Thank you for all of these playlists and helping me with my return to school after a long hiatus, and my theory placement exam. I think I passed.
@pianxtremeyt4 күн бұрын
what about in atonal, or moreover 1920s style music? I'm one who shuns rules in music, for the composer should create music with all freedom of choice. But then again, I'm more like that of Messiaen, or Eric Whitacre when it comes to voice writing.
@kellievans95396 күн бұрын
I don't understand why the Beach example is not balanced. By my understanding, they both are PACs in the key of D minor... Is it because the Vs are not exactly the same? Please help!
@DrKatiMeyerMusicTheory5 күн бұрын
Sure, it’s not that the cadences aren’t the same. The musical ideas don’t “rhyme” with each other, as in they aren’t the same musical idea. Hope this helps.
@curtpiazza16888 күн бұрын
❤ 😊
@giftbanda340813 күн бұрын
Thank you so much. From Malawi (Africa). I just discovered you recently and I love your videos
@DrKatiMeyerMusicTheory8 күн бұрын
Love to hear it! Thank you!
@AViationMusikGroup17 күн бұрын
We love your channel 😊
@DrKatiMeyerMusicTheory15 күн бұрын
Thank you so much 🤗
@youtubecommentor4480Ай бұрын
Hi Dr. Katie. Between 1:36 and 1:41 you said, “The meter of a phrase is usually draped over four bars with one big downbeat.” To better understand, would it be fair to say, “The meter of a phrase is usually draped over four bars with each phrase ‘STARTING’ on one big downbeat?” Forgive the upper-case as I simply wanted to clarify my question. Thank you Katie. Great youtube channel!
@DrKatiMeyerMusicTheoryАй бұрын
Yes, that is a great clarification.
@youtubecommentor4480Ай бұрын
@@DrKatiMeyerMusicTheory … ok, thank you Dr. Katie.
@rusalraj8006Ай бұрын
May I know why the in practice part the (final) I chord is not closed but open? Thanks in Advance.
@DrKatiMeyerMusicTheoryАй бұрын
Just for illustration. It’s best to stay with the spacing you choose from the beginning, but neither is preferred.
@rusalraj8006Ай бұрын
@@DrKatiMeyerMusicTheory Thanks a lot for your Response.....
@derekstuartclark2 ай бұрын
3:38 the answer is a 4th higher, not a 5th
@southerndivisionchannel2 ай бұрын
How can i contact you
@southerndivisionchannel2 ай бұрын
I wanted to ask you.
@CalebePriester2 ай бұрын
Thank you so much.
@edelcorrallira2 ай бұрын
Oh my is this useful. Im trying to wrap up a guitar course, but for the final assignment I got a bit ambitious and well... Need to research how to properly arrange for a small ensemble (the muse is quite unforgiving :P) Seriously, very helpful. I wonder though when part writing for instruments how much would the crossings themselves affect clarity? I suppose its very dependent on the instrumentation (if the tone is pleasant across the range, capable of taking over while not being in any way confused then your more likely to get away with it)... Guess you keep things like this in mind and experiment for effect but always with the understanding that there should be a musical purpose because theres a good chance this will cause issues with and need reworking. Still I always think of the Great Fugue and how delightful those crossings are, but then again Beethoven spent a lifetime rewriting the rule book, and could get away with making just about anything sound wonderful through his unwavering diligence and prodigious talent. Anyway wonderful stuff
@rutheproppi62652 ай бұрын
Hello Again, how many times can a Model Sequence be repeated???
@DrKatiMeyerMusicTheoryАй бұрын
2 or 3 repetitions are sufficient before it feels redundant.
@rutheproppi62652 ай бұрын
Thank you much for taking your gift of music and share it with people like us. I have a question: How long can a Model the length be. How many times is it practical to copy a Model. How long can a musical phrase be. How can you tell by the length what is the type of musical sequence??? If you can spare a few moments please answer when you can. Again, your video has generate much thinking on the matter. Thank you,
@lillilii44432 ай бұрын
You are the best teacher, thank you so much for this!
@EvaSlash2 ай бұрын
2:55 what about in the aeolian natural minor scale? Are there any other chords besides the 5 chord that has a dominant function?
@KorayKahraman_music3 ай бұрын
useful information
@user-jh8rx5ne8t3 ай бұрын
1:08 3:35 5:05 7:01 8:39
@g.v.75483 ай бұрын
FYI around 6:30 the 3rd set of intervals b-c is m2 and c-b is M7.
@DrKatiMeyerMusicTheory3 ай бұрын
Thanks for your careful attention to detail!
@ericclarkpianist13 ай бұрын
Error in labeling the 9-8 and 7-6
@DrKatiMeyerMusicTheory3 ай бұрын
Thanks for your attention to detail!
@ericclarkpianist13 ай бұрын
@@DrKatiMeyerMusicTheory sorry- should have mentioned this was a really helpful video and well made- thanks
@Norm643493 ай бұрын
Dr K, I do enjoy your lectures. One errata, though. Tenor Sax sounds a M9th below the written pitch.
@DrKatiMeyerMusicTheory3 ай бұрын
Thanks for your attention to detail!
@interstellarfox80374 ай бұрын
For the parallel period, does it have to be the exact same (basic idea)? What if there’s a little bit of embellishment but keeps there same idea?
@DrKatiMeyerMusicTheory4 ай бұрын
I would still call it parallel if it has a little embellishment. Recognizably the same motive in the same key is what we need for parallelism.
@carlosacevedo95814 ай бұрын
I wish Dr. Kati were my teacher...😭
@DrKatiMeyerMusicTheory4 ай бұрын
So sweet! Thank you so much ☺️
@angelpropen96464 ай бұрын
Hello Brava: I am writing to you first to thank you for taking the time for someone like me to teach, actually, teach something. I am also writing in regards to the Sequences you have outlined in your video time set 7:29 Descending 2nds Ascending 2nds Descending 3rds. Do you have a model for Descending 2nds - Ascending 2nds and Ascending 3rds and/or a video. Also, is the Chromatic Sequence Video out yet. Again, please accept my sincerest gratitude, A
@DrKatiMeyerMusicTheory4 ай бұрын
Thanks so much for watching the video! Desc and Asc 2nd harmonic sequences are very common and can be found in a lot of repertoire. Brahms intermezzo op 117 no. 2 has a desc 2nd sequence near the beginning of the piece, like m 4. And Mozart’s piano concerto no 23 in A major mvt 1 has an asc 2nd sequence starting in m 258. Asc 3rds is not a common sequence type. But desc 3rds is and Pachelbel’s canon in D is a great example of such. Not quite there on the chromatic sequences video, but thank you for the reminder!
@trippy1274 ай бұрын
5:36 how can 9/8 be accepted as dotted quarter beat. y is it mentioned there
@DrKatiMeyerMusicTheory4 ай бұрын
Regular meters have only 2, 3, or 4 beats. That means that compound meters will always have a dotted beat for their beat representation. So 2, 3, 4 = 6, 9, 12 because we can’t represent the beat in the meter signature, we use the subdivided beat on the actual score meter.
@trippy1274 ай бұрын
@@DrKatiMeyerMusicTheory I thank you so much from bottom of my hear for your dedication. I have covered all the videos of your channel and also made notes. God Bless You
@michellemybell84725 ай бұрын
In 6:28 how is the root doubled in the II6? Sorry I can't see it!
@DrKatiMeyerMusicTheory5 ай бұрын
The ii6 chord is a d minor chord in C major. There are two Ds, one in the tenor and one in the soprano.
@goodshepherdyouthmissionve13345 ай бұрын
Excellent ,Thank you
@DavidFick5 ай бұрын
Very nice presentation. I think it's important to note the commonly-encountered use of vii°7/V between the N6 and V (that is, if you've already introduced secondary functions; if not, then I completely understand).
@DrKatiMeyerMusicTheory5 ай бұрын
Indeed! The “Ra-Do-Ti” voice-leading is among my faves!
@Iammauricetv5 ай бұрын
I would like to have private lesson abour this ...how can i reach you?
@annelouisemaclellan4855 ай бұрын
How about a borrowed major IV chord in a minor key context?
@DrKatiMeyerMusicTheory5 ай бұрын
Traditional borrowing almost never occurs in minor mode - with the exception of the Picardy 3rd. If you find a major IV, check where it resolves, as it may be a V/VII secondary chord.
@samyoung18875 ай бұрын
8000 subscribers!!! Woohoo!
@DrKatiMeyerMusicTheory5 ай бұрын
🎉 🤩
@alexcontrapunto5 ай бұрын
Just discovering this channel! I already knew the concept but this is so complete and well exemplified! From Guatemala, thank you for the class!
@EvaSlash5 ай бұрын
I believe I've heard many people refer to melodic embellishments as "non-essential" tones. So is it correct to say that if all of the melodic embellishments were stripped away from a piece of music, that there would remain enough melodic structure to still be able to create a unique piece of music and still be identifiable? Stripping away all of the melodic embellishments would seem to just leave a series of chords without any uniquely identifiable melody! So it would seem to me that melodic embellishments are very critical and very essential in creating the main melody. Not sure why melodic embellishments are referred to as non-essential!
@DrKatiMeyerMusicTheory5 ай бұрын
“Non-essential” is not the same as “non-chord”. Non-chord tones are essential for melodic embellishment, as you say. You could make melodies that stay within the harmonic constraints, but they would probably have many leaps and not be very melodious. That’s not to say that those pieces don’t exist, but we like the color that the NCTs bring to our melodies!
@trippy1276 ай бұрын
Thank you very much, 🙌 from INDIA......
@maxfurtado6 ай бұрын
thnk you so much for sharing
@jduandavis48156 ай бұрын
Why is that 7th chord major?
@MichellGracefulLiving7 ай бұрын
Hi Dr Meyer, are the parrallel Maj/Min keys also considered ro be closely related keys, or is it only the relevant Maj/Min & next door on circle keys?
@DrKatiMeyerMusicTheory7 ай бұрын
No parallel keys are considered distantly related. Only the next door neighbors are considered closely related. Thanks for the question!
@socrates47477 ай бұрын
Thanks
@tinikadavis69317 ай бұрын
Pretty simple and straight forward. Ca you recommend where we can get some more pdf exercises please
8:00 IV to ii is down a 3rd... ii to V is up a 4th....
@k.louismusic7 ай бұрын
This was posted years ago, but I still reference this video when arranging.Easily the best video on part-writing I've ever watched.
@DrKatiMeyerMusicTheory7 ай бұрын
Wow! Thanks so much for the compliment - happy to be of service :)
@stevencharleswhite70457 ай бұрын
I think that Dr. Meyer's content is great. I've learned a lot from it, for which I'm grateful. I'll add some thoughts here about this particular video for Dr. Meyer's consideration. These thoughts are based on some ideas/principles the following of which I believe make written/spoken content easier to consume. This video doesn't link to other videos as prereqs; so I'll take this to be a standalone, self-contained bit of education. Many of my objections here wouldn't apply were this an in-person lesson. In that case the student can ask questions, and seek clarification. But in a video, you have one chance, and once chance only, to get the info across perfectly. And folks who watch vidoes are usually short on patience. "[...] a model of harmony and voice-leading in more elaborate music." I think I know what you mean; but anyone who didn't already know what that sentence means, and were trying to parse it on face value, likely wouldn't know what it meant. So how about, "[...] a model of harmony and voice-leading as preparation for writing more elaborate music." I think that's more what you meant. "[...] is a matter of voicing". I would add "(in the pop/jazz sense)" or something at the end there. The problem is that classical pianists use the term "voicing" to mean making some notes of a chord sound more prominently than others. While pop/jazz players use it in the sense you mean here. So I think that that overloading of terms needs some navigating for the comfort of the audience. "[...] the qualities of balance and clarity." And then you imply that the audience should strive for those qualities in our own writing. But you don't explain what balance and clarity are. So a) how can we know whether or not we're achieving those things, and b) why should we feel motivated to strive for qualities that we don't understand? These things need to be defined and explained. Anyone watching this video who already knows what those terms mean very likely doesn't need to be watching the video. Remember to end a sentence with a period. "[...] use the middle of each voice's range." But you don't say, and the diagram doesn't show, where the middle is. Some people might think that by "middle" you mean the single note that sits right in the middle of the range. But you mean a smaller range that sits in the middle. Folks need that explained. At this point it'd be interesting to tell the audience that by "the middle", you mean the notes that can be sung comfortably. Such notes are easier to sing, but sound less interesting, than notes at the extremes of the range (which will tend to stand out from the choir). So those extreme notes can use used for emphasis or increased emotion. "Double the root in root position for better clarity". Ok, a couple of interesting principles here. First, write in such a way that as the reader parses the sentence, they build up an always-true, but increasingly precise, mental model. Here, after "double the root", the mental model that I've formed is that I should double the root. But that's not true; that's misleading. I should double the root only under certain conditions. So, before saying "double the root", you should state those conditions (or at least some of them). If we were to write "In root position, double the root", then that's immediately an improvement. Now, after "in root position", I haven't been misled. I'm simply waiting to be told something related to, and significant about, that scenario. And I get it with the three words that follow. The second principle is to tell people why we're asking them to do something before (not after) we ask them to do it. For example, "For more info, see MyAwesomeWebPage" is slightly better than "See MyAwesomeWebPage for more info". In the former, which sounds like a gentle invitation, anyone can stop reading if they judge that they don't want "more info". In the latter, we're issuing an order right out of the gate; and that sounds slightly impolite. And then as an afterthought we add the reason why folks might want to obey our order. So here we should open with "for better clarity". So I would rewrite that sentence as "It gives better clarity, in root position, to double the root". So now I'm told the reason why I might care, up front; then the conditions to which the advice applies; and finally the advice itself. Your sentence has them in completely the wrong order. And I know why: it's because it's easier and quicker to write without thinking about these things. But it's a little more comfortable for your readers if you put this kind of care into your writing. And that's why it's polite and considerate to do so. "Do not double any tendency tone for improved balance." This one is even worse, because it's also ambiguous. Some people will read that and think: Oh, so doubling any tendency tone gives improved balance, does it? And I shouldn't do that." It should say, "For improved balance, don't double a tendency tone." But again it doesn't define what a tendency tone is. "The diminished chord on scale degree seven in first inversion contains the leading-tone, and should not be doubled." First, that chord contains the leading-tone no matter what inversion it's in. And second, the way you've worded it, you're saying that the chord shouldn't be doubled". That should say, "The diminished chord on scale degree seven (here it's in first inversion) contains the leading-tone, which should not be doubled." Later you say something very similar, but you correctly use the word "which" instead of "and", so it's clear you're talking about the tone and not the chord. "The V7 has both the leading-tone and the seventh of the chord, both of which [...] should not be doubled." A lot of folks will think: but how can they be doubled; you have only four voices? So a *preqrequisite* for understanding this slide is the fact that you can omit certain chord factors. You'd have to omit something (say, the fifth) before you even have the option of making the mistake (doubling a tendency tone) that you're talking about. But we don't learn that until the following slide. So, another really vital principle in education is to teach ideas in the right order. You can learn something only if you already know it. Thatt's a strange thing to say; but it rewards thinking about it, and understanding it. Ok, I've gotten only 3:19 into the video so far, so I'll stop here. But it should be easy to apply the principles I've mentioned everywhere else.
@DrKatiMeyerMusicTheory7 ай бұрын
These videos are part a series intended for my in-class use as a university professor. They are supplemental and not meant to be standalone material. Thanks for your comments.
@tsmiguel8 ай бұрын
Great videos, great contribuition well explained, clear and helpfull. Thanks so much 😊
@DrKatiMeyerMusicTheory7 ай бұрын
Glad it was helpful!
@nhaivhuhoix8 ай бұрын
Is the following process correct? First, one has to determine the _n_ ordered sets of the _n_ pitch classes (I mean those sets that represent the order in which the pitch classes appear when we start from one of them and move clockwise). If we're given the unordered {1,0,4}, we have to order it. There are three possibilities, <0,1,4>, <1,4,0> and <4,0,1>, one of which is in normal order. Subtract the last element of each set from the first element of that set. 0-4=8, 1-0=1, and 4-1=3. The set which yields the highest number is in normal order: [0,1,4]. If there is more than one normal order, break the tie through AIS. Could you recommend some good books on this subject? Thank you.
@DrKatiMeyerMusicTheory8 ай бұрын
That’s correct. Miguel Roig-Francoli’s book on Post-Tonal Theory is a great resource!
@nhaivhuhoix8 ай бұрын
I appreciate it@@DrKatiMeyerMusicTheory
@tsmberk9 ай бұрын
Great videos. The inclusion of examples and quizzes really helps. I am confused why the 2nd measure of the Beethoven Symphony 1 example is V7 ii and not V7 vi. If we are in C, wouldn't A minor be vi?
@DrKatiMeyerMusicTheory8 ай бұрын
Yep! Right you are! Thanks for catching that error 😊
@andrewslome98828 күн бұрын
@@DrKatiMeyerMusicTheory lol I was about to ask the same on the comments! Thank you ! Isn’t it a V7 in C just deceptively resolved into vi?
@T0mat0_S0up9 ай бұрын
I’m a little sad that I did not get an example for F major. It’s okay though
@DrKatiMeyerMusicTheory8 ай бұрын
Sorry! Technology glitches!
@T0mat0_S0up8 ай бұрын
@@DrKatiMeyerMusicTheory It’s okay
@GHØSTED.voices9 ай бұрын
I'm only a teenager but I really want to learn how to write music... I know I'm very late, but thank you so much for this!