I'm so happy you find my video helpful. Thanks for the comment.
Best wishes,
Dr. B
Gee, the Americans can explain difficult concepts so easily. Best teachers in the world!
This is THE KEY to common harmonization. Extremely valuable. The universe of chord progressions in 20 minutes. Crazy. Thank you so so so so much!!
The first 5 minutes of this lecture were so important that I watched it 4 times over 2 days and kept writing it out until it became part of my DNA. Thanks for distilling so many important things in such a small period of time.
Honestly i go to a private music school and you just explained the entire first year better in 35 minutes
I'm glad I could help.
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
I'm 50+ doing Grade 6 Theory. I hit a kinda' hit a brick wall with harmonization until I came across your video(s). You explained in one video what took me several months reading theory books. I can't thank you enough!
Two years ago I took a class in music theory. At that time you started your youtube series on music theory.
I struggled with music theory for the entire semester. I watched every video in your series and low and behold
I got a "B" in the class. Thank you Dr . B.
Thank you for this. This solved a lot of challenges in harmonization
Man, this material was increadibly helpful for me! THANK you SO MUCH for the effort of putting this material out there.
Best chord progression video so far on youtube, clear and easy to understand.
AMAZING explanation. You answered the questions i had which i couldnt even word. THANK YOU SO MUCH!
This makes me so happy. I always try to anticipate the questions and pitfalls people might have when learning music theory, so I'm glad your questions were answered!
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
Wow, this is the holy grail of chord progression understanding for me. I'll need to re-watch, take notes and study this video very carefully. After this, I'm going to look at a lot of other music through this lens and see if I can now make more sense of it.
You bring up an excellent point. There is a lot of information in every video, so it is very helpful to watch them more than once.
One of the reasons I originally made these was because my students would come to class and tell me that they understood what I was saying last lecture but when they tried to do the homework the next day they got stuck. This often lead to a lot of unfinished homework, which I found unacceptable so I made the videos and told them, "When you get stuck doing your homework, go watch the video of the lecture!"
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
The whole approach to these lessons are brilliant. It takes the total picture and makes it understandable. no theory teacher ever approached this way
Thanks so much, I appreciate your comment. Best wishes, Dr. B
This was incredibly clear and helpful -- exactly what I needed and haven't been able to find in other books or videos. I'm going to experiment with creating harmonies for solo music I own and I'm looking forward to watching your whole lecture series from the beginning. Thank you so much!
Thank you so much! Online school has been such a struggle, you just explained this so well! Appreciate it!
A lot of my colleagues went with asynchronous classes where students don't get a chance to ask questions in real time, or team up with other students. Although that can work for some people it doesn't work for everyone.
I'm teaching all my classes online but we meet Monday/Wednesday/Friday the same time for 50 minutes every week. I think it is working pretty well.
Stick with it it and I'm glad I could help you!
Dr. B
I know Im pretty off topic but do anybody know of a good place to stream newly released movies online ?
@Wesson Harrison i use Flixzone. Just search on google for it =)
@@ChristopherBrellochs where to follow the classes?
7:05 I was like ... just shut up and take my money, lol! This is gold, now I will spend the next few days memorising this. Thanks Professor!
That was amazing. Thank you for posting
You are an exceptionally powerful teacher.
It is a pity that I did not know this earlier. Thank you so much, all you did are so great great great. I hope you stay happy, safe and healthy. Wish you all the best.
I'm happy to report I'm still teaching while staying safe and healthy, and so glad I made this series of videos that I can use while teaching classes online!
Thanks for the comment,
Dr. B
You've done incredibly well to ease music enthusiasts like myself into the world of understanding and appreciating music better than we did earlier. Thanks a ton for this!
You are welcome! Very glad they're helping you.
This is what I needed. Thank you!!
Thanx! That progression chart is awsome! Good lesson!
Thank you for using lower case numerals. Thank you also for distinguishing functional difference between vii diminished and VII. I'm less than 3 minutes in and I already love what you're doing.
This is packed with information : )
Thank You
Wow this explanation was AMAAAZING!!! thank you
Thank you so much!!!! You teach perfect!!! I love that subject of theory and harmony ❤️❤️❤️❤️
VERY INTERESTING ! thank you so much !!!
Finally! Its the perfect explanation! I wanted so bad to learn this. Thanks!
Harmoni progression can be hard to learn but I worked for years trying to figure out how to explain it as clearly as possible. I'm so glad it worked!
Best wishes,
Dr. B
Chris your videos have helped me so much
Really great content, thank you 🙏
Thanks for helping me study for my midterm! 👌🏻
Crazy valuable video. May be the most valuable youtube video I've ever seen. Thank you so much!!
High praise! Thank you so much.
@@ChristopherBrellochs do you have the tonal harmony answer key?
Today!!! You, Dr. B, have become my music teacher😍😍😍…You have that “IT”, for teaching...Not everyone who has knowledge can teach!!! Finding someone who can “teach” is very hard to find...I’ve paid for lessons in the past and yet this lesson is foreign to me and if I had the right teacher, this lesson shouldn’t be foreign to me!!! Thank you for sharing your knowledge❤️…
Thank you, and I'm happy to be of help.
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
AWESOME DOCTOR B!!!!!!!!!!!!!!!!!!!!!!!!!
This is priceless :) Thank you !
Thanks for the comment.
Best wishes,
Dr. B
You rock Dr. B!
holy crap this is gold. Much appreciated
Thanks!
Brilliant teacher!!!
AWESOME THANKS YOU SOOOOO MUCH DR !!!!
This video is extremely helpful for me to catch up my music theory class!!!!
That was my intention! I'm glad it is working for you. Best wishes, Dr. B
BRAVO! BRAVO!! BRAVO!!!
Haha, thank you.
I can smell the Dry-Erase marker chemical smell coming off this video, you know the one in every music class, this guy looks like he could be a stunt double or Ari Shaffir or Dr. Strange
Why didn't my professors teach me this clearly when I was in school? It would have saved me so many problems in my musical education.
Partly beecause music theory is partly a system of shibboleths. If every shibboleth is shared with every student, then the shibboleths don't work to exclude persons that the system wants to exclude, which is the whole point of shibboleths.
Fantastic professor
Thanks Andy!
Very helpful. An earnest thank you from an untrained neophyte struggling to learn more about music.
Thanks! My goal was to make videos to be as helpful as possible. I have some new ones that I'm working on so check back in soon.
Question in need of an answer: The song "The Ruby and the Pearl". Key signature = F Tonal center D minor.
chords progress as follows. D-, D-, G-7, D-, D-, A-7, D-, D-, G-7, Ebmaj.7 (for 3 1/2 bars), A7, D7sus4, D, D, D-, A-7 then repeat. WHAT THE HECK DO YOU CALL THE EbMAJ.7 CHORD?
It seems to be a 1-4-5 in D Harmonic minor...Then? Can this be named?
Your videos are extremely helpful! You explain everything very clearly and make theory finally understandable! I am watching all of your videos to prepare for my grad online theory exam for Peabody. Thank you so much!
Please let me know how you do on the exam, and if there is anything they asked that I didn't cover! Some institutions teach species counterpoint in Music Theory and I only covered the first two semesters of Music Theory. Best wishes!
Christopher Brellochs We have sample tests and one of the questions I was struggling with was "In approximately what year might this have been written and during which historical era?" I also have to give reasons for my answer. How would I approach that question? Thank you again!
That is a complicated question! I'm hoping to do some new videos where I answer questions like this, but let me give you a quick answer.
MIDDLE AGES = 1-4 voices with cadences on 5ths or 8ths; RENAISSANCE = 4-6 voices with imitation and cadences often on triads; BAROQUE = orchestra with small number of winds (no clarinet), quick harmonic rhythm, few dynamics and no crescendo/decrescendo; CLASSICAL = orchestra with a few more winds like clarinet, Alberti bass and slower harmonic rhythm, emphasis on melody & accompaniment, clear/obvious sections; ROMANTIC = large orchestra, longer phrases & pieces, more complex rhythms & harmonies; 20th CENTURY (Impressionism) = large orchestra but frequent solos, whole-tone scales, chords in 4ths; 20th CENTURY = chamber orchestra to large orchestra with percussion, atonal/12 tone (no triads), very complex harmonies, no obvious phrase structure
Christopher Brellochs wow! thank you so much for your help. I really appreciate it!
You kinda saved my academic career.
That's the kid of news I like to hear!
Keep up the good work,
Dr. B
Christopher Brellochs 💜💜
I feel empowered after watching this haha ! Cheers.
Awesome!
Um..... Dr.Brellochs from 29:48 to 30:10 your are talking about breaking the rules using none-chord tones and that you can break the rules only by using some methodology and that its not random . Is there a video where you talk about this methodology and breaking rules ? I want to have clearance as Bach did ! I will be forever grateful if u share it ! i want to be free ahah !
Thanks a lot for this series; it's really clear and enlightening. One thing that'd be nice is if you'd write out specifically which compositions (and measures) it is that you are analysing. For instance, which Bach piece do you go over at the end here?
Hey Dr. B!! First of all, this video series is gold and is currently helping me harmonize my compositions. I’m a graduate student in popular (jazz) music performance but I was never taught harmony all the way from tonal music, rather I started directly with 7th chords that I could never make them sound appealing. Now with your videos on voice leading and tonal harmony I’ve been blown away. Thank you so much!!! Secondly, I have a few questions; 1st when it comes to harmonizing a melody with accidentals that are not passing tones (not necessarily in jazz), how many harmonic resources could I use, and; 2nd does this circle of fifths progression chart also apply to jazz 7th chords or are there differences in their resolution and/or function? I’m still learning how to voice lead them. 3rd Also, in a tonal melody that might be too repetitive , could I use 7th chords so as to not use the same I-V-I(and similar repetitive progressions) or are there other substitutions for diatonic triads other than 7th chords?? Thank you so much!!!!!! Cheers from Puerto Rico!!!!
I went scuba diving in Puerto Rico years ago; it was beautiful.
Harmonic resources to harmonize chromatic melody notes:
1) Secondary dominants
2) Secondary seventh chords (fully diminished 7th far more common in jazz)
3) Mode Mixture
4) Neapolitan chord
5) Augmented 6th chord
6)...and of course you can modulate to another key so that is diatonic in something other than the "home" key.
YES, the circle of fifths profession chart applies to jazz 7th chords. The only major difference is that a 7th chord in jazz can be a tonic chord so the 7th of the chord doesn't need to resolve down like it normally does.
YES, you can use 7th chords to give repetitive progressions variety. In classical music V7 and its inversions are the most common, followed by ii7.
Hope that helps!
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
Christopher Brellochs Thank you so much!!! Next time you come by Puerto Rico let me know!!!
Hi Dr B. Thank you so much for your clear and informative presentation of the main elements of music theory. Your teaching is a truly inspirational source of knowledge. I would be very grateful if you could give me your views on this chord progression:
f# minor: i -> V#4-> III+#5 -> VIM7-> iio7-> V13-> V7->VI->iv7 ->V9-> i6 ->i->iio4- > V13-> iv6-> i
2 7 # # #5 3 7 4
Thank you once again, both for making the teaching materials available to the world as you do and also for any light you might be able to shed on my particular inquiry.
Hello Chris, is there a lesson in this youtube series/playlist that deals with developing more complex, rich harmonies by treating parts of the melody as chord tensions/extensions (e.g., 7ths, 9ths, 11ths) as in Jazz, as well as other alternatives to harmonic rhythm other than one chord per note as you doing in this lecture (e.g., harmonic pedaling)? Thanks for offering this excellent introduction to Music Theory. Your step-by-step instruction and use of whiteboard is very useful.
I don't have any videos up yet that get this sophisticated, but I will! I'm researching better audio/video gear and once I get that set up I'm going to start posting new videos again.
Thanks,
Dr. B
Very instructive! It would have been nice to play the harmonised passage on the piano.
Hello Dr. B. As a fellow teacher, I have to say, outstanding explanation(s) and wonderful lecturing. I am thinking to start recording lessons myself in the near future, and I would like to ask you if I can borrow the part with chord progressions from the left?
Best regards, Luka
this topic is my favourite, I love learning music theory, are there more keywords I can search for around this topic?
I share your passion for music theory! I try to combine the "mathematical" side of music theory with the "emotional" side of music theory, and there is so much more to be uncovered!
Try searching keywords like: part writing, voice leading, music analysis, A.P. music, and how to compose music.
...and of course watch all my videos. :)
Hi Dr b, I have a question, when I have two eighth I need to put a chord in the first eighth or on both?
Thank you for the beautiful lessen!!!🎶🎶🎶
Great video! Bur I have a question!
Why can you use a V to IV progression when you play an 12 bar blues?
Thank you for your helpful videos and making this easy to understand! I'm wondering if you could also explain how to harmonise a note in the melody that isn't in the scale?
This is a great question! I intend to add new series of videos called, "Ask Dr. B About Music Theory," starting in August - look for an answer to this (hopefully) soon. Best wishes! Dr. B
ruclips.net/video/qxViat9VYF4/видео.html
Some great explanations there!
I wanted to check with you on the two progressions from V-I on its way to the Perfect cadence. Does that not pre-empt the Perfect cadence?
Also, is it quite ‘normal’ to use chord 3 in the progressions? I’ve almost never used them in my learning.
thank you
I assume you are referring to the melody harmonization example in Eb. The answer to your first question is YES; by having a root position V - I in measure 1/beat 4 to measure 2/beat 1, and again measure 2/beat 3 to measure 3/beat 1, and then AGAIN at the end is far from ideal. The earlier V - I progressions take away from the potential power of the perfect authentic cadence at the end.
However, keep in mind for this example we are keeping it simple for learning purposes. The goal is to use good harmonic progression to harmonize a melody and we did that! You will notice we only used root position triads and could easily make this example better by putting the earlier V or I chord(s) in first inversion. Great question!
The answer to your second question is YES is is normal to use the iii chord in progressions, unless you are playing very simple folk/rock styles that focus almost exclusively on I, IV, V progressions.
Hope that helps!
Christopher Brellochs yes it does and thank youX
Could someone recommend a good book to study that deals with this stuff for self-study that would help with writing for rock music?
this is brilliant sir! thank you so much for uploading these lectures for us. so am i correct in saying that using the Bach piece as an example, the harmonic progression flow/journey has "stalled" or has "regressed" when the [V] moves to the [IV], but it still "works" because musically, the song still has a sense of forward direction by way of the moving bassline?
so the intended bassline sort of "overrides" any harmonic function/progression "rules"?
is this similar to the concept of Tonic Major 7th chords, in that it has the leading-tone of the scale as its chordal 7th, but the rule of chordal 7ths is that they must resolve down, even though leading-tones move up? one "rule" simply overrides another?
i don't watch your videos without taking notes :) I've been studying theory for almost 2 years now & I've still learnt so much from you, just from a few videos. Again, Thank You!
AWESOME video! In the first example, there is a perfect fifth going to an octave between tenor and bass in the penultimate measure. Is that allowed?
Dr. B, When you're writing out the bass line at about 24:00, you have a lot of leaps that seem to break the rules for leaps you outlined in your part writing lectures. Is this an example of having to work with an example provided by the text book (that breaks the rules)? Or am I missing something? I see the downward leaps of 3rds outline a triad in measure 3. But how about measures 1 and 2? Shouldn't those be followed by a step back, according to the rules given in lecture 11 on melodic line writing in part writing? I think the leap in measure 4, in the bass line, is okay because its a part of a melodic drive to tonic, right?
Also - looking at the roman numeral analysis at about minute 33:25, 4th chord from the end, isn't the proper roman numeral a IV 6 5 (four chord - seven chord, first inversion) because the f# is in the bass?
Hey Dr. B! If I've understood this right, in a minor key, you raise the leading-tone in a v-chord to make it a V-chord, so that when you return home (I), you get a proper resolution. Does this only apply for the V-chord or does it affect every other chord with a leading-tone in it?
Raising the leading-tone in minor ONLY applies for v (which then becomes V) and VII (which then becomes viio)! It does NOT apply to a III chord. That said, there are a few situations where it doesn't apply to VII; for example in the progression i - VII - III - iv - V -i. You raise the leading-tone of VII when it goes to i or VI.
excellent stuff, but may I ask where is the "how to harmonize a melody" at 6:56 "guideline" from? I've been trying to find books/sites that also advise, and can not find any. It seems to work well, so I'm just wondering if it is part of a larger "guideline/rule" for harmonizing a melody/part writing/voice leading, and what is the rest of that method etc.? (as in can you apply that method to select which chord to use, and then use it for the inversions later etc, as it seems you can in lesson 15)
(Western) music theory teacher here. Love your videos, I honestly do, and the harmonic progression chart you wrote down is very helpful.
Just one remark: You wrote in the ending of the Eb exercise a IV-V progression which wasn't the correct progression move as it didn't do the right countermovement. Bass should go up (no other way), rest of the voices should go down. Your tenor voice went up as well... I think to fix this is to put the I-chord in the end an octave lower, or else the tenor in the V-chord is lower than the bass note in the I-chord.
Correct me if I'm wrong on this, but that ending clearly doesn't look correct.
Good catch! The V-I at the end of the Eb major example is correct and the last Eb can be as written or an octave below. Both are correct but down the octave would make it sound more final and resolved. Up the octave would work well for a cadence in the middle of a piece.
You are correct that IV-V is problematic. I should have used a different voicing for IV so that I could move all the upper voices down in contrary motion to the bass.
Thanks for the insightful comment!
Best wishes,
Dr. B
@@ChristopherBrellochs yes, the V-I progression is perfectly fine, I only actually meant the IV-V progression actually for the contrary motion.
Anyway, thanks for the reply!
Is it common in practice to have every quarter melody note within a measure harmonized with its own chord?
OK, I just need to heap additional praise on this vid, because I am back here a fourth time going through it. Such an interesting way to learn by using only root positions. I have always tried to write the baseline and then harmonize for voicing. With your constraints there are so many fewer options. I did find however that with my own (pretty standard) melody, the allowed trasitions between chords lead to one situation where there was no allowed solution. Here is the instance: the melody goes scale degree 7 -- 6 -- 5. Allowed chord are then vii/V/iii -- vi/VI/ii -- I/iii/V. The only permissible chord to the 6 is then vi (deceptively, either from vii or V). The vi in turn cannot go to either I, iii or V. Do I miss something or does it simply only work with certain melodies?
You made a small mistake listing the possible chords to harmonize scale degree 6; you meant vi/IV/ii. In the chart you will notice that iii can go to IV (see the curving arrow). That means you could harmonize scale degrees 7 - 6 - 5, with the progression iii - IV - V.
@@ChristopherBrellochs Wow, thank you for this! I had completely missed that part. This video was one of the most useful ones in the whole series. Thank you so much for these!
Can you clarify on V resolving to iii (it's relative minor) - I don't see it shown in your chart but it must valid or no? The 3 of V lands just below the tonic and 5 of V lands just below the iii - and I find V to iii in song progressions? Thanks - love this video
Dear Dr. Be! I want to share my point of view with you regarding the Chords who goes as a passing chord/ transition to their Relative chords. You mentioned in minute 4:04 It would not sound right, like a resolution to satisfied. I am going to give you an example: Lets give some names to some countries from Europe for all the chords that are in the key of C major: ( I) C major - Denmark , (ii) D minor - Germany, (iii) E minor - Netherlands , (IV) F major - Belgium, (V) G major - France, (vi) A minor - spain , (vii0) B diminished - Portugal. Now the question: I can't travel from Netherlands to Denmark? :) Dr. B, We have the option to Go by Airplane by flying from Netherlands to Denmark, or to drive by car to the nearest countries to get from a country to another country until i get to the final trip of my destination. This is how the chords progression are. In other words, there is not just one way how to get from a country to another country (in our case from a chord to another chord). Let me be more clear with another example: I want to travel from Romania to Germany, so I can fly from Romania to England and from England to fly and arrive to Germany, I can drive from Romania to Hungary, and pass to Austria border and arrive to Germany, I can take the Ship from the black See from Romania and sailing to Germany through the Mediterranean see, pas to Alboran See (which is in Spain), pass to North Atlantic Ocean, and enter to Germany trough the North Atlantic See. The main conclusion is: you may travel from any chord even from iii chord to V chord, it is a nice peaceful journey too! People needs Peace in their hearts and be happy, they like to be calm, why would we need a life with so much "tension" (troubles) ? So iii - V chords progression it is a peaceful journey too that helps our brain to relax, and brings piece to our hearts :)
You obviously didn't pay any attention at all. LOL!
24:23 In measure 2, is that a similar motion of the outer voices? please! :D
Yes it is. Now I hope you don't think that is a problem!
1) Similar motion is only a problem if there are three other things also happening: 2) it is in the outer voices, 3) the motion is into a perfect 5th or 8ve, 4) there is a leap in the soprano.
If these four things happen it is a problem and is called direct 5th or octaves! In measure 2 of the example you mentioned the interval of 8 moves to 3 in similar motion with stepwise motion in the soprano. Since neither #3 or #4 above happen this is GOOD voice leading. Hope that helps!
Yes it helps! And thank you for taking time to answer my questions! you are doing an amazing job!
Hi Dr. B.
I have a question. In lecture 10, you described the min. chord progression/pattern as i-ii°-III-iv-V-VI-vii° . Everywhere I looked online though, I found "... v-IV-VII." While I did watch the video, you seem to go into detail about how this relates only to diatonic chords or something. You also mention using ascending melodic minor and harmonic minor chords or notes. I'm just a bit perplexed. I really love the lectures and if you could clear this up I'd greatly appreciate it. I know ur a busy man though so no worries. Thx alot!
Amazing grounding in music theory. However lets suppose there's this G note , Any G chord Aflat Maj 7 Am 7 B flat 13, any C chord with a natural 5 th , Dflat 7th with flat 5 or Dim, Maj 7 #11th lydian Eflat Maj 3rd , F any natural 9th including 13th and sus 7, F# trickiest a flat 9 from root must be a Dominant . Strongest melody is built on the 3rd or 7th of chord with emerging tones.
31:42
Hello Dr B, i think it's a D/F# in the bass ?
Good eyes! Although I missed it during the lecture, I did notice it and indicated this in the description for the video. You can always double-check the description in other videos to see if I caught any mistakes; unfortunately, I do make them every no and then, haha.
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
I always thought that it was very common for V to lead to IV, whilst both IV and V can both modulate back to I. I've also been taught that while IV can certainly go back to I, it also has a lot of other options since the strongest progression when taking off from I and going somewhere is to go to IV. Have I gotten something mixed up?
Tonal music eschews movement from V to IV, although it does sometimes happen in cases where IV moves back to V or to other dominant function chord. Passing chords and neighboring chords are often divergent from prescribed "background" grammar.
22:24, there you are using in the 3rd measure in the 3rd and 4th beat he uses a IV and V, should this also appear in the cheat sheet? because I understand that V can go after a IV! please someone comment on that!
You are 100% correct, V can go after a IV. If you are referring to what I have written on the left side of the board as the "cheat sheet" that progression is there but I could have been clearer. The box around IV and ii means that both are pre-dominant functions and can both go to V (or any dominant function).
IV can go to ii which is why I have the arrow going down. IV can leap over V and go straight to I.
Here's another way to write the diagram I used:
Chord - where it can go
I - anywhere
ii - V, viio
iii - IV, vi
IV - I, ii, V, viio
V - I, vi
vi - ii, IV
viio - I, V7
Christopher Brellochs and, as oer the diagram, v to vii o as well - am I correct? thanks
Ayanthi - YES, you are correct! V (uppercase) can go to viio.
A quesiton to people out there: To which extent is it useful to think of other chords as added to the scheme above? For example, adding different augmented 6 chords or 3 position tonic chords as predominants? That is, how valuable is the scheme when you add more advanced harmony?
I think it makes a lot of sense to think of other chords as inserted into the harmonic progression scheme.
I recommend watching all the lessons in order as they are meant to build upon each other, however if you have a good understanding of things and want to jump around what you call "3 position tonic chords," I call second inversion tonic chords and discuss them in Lesson 19 here: ruclips.net/video/CMOAsqsGEag/видео.html
Here is the first lesson I discuss augmented 6 chords: ruclips.net/video/e-mWICem4Sc/видео.html
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
@@ChristopherBrellochs Hi, that one was also a great one! Have watched them all by now.
You presented on the progression of circle of 5th only. However, other books are saying there are other progression such as ascending 5th, ascending 2nd and descending 3rd. Any clarification please?
Waiting for response
So an over lap is NOT ok, even if it's in the chord before?
Hey Dr. B! Hope you’re well. Just wondering if these chord functions apply to creating melody too?
Like as in scale degrees?
I like when someone just come and teach, letting the cozy video editing for the people who thinks that this is easy in this type of teaching :) Advanced editing and advanced knowledge is the ghost for the music theorists. A good lesson is always enough if the student is interested and the teacher engaged. Check my channel for more progressions...
Also I’m still recovering from the 7th chord in the Back progression
G-B-D-B (doubling the 7th of A Major), isn’t that breaking all the rules in the rule book?
Are you referring to 30:13 in the video? Measure 1, beat 2 is a viio6 doubling scale degree 2 of A major (NOT the 7th of A major and therefore follows all the rules in the book). Hope that helps!
Christopher Brellochs thank you kindly for your response. My comment (on hindsight) is veryu clear.
It is at 30:13 yes and is even on the cheatsheet (left whiteboard) - but I am referring to the use of chord VII and III altogether. Somehow we were told not to bother with chord III and VII - except using VIIb to I progression which was told was very closely aligned with V to I progression in terms of sound.
Great teaching Dr. I wonder where I’d have been if I had a teacher such as yourself.
Cannot wait for the book you’re writing to come out. Thank you.
Christopher Brellochs you are correct on the fact that you are doubling the 2nd note of the scale (B) and not yhe 7th as I have incorrectly mentioned.
May I ask your thoughts on doubling the supertonic in these chords please? Are their any restrictions on the doubling of the supertonic or can it be freely used as and when needed.
thank you again.
Doubling is usually not based on what scale degree it is in the key, so it isn't usually useful to think about doubling the supertonic or subdominant, etc. The only scale degree to remember is to NOT double the leading tone! After that doubling is dependent on the following:
1) root position triads = double the root (which happens to also be the bass) except when it is a vi (VI) chord preceded by a V chord, i.e. a deceptive resolution. This means you double the supertonic in a ii chord, the mediant in a iii chord, the subdominant in the IV chord, etc. (you see how that isn't that helpful a way to think about it?) You do NOT find viio in root position so no need to double that root which would also be the leading tone!
2) first inversion triads = you have a lot of options with the following two exceptions: (A) do NOT double the leading tone of the key (this means in viio and V - it is very rare to find a iii (III) in first inversion so most books don't even mention doubling for them), (B) diminished triads are normally found only in first inversion and you normally double the 3rd of the chord. This means your viio and iio (found in minor keys) chords!
3) second inversion triads = double the bass (which happens to also be the 5th of the chord). You usually only fine I (i), IV (iv), and V chords in second inversion.
Hope that helps!
Ahhh, I think I understand. You may have been informed not to bother with certain chords when beginning your study of music theory just so it wouldn't be too overwhelming.
Now that you are a Dr. B Music Theory subscriber you should absolutely "bother" with the VII chord in minor (in c minor that would be a Bb major triad), because it sounds great and moves very nicely to III. Speaking of III (in minor) and iii (in major) both are great and provide variety to the diatonic triads available. Just play i - III - iv - V on the piano over and listen to how great it sounds!
When you write, "...except using VIIb to I progression which was told was very closely aligned with V to I progression in terms of sound," I think what was meant was viio to I (not VIIb); viio IS closely aligned/functions the same a V so that makes sense.
Good question! Best wishes, Dr. B
Sir, point no.5 change chord for every melody note...if a melody has no other options to change chords that means found a leading tone or any other consecutive or any other errors .. shall we repeat the same chord or use inversions of same chord?
Good question, and you are correct! When you can't find a good chord change, the next best option is to repeat the chord but change the inversion between root position and 1st inversion. Be careful not to use 2nd inversion in most cases as it has its own set of rules which I talk about in Lesson 19.
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
@@ChristopherBrellochs Many many thanks sir
I have a question that's burning! Why does your flow chart for minor include a VII and a vii°? I dont completely understand
Minor key have natural ,harmonic and melodic .So in Minor key we have viio and VII. viio is leading tone function . But VII is subtonic function so "VII"is hasn't resolve feeling
I don't understand why ii - vi - V - I is not part of the diagram, sounds really good (like in "It must have been love" ). Problably some modulation...
Good question. Please Dr clarify
Why is the vii° chord there in minor progression?
So Bach has clearance to depart from conventional rules. Lucky fella. ;)
wish u gain the same authorization soon haha
@@user-vi7ip9dx6skirjdidndbsaha LOL. Me too.
Isn't the D chord 3 measure 1 beat a D/F# making it IV/6 ?
I 6 (d-f#-a with f# in the bass)
I've taught music theory for 30 years. You are the ONLY other teacher I've ever come across that teaches harmony (and chord progression logic) the way I do. You present PRACTICALLY, not "ACADEMICALLY." SO MANY music students lose interest in understanding music theory as an essential part of understanding music as a whole because the instructor presents it as only "science." There is a very human component to theory.....e.g., what sounds "good" and what doesn't. Yes, there's plenty of room for "renegades," But it's the way you present very PRACTICALLY. Essentially, what WORKS.
Not sure if this comment makes any sense, but kudos on a very understandable and practical presentation. I'm sure it is appreciated by all those seeking a realistic understand of music theory.
Do you have a book you can recommend that teaches music theory in the practical style you are talking about?
this is one amazing lecture! Sub, Like and a Bell 4 ya!
Ai could write music with these rules.
Dr. B
I would like to send you money in the quantity of $34 for your Harmonic Progression Flow Chart. What is your preferred method of receiving funds?
Wow, thank you! You can make it a tax deductible donation to me for my sabbatical project here: 1406.thankyou4caring.org/music
You can also send it via PayPal to Christopher Brellochs (cbsaxophone@gmail.com).
I different kind of option would be to support me on PATREON for a few months (I recommend $5/month so you get new videos): www.patreon.com/DrBMusicTheory
I'm so glad you value this information!
Best wishes,
Dr. B
@@ChristopherBrellochs
I joined the FB page while I was at it.
Patron sounds like an easier idea lol
Out of curiosity, do you have any videos that brake this concept down further? I've just started binge watching these lectures to see where the holes lie in my theory knowledge and this has thus far been the most mind boggling piece of information for me yet.
And most importantly, the gratitude felt by all of us who can finally stop googling different variations of "Music theory lessons" is profound! On behalf of everyone who will allow me to speak for them, Thank You! For giving me every tool I need to develop my theory!
@@StraightEdgeHippie My goal was to provide something useful, and I'm very glad I decided to video all these music theory lessons.
I recommend watching everything in order, but I focus a bit more on harmonic progression in the following videos:
Lesson 21: Melody Harmonization - ruclips.net/video/urHCiAy3Wwc/видео.html
Lesson 42: How To Harmonize With Modulation - ruclips.net/video/WMovx_pJaOs/видео.html
Episode 13: Electronic Music by KSHMR - ruclips.net/video/qgXPvKRh3QY/видео.html
Episode 17: Melody Harmonization and Memorization - ruclips.net/video/jADqgRjeOXU/видео.html
Enjoy,
Dr. B
Is it too hard to run a denoiser? The audio here sucks.
Sir: when you state that we have one more option (the time frame in your wonderful video is 6:29) "The sub tonic chord is where you do not raise the leading tone and you build a Major Triad on scale degree Seven (7) from the natural minor scale and the reason that works is because it extends the circle of fifths." I would like to make sure I understood you: The sub tonic is the seventh note of the chord, in the natural minor scale it would be a Whole Note down the Tonic - now you stated that you build a Major Triad on the scale degree seven; I do hope I got it right: therefore, if you are in C Minor Scale the Subtonic would be B Note - then I would have to build a Major Triad from the Seven degree would it be: B Note EFlat (#) and F the F Note would my calculation be correct and from there go to the third (iii) chord and on. Please explain you are great. Thank you much, Maestro di Musica. R
Let's take example of C minor scale.
If 7th or leading note is not raised, then 3rd & 7th notes would be E-flat & B-flat.
Now E flat - B flat is a perfect 5th, i.e. 7 half tones apart.
If 7th is raised then 3rd & 7th notes would be E flat - B natural. This is no longer a perfect fifth interval. It is 8 half tones apart & not 7 half tones apart as in perfect fifth.