I can't express my feelings about you and what you have done in these videos... You are a kind decent human who is spreading joy and love in this crazy world... You are definitely the best teacher that i had in my whole life... Accept my love and respect from the other side of the world, iran... I want you to know that without your help i never could continue studing music becouse of my life situation... But u made it possible for people like me to self-study music and pursuing their dreams... ❤️❤️❤️
Dr Brellochs, I echo the other grateful comments here. I have often read a lot of this in books, but you breathe life into it, and help me to understand it. Many thanks.
I have been writing my Major Scales and doing the step by step process for almost a year now it’s like magic everything make sense Triad Chords and 7th Chords pretty much everything. Thank you Dr.B!
I recently bought "The Complete Musician" (third edition) by Steven G. Laitz and I was so overwhelmed by all these music concepts and terminology, but I started watching your videos and they helped me so much. Please continue to make more videos and I really appreciate how well you teach and the time you invest to make them!
I've been comosing for two years, without knowing what I was doing... Now I feel really lucky to have free access to this awesome material! Thank you Dr. B. Your lessons are breathtaking :)
I appreciate your pacing of the material- I wish I’d seen this before trying to piece it together from a lot of books that over complicated it. Thank you!
Interesting. You don't teach minor key Roman numerals in relation to the parallel major. You'd get a lot of theorists who'd argue that the diatonic triads of a minor key should be notated as i - ii° - bIII - iv - V (or v for nat)- bVI - vii° or (bVII for nat). That makes it possible to more unambiguously indicate modal interchange in a Roman numeral analysis. Do you prefer this method over the other for any reason in particular?
Thank you, soo much. I take online classes so I don't have the pleasure of being in class... this was helpful more than you know bc I could rewind (which I did more than a few times) to help it sink in. I think I know Diatonic Triads now... woah
I originally made these videos because students in my class would say that they understood everything in class but when they went home to do the homework they'd have trouble; these videos allowed them to "rewind" and hear the explanation again which helped them finish their homework! I'm glad you're using them to help with your online class!
Your music theory courses have been so helpful! Thanks for being such a great teacher! My only criticism in this lesson is that I think you ought to have compared C-major chords to A-minor chords so that you can show the relationship and differences between the two scales, whereas using G-minor hid that relationship.
34:45 should the 6th scale degree not have a Major above? So: vi^(M7).Its A (a#, b) C (c#, d, d#) E (f,f#) G, no? I'm a bit confused... EDIT: OK nvm. I had a wrong assumption, maybe someone has the same problem so here I go: I thought the thing determining whether the seventh is minor, was whether the upper triad (so the 3rd 5th and 7th) was a minor or Major triad. But really it is whether the seveth is a minor or Major above the root.
I have seen roman numeral analysis using Ib & Ic for 1st and 2nd inversion (I63 & I64 in this system). Question: Why the difference in notation? What are the benefits and disadvantages of each system? And which is more used in practice? Thank you
As a beginner, I'm perplexed when I observe a method of analysis heavily guiding the actual writing of music styles created before such methods of analysis existed. Throughout your series, much of the writing methods seem to be underpinned by reference to Roman Numeral Analysis. I understand that this method allows you to source answers which have been shown to work in the past, but I am left to wonder, what fundamentals guided composers in times predating Roman Numeral Analysis, excluding their ears? How do you compose outside of this analytical mindset?
You're suggesting that music theory **prescribes** a way to compose music, then wondering what composers used before it existed. Music theory is **descriptive**, not **prescriptive** . If you're learning theory in order to know how to write original compositions, you're doing it wrong.
Is it possible for the root to be in the bass then the third and the fifth to be switched around with each other? If possible what type of triad is this? Ex: root is G then B is where D should be and D is where B should be
If you are referring to a specific time in the video please let me know. It sounds like you are talking about different "voicings" for a G major triad, so I think the answer to your question is YES! A triad needs to have specific notes/pitches but there are many options in the order/where they can occur above the bass. I hope that helped, Dr. B
It gets really confusing with the minor keys/scales. I have no idea why classical composers will use the melodic minor scale ascending up but descending down using the natural minor scale which this creates notes of the 6th and 7th degree to Clash with dissonance, any reasons why they made this rule or melodic minor scales? Melodic scales 6th & 7th degrees are raised and the natural minor 6th and 7th degrees are lowered which they will clash with dissonance but Classical composer do this all the time
You had a similar question in Lesson 1, so I'm glad to see you're watching other videos as I touch upon this excellent question a little bit in a couple of videos. It is all about melodic direction, where the half step falls, and creating a feeling of reaching a goal (more on feelings later). The main reason is that half step motion between notes creates the strongest pull and feeling of reaching a goal. Going up that means raising scale degree 7 so that it is a half step back to tonic up the octave! Going down that means keeping scale degree 6 minor so that it is a half step down to scale degree 5 (a common "target" of melodies after scale degree 1). You make a valid point that I hadn't really considered much. The idea of horizontal dissonance when we hear the scale degrees change during the course of a melody! This way of using minor is part of what gives it its unique feeling, which lends itself to everything from pain and sadness to drama and battle. I hope that helps, Dr. B
@@ChristopherBrellochs yes I did, The 5th mode of harmonic minor is called Phrygian Dominant minor scale. What classical composers used the Phrygian Dominant minor scale? When you use the V chord in any minor key you have to play the Phrygian Dominant minor scale or when do you use the Phrygian Dominant minor scale? Can you make a video lesson about the Phrygian Dominant minor scale because I have heard its "linked" with the diminished chords by the scale degrees raised harmonic minor 7ths and 3rd scale degrees. If you're playing in A harmonic minor you use the E Phrygian Dominant minor scale but using what "harmonic minor chord progressions" will work with Phrygian Dominant scale?
Sorry for the confusion. Those are two separate examples where I give you the key and a chord to analyze. Db: I 6/4 is the first answer an Bb: vi is the second. At 26:00 in the video I walk you through it! I hope that helps, Dr. B
Can you do a video how to label chords that are not from the scale? For example, in C major: (Do# major, E flat major, F# major, A Flat major, B flat major) how do you label them on the C major scale?
These lessons are well structured and well explained. Can you recommend a decent workbook with plenty of exercises (with answers) to practise this course material?
I used "Harmonic Materials in Tonal Music: A Programmed Course" (by Greg Steinke and originally by Paul Harder) when I was getting started. Part I is essentially Music Theory I (diatonic triads, Roman Numerals, etc.) and Part II is Music Theory II (secondary/borrowed chords, etc.). You can get the book on Amazon but I recommend an older edition as they go for $15-20 vs $100 for new. I hope to develop some of my own exercises and put them on PATREON but that may take a while so hopefully the above book can help you! Best wishes, Dr. B www.patreon.com/DrBMusicTheory
Thanks for the question. At that point in the video I am asking "in what major keys is there a D minor triad?" Since we know that in a major key the ii, iii, and vi chord are minor that means D minor is ii in C major, iii in Bb major, and vi in F major. I didn't mention Db at this point in the video - sorry for any poor video resolution if that's what was confusing. Best wishes, Dr. B
Jonathan Desear Hey, man. I am new to guitar and music theory but have never encoutered such a practice as writing in numerals refers to harmonic function of chords (what function a chord serves within a key or progression) and is useful for purposes of harmonic analysis. A "slash chord" described in roman numerals might look like the roman numeral description of a secondary dominant to tonicized chord relationship, if you ask me...A "slash chord" just describes any non-root position chord in which the chord quality and the bass note are divided in the chord symbol by a diagonal line(or slash). So, if your G chord isn't in "root position" (with G as the bass note of the chord) but rather in a position where the B note is in the bass, it seems to me it will simply be expressed G/B. Hope I'm not way out in left field as I have only been learning this stuff this past year and am self-taught.
5:07 Sorry I was stuck and confused about the "Triads in Major" part. He said stacking third but for example C major chord (1,3,5) is actually major third and minor third in between. Is it a mistake or he just obmit saying major and minor it confuses me a lot. Also, I want to know how the major and minor chords rules are invented, I mean how the interval is being organized and put into the theory? For an example in the video, a B chord (B, D#,F#) two sharp note are not in the C major scale. As a result, I will know it is not a major chord. Hoever, how do you know it is not a minor chord but a diminish chord?
To answer your first question: The intervals in a major triad (1-3-5) are (from root): major third - minor third; This is because root to third is the major third. The interval between major third and the perfect fifth is minor third. Second question: Your reasoning is not correct. A major chord can have flat or sharp notes in it. The difference between a major and minor chord is the third. Example: F major: F A C. - F minor: F Ab C. A diminished chord is either whole diminished or half diminished, I use you mean whole diminished, which is: 1 - b3 - b5 - bb7. Difference between a normal minor chord is the diminished 5th and the lowered dominant 7th (dominant seventh is b7). So F diminished: F Ab B G, whereas Fminor7 is: F Ab C Ab. Hope this helps.
as an interesting titbit of information we call lower case numerals 'roman' but the romans never had them, All their numerals were upper case . lower cases like i ii iii iv etc were developed in the Middle Ages, well after the demise of the Western Roman Empire
The dash usually means that the chord above the dash is the same as the preceding chord. The dash is also used in figured bass to indicate something similar, either 1) to maintain a certain interval above the bass, or 2) that a certain change interval stays in the same voice. Does that make sense with what you looking at? Best wishes, Dr. B
I can't express my feelings about you and what you have done in these videos... You are a kind decent human who is spreading joy and love in this crazy world... You are definitely the best teacher that i had in my whole life... Accept my love and respect from the other side of the world, iran... I want you to know that without your help i never could continue studing music becouse of my life situation... But u made it possible for people like me to self-study music and pursuing their dreams... ❤️❤️❤️
Dr Brellochs, I echo the other grateful comments here. I have often read a lot of this in books, but you breathe life into it, and help me to understand it. Many thanks.
I have been writing my Major Scales and doing the step by step process for almost a year now it’s like magic everything make sense Triad Chords and 7th Chords pretty much everything. Thank you Dr.B!
Dr B, your videos are the best explanation of music theory I have ever found. Thank you for posting this class!
the BEST music theory teacher in the world! Bravo!!
Thanks Dr. Brellochs, you have given us a grate lesson and not in music but in life. Share what you love and are passionate about, God bless you.
Dr.B just became my theory teacher for the semester.Thank you.
same
I recently bought "The Complete Musician" (third edition) by Steven G. Laitz and I was so overwhelmed by all these music concepts and terminology, but I started watching your videos and they helped me so much. Please continue to make more videos and I really appreciate how well you teach and the time you invest to make them!
I'm really glad the videos are appreciated!
I've been comosing for two years, without knowing what I was doing... Now I feel really lucky to have free access to this awesome material! Thank you Dr. B. Your lessons are breathtaking :)
I appreciate your pacing of the material- I wish I’d seen this before trying to piece it together from a lot of books that over complicated it. Thank you!
Dr B, your videos are the best! I don't really like music theory before but I love it after watching your videos. thank you!
Thanks so much! I'm spreading the love of music theory.
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
Thank You so much! I finally after many attempts at music theory, Got it!
Yeah!! Good job sticking with it.
Thanks,
Dr. B
Interesting. You don't teach minor key Roman numerals in relation to the parallel major.
You'd get a lot of theorists who'd argue that the diatonic triads of a minor key should be notated as i - ii° - bIII - iv - V (or v for nat)- bVI - vii° or (bVII for nat). That makes it possible to more unambiguously indicate modal interchange in a Roman numeral analysis. Do you prefer this method over the other for any reason in particular?
best channel to get up and have a coffee, if you wanna have an intelligent day.
Thank you, soo much. I take online classes so I don't have the pleasure of being in class... this was helpful more than you know bc I could rewind (which I did more than a few times) to help it sink in. I think I know Diatonic Triads now... woah
I originally made these videos because students in my class would say that they understood everything in class but when they went home to do the homework they'd have trouble; these videos allowed them to "rewind" and hear the explanation again which helped them finish their homework!
I'm glad you're using them to help with your online class!
Christopher Brellochs Hi Mr Brelloch. What university and program are you teaching? Where is located? Thank you.
I am chair of the music program at the State University of New York (SUNY) at Dutchess Community College in Poughkeepsie, New York, USA!
Your music theory courses have been so helpful! Thanks for being such a great teacher!
My only criticism in this lesson is that I think you ought to have compared C-major chords to A-minor chords so that you can show the relationship and differences between the two scales, whereas using G-minor hid that relationship.
Stunning lecture! Man did I get a lot from this.
I appreciate your way to teach this kind of things, Thank you!
My pleasure! I'm glad you find the videos useful.
34:45 should the 6th scale degree not have a Major above? So: vi^(M7).Its A (a#, b) C (c#, d, d#) E (f,f#) G, no? I'm a bit confused...
EDIT: OK nvm. I had a wrong assumption, maybe someone has the same problem so here I go:
I thought the thing determining whether the seventh is minor, was whether the upper triad (so the 3rd 5th and 7th) was a minor or Major triad. But really it is whether the seveth is a minor or Major above the root.
This is fantastic stuff, thanks so much for sharing.
Thank yor sir for the videos..all the videos are very helpful to me and, i found what i was searching for.Thank you so much.
Glad to hear this!
Sooooo helpful. Thank you for doing these!
I have seen roman numeral analysis using Ib & Ic for 1st and 2nd inversion (I63 & I64 in this system). Question: Why the difference in notation? What are the benefits and disadvantages of each system? And which is more used in practice? Thank you
As a beginner, I'm perplexed when I observe a method of analysis heavily guiding the actual writing of music styles created before such methods of analysis existed.
Throughout your series, much of the writing methods seem to be underpinned by reference to Roman Numeral Analysis. I understand that this method allows you to source answers which have been shown to work in the past, but I am left to wonder, what fundamentals guided composers in times predating Roman Numeral Analysis, excluding their ears? How do you compose outside of this analytical mindset?
You're suggesting that music theory **prescribes** a way to compose music, then wondering what composers used before it existed.
Music theory is **descriptive**, not **prescriptive** . If you're learning theory in order to know how to write original compositions, you're doing it wrong.
Sick lesson, very helpful and well explained
Thanks! I find Roman numerals a great way to memorize songs and also play them in different keys.
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
my new theory teacher bc college is closes
same :)
Is it possible for the root to be in the bass then the third and the fifth to be switched around with each other? If possible what type of triad is this? Ex: root is G then B is where D should be and D is where B should be
If you are referring to a specific time in the video please let me know. It sounds like you are talking about different "voicings" for a G major triad, so I think the answer to your question is YES!
A triad needs to have specific notes/pitches but there are many options in the order/where they can occur above the bass.
I hope that helped,
Dr. B
@@ChristopherBrellochs thank you. This really helped
Thank you for posting this video, It helps alot
It gets really confusing with the minor keys/scales. I have no idea why classical composers will use the melodic minor scale ascending up but descending down using the natural minor scale which this creates notes of the 6th and 7th degree to Clash with dissonance, any reasons why they made this rule or melodic minor scales? Melodic scales 6th & 7th degrees are raised and the natural minor 6th and 7th degrees are lowered which they will clash with dissonance but Classical composer do this all the time
You had a similar question in Lesson 1, so I'm glad to see you're watching other videos as I touch upon this excellent question a little bit in a couple of videos.
It is all about melodic direction, where the half step falls, and creating a feeling of reaching a goal (more on feelings later).
The main reason is that half step motion between notes creates the strongest pull and feeling of reaching a goal. Going up that means raising scale degree 7 so that it is a half step back to tonic up the octave! Going down that means keeping scale degree 6 minor so that it is a half step down to scale degree 5 (a common "target" of melodies after scale degree 1).
You make a valid point that I hadn't really considered much. The idea of horizontal dissonance when we hear the scale degrees change during the course of a melody! This way of using minor is part of what gives it its unique feeling, which lends itself to everything from pain and sadness to drama and battle.
I hope that helps,
Dr. B
@@ChristopherBrellochs yes I did, The 5th mode of harmonic minor is called Phrygian Dominant minor scale. What classical composers used the Phrygian Dominant minor scale? When you use the V chord in any minor key you have to play the Phrygian Dominant minor scale or when do you use the Phrygian Dominant minor scale? Can you make a video lesson about the Phrygian Dominant minor scale because I have heard its "linked" with the diminished chords by the scale degrees raised harmonic minor 7ths and 3rd scale degrees. If you're playing in A harmonic minor you use the E Phrygian Dominant minor scale but using what "harmonic minor chord progressions" will work with Phrygian Dominant scale?
Hello Dr B.. after Db:I64 , should that be G- root position triad ? It was listed as Bb triad??
Sorry for the confusion. Those are two separate examples where I give you the key and a chord to analyze. Db: I 6/4 is the first answer an Bb: vi is the second. At 26:00 in the video I walk you through it!
I hope that helps,
Dr. B
Is this musical calculus? U substution? Mapping? Matrices?
Can you do a video how to label chords that are not from the scale? For example, in C major: (Do# major, E flat major, F# major, A Flat major, B flat major) how do you label them on the C major scale?
thank you!
These lessons are well structured and well explained. Can you recommend a decent workbook with plenty of exercises (with answers) to practise this course material?
I used "Harmonic Materials in Tonal Music: A Programmed Course" (by Greg Steinke and originally by Paul Harder) when I was getting started. Part I is essentially Music Theory I (diatonic triads, Roman Numerals, etc.) and Part II is Music Theory II (secondary/borrowed chords, etc.). You can get the book on Amazon but I recommend an older edition as they go for $15-20 vs $100 for new.
I hope to develop some of my own exercises and put them on PATREON but that may take a while so hopefully the above book can help you!
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
@@ChristopherBrellochs thank you soo much 4 these, I cannot express how helpful your videos are!
@@dudeduderino2872 Glad to be helpful. Enjoy!
Loving the course so far! Thank you! Are the answers for the remaining chords posted anywhere?
So helpful. Thanks.
32:13 G# is not in a minor, so do we just use the letter G instead and say it is scale degree 7 in a minor?
He must be referring to A Harmonic Minor since A Minor is built off the 6th degree of the C scale and there is no G#.
at 13:44 in the Bb (B Flat) Maj. Scale... it's just a D... not a db (D flat)... so I'm a bit confused.
Thanks for the question. At that point in the video I am asking "in what major keys is there a D minor triad?" Since we know that in a major key the ii, iii, and vi chord are minor that means D minor is ii in C major, iii in Bb major, and vi in F major.
I didn't mention Db at this point in the video - sorry for any poor video resolution if that's what was confusing.
Best wishes,
Dr. B
Hi Dr. B. How do you write slash chords in Roman Numeral Chords?
Jonathan Desear Hey, man. I am new to guitar and music theory but have never encoutered such a practice as writing in numerals refers to harmonic function of chords (what function a chord serves within a key or progression) and is useful for purposes of harmonic analysis. A "slash chord" described in roman numerals might look like the roman numeral description of a secondary dominant to tonicized chord relationship, if you ask me...A "slash chord" just describes any non-root position chord in which the chord quality and the bass note are divided in the chord symbol by a diagonal line(or slash). So, if your G chord isn't in "root position" (with G as the bass note of the chord) but rather in a position where the B note is in the bass, it seems to me it will simply be expressed G/B. Hope I'm not way out in left field as I have only been learning this stuff this past year and am self-taught.
Slash chords are intended only for lead sheet not for Román numeral análisis I think.
Wow I have the exact same question
5:07 Sorry I was stuck and confused about the "Triads in Major" part. He said stacking third but for example C major chord (1,3,5) is actually major third and minor third in between. Is it a mistake or he just obmit saying major and minor it confuses me a lot. Also, I want to know how the major and minor chords rules are invented, I mean how the interval is being organized and put into the theory? For an example in the video, a B chord (B, D#,F#) two sharp note are not in the C major scale. As a result, I will know it is not a major chord. Hoever, how do you know it is not a minor chord but a diminish chord?
To answer your first question: The intervals in a major triad (1-3-5) are (from root): major third - minor third; This is because root to third is the major third. The interval between major third and the perfect fifth is minor third.
Second question:
Your reasoning is not correct. A major chord can have flat or sharp notes in it. The difference between a major and minor chord is the third. Example: F major: F A C. - F minor: F Ab C.
A diminished chord is either whole diminished or half diminished, I use you mean whole diminished, which is: 1 - b3 - b5 - bb7. Difference between a normal minor chord is the diminished 5th and the lowered dominant 7th (dominant seventh is b7). So F diminished: F Ab B G, whereas Fminor7 is: F Ab C Ab.
Hope this helps.
Excellent
as an interesting titbit of information we call lower case numerals 'roman' but the romans never had them, All their numerals were upper case . lower cases like i ii iii iv etc were developed in the Middle Ages, well after the demise of the Western Roman Empire
The Micheal Jordan of teaching music theory.
Sir, which book do you refer to ?
Kostka & Payne, "Tonal Harmony"
Shouldnt the triads in minor be i iio III iv v VI VII ?
What if there's a dash instead of a roman numeral?
The dash usually means that the chord above the dash is the same as the preceding chord. The dash is also used in figured bass to indicate something similar, either 1) to maintain a certain interval above the bass, or 2) that a certain change interval stays in the same voice. Does that make sense with what you looking at? Best wishes, Dr. B
Fo the Gminor scale the roman Numeral 7 shoul be major 7 not minor Shoulde VII not vii.
too many ads
I'm sorry about that and thanks for letting me know. I'm still new to having ads, so will try to find a solution.
Best wishes,
Dr. B