Dr. B Music Theory Lesson 11 (Voice Leading 101)

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TOPICS
0:00 – Voice leading
0:55 – The Melodic Line (Rhythm, Harmony, Contour, Leaps, Tendency Tones)
10:08 – Analyzing a Melodic Line
20:19 – SATB Notation
22:00 – Voicing (Range, Voice Crossing, Spacing, Open vs. Close)
29:43 – Examples of voicing specific chords

Comments

Raymond David says:

you saved my grades…thank you man.

Arnaud says:

Thank you so much for sharing your knowledge.

William Kisekka says:

Sorry for all the questions Dr. B, but there's another question that popped up in my mind as I was practising all of this yesterday… Is an augmented interval okay if you spell a triad melodically? For instance, between the G and B in a G-major triad is a major 3rd which is all good, but the B and D is a minor 3rd/augmented 2nd away from each other?

pixelatedparcel says:

Hey, Dr. B. It just occurred to me that you met all of my expectations…Curiously enough, I did not find you boring in the least. Guess you defied the laws of nature! ;D

Prosenjit Devnath says:

really nice…..

Elle Otanez says:

This might be a dumb question, but what is a compound 5th?

William Kisekka says:

Dr B. I have another question!! Do the no augmented leaps etcetc-"rules" still apply if you spell a triad, AND can the triad only be spelled in root position, meaning do I have to spell an F-major triad F-A-C or can I spell it in 1st/2nd inversion? Thx so much for your videos, you are by far the best teacher I've come across in life. I love that your passion for music shines through in every video you make 🙂 Best regards from Scandinavia (PS: Have you given out any material that I can purchase, so I can support your work?)

Touldie vel BeTe says:

Hello Proffesor! I'm so exited because of discover (by ear) something interesting. There is a harmonic example in D# major scale

V chord with little variations: A# D F | v1: A# D# F | v2: A# C F / bass A# sounds common BUT if i only change the bass to: A# D# F / bass C | A# C F / bass F got some appealing progression! Why does it sound so good? And example of some cool chord progressions:

Example 1: C D# G / bass G# -> D F G / bass A# -> D# F A# / bass C -> C F A# / bass F
Example 2: C D# G / bass G# -> D F G / bass A# -> D F A# / bass G -> D# F A# / bass C

I can't figured out why it works so well yet, but trying 🙂 I hope that your lessons helps me a lot. Thanks & bye!

Elder King says:

Thank you for this series!
Ive been trying to teach myself music theory for a while but there would a lot of times be just one or two pieces of information that i needed to tie a whole concept together but I could never find. You explain it slowly and simply and fill in the gaps and have thus far vastly increased my understanding of the basics which i want to have a solid foundation. Again, much appreciated!

Christopher Brellochs says:

QUESTION from Lesson 11 (Voice Leading 101): "A question about tendency tones – in AP Music Theory context do I have to resolve 7 to 1 and 4 to 3 in only outer voices or does that also include inner voices?" is answered here: https://youtu.be/C1dADMUucPk

Christopher Brellochs says:

QUESTION from Lesson 11 (Voice Leading 101): "Is a 'leap' in this context anything that isn't a scale-step? And when you are 'outlining a triad' must this happen within the same bar or can you cross bar lines with this outlining?" is answered here: https://youtu.be/C1dADMUucPk

Spencer Perilloux says:

A question about tendency tones – in AP Music Theory context do I have to resolve 7 to 1 and 4 to 3 in only outer voices or does that also include inner voices?

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