What textbook are you following? This lines up pretty nicely with my Tonal Harmony - with an introduction to Twentieth Century Music textbook! You are a life saver! Thank you so much for these videos! ❤️
I am fairly new to learning Music Theory and I have a question. My music theory book gives additional information to these rules stating that for instance when writing for a 4th and 5th apart, if the root moves a P5 down or a P4 up the stepwise motion will be descending and vice versa for similar motion by 2nds or 3rds. My book states there is specific rules for the stepwise motion on most of the rules for writing 4 part concerning the direction that the root moves. I cant find it anywhere online where it actually demonstrates this online, so I guess my question is, is it just something to follow if you can and if you cant then continue with following the rules for voice leading?
Kim - thanks for your question. I'm not sure if I fully understand without seeing the text to which you're referring. This video talks about most of the different root movements. The general ideas I explain in this video and in some others on the topic should generally apply to many situations in part-writing. I think if you focus on the basics - treating perfect consonances carefully, emphasizing common tones and conjunct motion in your parts, and resolving dissonances correctly - your part-writing should be in good shape. I hope this is helpful!
Thank you sorry if it was confusing, I found the rules for the stepwise motion i believe i understand it now just did not know if you always had to follow the stepwise rules. I was doing some Music theory hw where they provided the soprano and bass and we had to fill in the alto and tenor for progressions, and in certain situations I would have to go back and rewrite the way the motion went with different rules to get everything to work because the stepwise motion rules sometimes did not allow me to choose a rule because the way the soprano and bass moved in the following chord. (R.P. Part Writing w/Roots a 4th(5th) Apart 4pt. texture) 1. Common tone and stepwise. Keep in the same voice the tone that is common to both chords, while the remaining two upper parts move by step in the same direction. *Stepwise motion will be Ascending for root movement of a P5 down and Descending for root movement of a P5 up.* 2. Similar motion by 2nd or 3rd. A second method moves all three upper parts in the same direction, with no leap larger than a 3rd. *The motion will be Descending for a root movement of a P5 down (or P4 up) and Ascending for a root movement of a P5 up (or P4 down).* If the leading tone does not resolve to 1 but instead leaps down to 5, it is perfectly acceptable if it occurs in an inner voice. 3. Tertian leap, common tone, stepwise. A third method that is useful for changing between Close and Open structures is to keep in the same voice the tone that is common to both chords, but the voice that has the 3rd in the first chord leaps to provide the 3rd in the second chord. Remaining voice moves by step. It is perfectly acceptable if the leading tone does not resolve to 1 but instead leaps up to 3, if it occurs in an inner voice. (R.P. Part Writing w/Roots a 3rd(6th) Apart 4pt. texture) Two common tones and stepwise. Assuming that the first of the two root position triads has a doubled root, only one of the the upper voices will need to move. The two upper voices that have tones in common with the second chord remain stationary, whereas the remaining voice moves by step. *Stepwise motion will be Upward for roots a Descending 3rd apart and Downward for roots an Ascending 3rd apart.* quizlet.com/72317477/root-position-part-writing-flash-cards/
Thanks for the reply. "Always" is a tough word with anything in music, but these guidelines see fair. One good rule of thumb - which your text is suggesting - is that your upper voices try to move in contrary motion with the bass. When the bass moves up, your upper voices often move down. When the bass moves down, the upper voices often move up. This helps avoid some common voice leading problems. Best of luck!
So is this completely different to 4 part counterpoint then? since you say that we shoul keep common tones wherever possible and in CP you have to have different melodic lines that certainly do not favor reusing tones
Dear Dr David, Thank you so much form your fantastic videos, Please check the problem in this video, in some place there are double speech. I think the only way to do that is deleting this video and upload it again after repairing it. Many thanks.
Thank you very much for this video...It makes so much sense...I have one question in the progression you have shown here, of 4th and 5th apart, there is a 5th(May be its called direct 5th) between the Bass(its A) and the Alto (its E)...Is it acceptable?? Please explain. Thank you.
+Pratik Panchal You are correct that this is a "direct fifth." Whether this is an "acceptable" usage depends on the style of music you are studying/writing. In strict contrapuntal settings, we might avoid this. In four-part chorale style, I tend to only really avoid direct perfect intervals between the outer voices (the soprano and bass). Thanks!
Hi Julia! I don't have a lot of experience with self-programmed texts that confront higher-level concepts like voice-leading, but the one I would recommend you look into is "Harmonic Materials in Tonal Music" by Harder and Steinke. There are two volumes with both exercises and answers, and they go beyond the basics of interval and chord identification. It's a collegiate book, so new copies are expensive, but maybe you could find a used one in ok condition. Best of luck!
Thank you so much David! I love all your valuable lessons!-I have a basic knowledge if music theory, but I am refreshing it now as I started writing music using Ableton daw about a year ago.. do you give private online lessons? I need a tutor, a mentor who would direct me as a composer.. you can listen to my music at soundcloud.com/jlesnichy
The textbook I taught from when making these video was Kostka & Payne's Tonal Harmony. It is a pretty common college music textbook, and so you can find on Amazon and elsewhere.
Lol ya I'm basically just using the tonal harmony textbook table of contents, but then I look up your videos to actually cover the material because the textbook is so dry and boring
![Seungmin "그렇게, 천천히, 우리(As we are)" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/kAzmhLHePqU/mqdefault.jpg)
9 years later and you’re still saving grades & lives! Thank you so much lol!
part-writing hasn't changed too much, thankfully. hope your grades are good!
Thank you for making this! With gratitude from a music theory student in California.
The way that you have explained writing four.parts is so good, I wish you were my professor.
Thank you greatly!
i count myself extremely lucky to have found your videos, they are excellent
I've been legit struggling with this in my music theory class, and this has helped me so much! thank you for posting this!
What a great video series. Thank you, Prof!
that 3rd example from the I to ii chord was VERY helpful. thank you!
Please record more videos on theory. Chord progressions, figured bass etc. Thank you.
this helped me better understand 4 part writing. thank you so much
What textbook are you following? This lines up pretty nicely with my Tonal Harmony - with an introduction to Twentieth Century Music textbook! You are a life saver! Thank you so much for these videos! ❤️
Mcgrawhill?
Always account for the fact the greatest composers occasionally condemn the rules to hell. But good video
Thank you. Subscribed.
I am fairly new to learning Music Theory and I have a question. My music theory book gives additional information to these rules stating that for instance when writing for a 4th and 5th apart, if the root moves a P5 down or a P4 up the stepwise motion will be descending and vice versa for similar motion by 2nds or 3rds. My book states there is specific rules for the stepwise motion on most of the rules for writing 4 part concerning the direction that the root moves. I cant find it anywhere online where it actually demonstrates this online, so I guess my question is, is it just something to follow if you can and if you cant then continue with following the rules for voice leading?
Kim - thanks for your question. I'm not sure if I fully understand without seeing the text to which you're referring. This video talks about most of the different root movements. The general ideas I explain in this video and in some others on the topic should generally apply to many situations in part-writing.
I think if you focus on the basics - treating perfect consonances carefully, emphasizing common tones and conjunct motion in your parts, and resolving dissonances correctly - your part-writing should be in good shape. I hope this is helpful!
Thank you sorry if it was confusing, I found the rules for the stepwise motion i believe i understand it now just did not know if you always had to follow the stepwise rules. I was doing some Music theory hw where they provided the soprano and bass and we had to fill in the alto and tenor for progressions, and in certain situations I would have to go back and rewrite the way the motion went with different rules to get everything to work because the stepwise motion rules sometimes did not allow me to choose a rule because the way the soprano and bass moved in the following chord.
(R.P. Part Writing w/Roots a 4th(5th) Apart 4pt. texture)
1. Common tone and stepwise. Keep in the same voice the tone that is common to both chords, while the remaining two upper parts move by step in the same direction. *Stepwise motion will be Ascending for root movement of a P5 down and Descending for root movement of a P5 up.*
2. Similar motion by 2nd or 3rd. A second method moves all three upper parts in the same direction, with no leap larger than a 3rd. *The motion will be Descending for a root movement of a P5 down (or P4 up) and Ascending for a root movement of a P5 up (or P4 down).* If the leading tone does not resolve to 1 but instead leaps down to 5, it is perfectly acceptable if it occurs in an inner voice.
3. Tertian leap, common tone, stepwise. A third method that is useful for changing between Close and Open structures is to keep in the same voice the tone that is common to both chords, but the voice that has the 3rd in the first chord leaps to provide the 3rd in the second chord. Remaining voice moves by step. It is perfectly acceptable if the leading tone does not resolve to 1 but instead leaps up to 3, if it occurs in an inner voice.
(R.P. Part Writing w/Roots a 3rd(6th) Apart 4pt. texture)
Two common tones and stepwise. Assuming that the first of the two root position triads has a doubled root, only one of the the upper voices will need to move. The two upper voices that have tones in common with the second chord remain stationary, whereas the remaining voice moves by step. *Stepwise motion will be Upward for roots a Descending 3rd apart and Downward for roots an Ascending 3rd apart.*
quizlet.com/72317477/root-position-part-writing-flash-cards/
Thanks for the reply. "Always" is a tough word with anything in music, but these guidelines see fair. One good rule of thumb - which your text is suggesting - is that your upper voices try to move in contrary motion with the bass. When the bass moves up, your upper voices often move down. When the bass moves down, the upper voices often move up. This helps avoid some common voice leading problems.
Best of luck!
So is this completely different to 4 part counterpoint then? since you say that we shoul keep common tones wherever possible and in CP you have to have different melodic lines that certainly do not favor reusing tones
Also, a correction in the video Number. This is actually Video #18 but it is mentioned and labeled in the video as #17.
Dear Dr David, Thank you so much form your fantastic videos,
Please check the problem in this video, in some place there are double speech.
I think the only way to do that is deleting this video and upload it again after repairing it. Many thanks.
+Music Lover yeah i thought i had another window open and was looking to see where it was coming from
You're great teacher, I love it. I'm just getting started in understand harmony better. Thanks so much. From what book does this come?
Thanks! These videos work with Tonal Harmony by Kostka & Payne.
@@DavidEFarrellwhich edition? I have the 4th and the 9th
Thank you very much for this video...It makes so much sense...I have one question in the progression you have shown here, of 4th and 5th apart, there is a 5th(May be its called direct 5th) between the Bass(its A) and the Alto (its E)...Is it acceptable?? Please explain. Thank you.
+Pratik Panchal You are correct that this is a "direct fifth." Whether this is an "acceptable" usage depends on the style of music you are studying/writing. In strict contrapuntal settings, we might avoid this. In four-part chorale style, I tend to only really avoid direct perfect intervals between the outer voices (the soprano and bass). Thanks!
Hi David, I really love all your lessons! Where can I buy an exercise book about voice leading to practice writing voice leading, with answers?
Hi Julia! I don't have a lot of experience with self-programmed texts that confront higher-level concepts like voice-leading, but the one I would recommend you look into is "Harmonic Materials in Tonal Music" by Harder and Steinke. There are two volumes with both exercises and answers, and they go beyond the basics of interval and chord identification. It's a collegiate book, so new copies are expensive, but maybe you could find a used one in ok condition. Best of luck!
Thank you so much David! I love all your valuable lessons!-I have a basic knowledge if music theory, but I am refreshing it now as I started writing music using Ableton daw about a year ago.. do you give private online lessons? I need a tutor, a mentor who would direct me as a composer.. you can listen to my music at soundcloud.com/jlesnichy
I've done online lessons before. Feel free to email me (davidefarrell AT gmail) if you'd like to talk about it in more detail.
just started watching didn't think you was allowed a 5th between notes on T/B ?
Hi! In general, a fifth can happen anywhere. You just have to be careful how you get there, and how you leave - watch out for parallels!
@@DavidEFarrell thank you ice watched the rest of the video and am impressed so far I can't find a link to the next video though?
@@lisasexammusicoriginalcomp5861 They are all here: ruclips.net/user/dtrane6videos
Where can I buy your textbook?
The textbook I taught from when making these video was Kostka & Payne's Tonal Harmony. It is a pretty common college music textbook, and so you can find on Amazon and elsewhere.
Yes
Lol ya I'm basically just using the tonal harmony textbook table of contents, but then I look up your videos to actually cover the material because the textbook is so dry and boring
Fugue narration