Dr. B Music Theory Lesson 21 (Melody Harmonization)

[@hfdouk1478]

The best Professor of Music Theory, music Production or Composition. Any body can Learn a lots from him. Right a way when you start watching videos you know you are watching the real thing. In my opinion he is number One In you tube. Thank you Professor, For bringing school to people who can not go to school or can not afford it.

[@ChristopherBrellochs]

We live in a wonderful world where more and more people can listen to music created by geniuses, through the use of technology created by other geniuses! I think knowledge is so important that I want everyone to know more regardless of where you live or how much money you have. Thanks for this comment!

[@bharathj63]

Thankyou thankyou thankyou for this!!!! No explanation this clear!! Trust me I have searched KZbin deep and wide!

[@ChristopherBrellochs]

Haha, I'm glad to hear this. You're welcome.

[@evrenersoy6372]

Exactly true ...

[@wernervannuffel2608]

I totaly agree. I dived also very deep into the KZbin channel music composer realms and this lessons serie is very systematical explained. Great job, Sir!

[@antsapuksula8693]

As a beginner i felt this video was very easy to follow and also think you managed to maintain this video very informative to advanced composers as well. Thank you so very much. I wish you all the best.

[@ChristopherBrellochs]

I'm so glad you found my video useful. Sincerely, Dr. B

[@AnupChapain]

Dear Dr.B , you're doing wonderful favour to us all. Thank you very much for your efforts for us. This is so far, and by far, The best channel for music theory education on KZbin I've come across. Best wishes. 😍

[@ChristopherBrellochs]

Thank you and I'm so glad you are finding it useful. Best wishes, Dr. B

[@thomasmytskidhs2789]

Omg, you are just amazing! i've been studying tonal harmony for too long and never saw such a clear way of thinking! Thank you boss! :)

[@jillmcaleese6514]

I love you Christopher Brellochs! You're an amazing teacher and such a generous person to put this top-notch content on KZbin. This is helping me so much to work through ABRSM grade 6/7 theory. London, UK

[@ChristopherBrellochs]

Yippee! This is just what I was hoping would happen...that people from all over the world would find my videos useful! Thanks for letting me know that they're useful in London. By the way, I visited London three years ago and loved seeing musicals in the West End and Leighton house. I can't wait to visit again.

[@ryverjames4070]

Thank you Dr. B for putting this kind of content for the ones that truly love music and to become masters!

[@albertvaldez2669]

This teacher is so fuckin' smart!

[@rachelsmename6]

Excellent and clear explanation of how to harmonize a melody!

[@doubleoh9814]

Wow I just happened to stumble across your lessons, I'm so glad I found your lessons I'm going to watch them all, you're a brilliant teacher, no wonder you're a professor! Thank you =)

[@youngliu1075]

This really helped me to understand how to harmonize! I'll make sure to share this to my friends!

[@ChristopherBrellochs]

Thanks! Please share with anyone you think would be interested!

[@kititart]

wasnt able to understand this until i watched your video. thank you so much!!

[@ChristopherBrellochs]

Awesome!! I'm very happy it helped.

[@pianosimply4862]

Fantastically simple!

[@darrenfreeman4936]

Excellent lecture!

[@GalaxyPedlar]

Great videos! Thanks for posting them online.

[@IlDalmo]

Great content and thanks for making it available for free! I have a question. If I am not mistaken at 17:48 you changed the V chord into a V6 chord by placing the leading tone (f#) in the bass. In the following chord (vii°6) the leading tone can not be resolved upward to g. Is better to avoid this situation? Or this can be done as an exception?

[@pavelmanEC]

Sabes, me encantan tus videos de armonía. Mil Gracias.

[@augustinechinnappanmuthria7042]

Super teaching

[@Deedeeeannn]

Thank you very much! Can’t find a clearer explanation than this anywhere! 💕

[@sickform9582]

This video is gold!

[@stephenmichael7010]

good explanation dr b

[@MatheusDinizsr]

Your videos are so great! Wish I had found them before!

[@ChristopherBrellochs]

Did you find them by searching KZbin? I want to figure out how to best make these videos easy to find for people.

[@MatheusDinizsr]

I found your videos by searching for Harmonic Progression on youtube, which lead me to your #15 theory lesson!

[@FreezerPane]

Christopher Brellochs I found your video when I was looking for help on my Grade 6 ABRSM theory exam.Your video helped me a lot but when I wanted to find your video again,it wasn't there when I searched "Harmonizing a melody" I then added the word "Christopher" and I found it again.The youtube algorithm is higher the percentage of likes,the more likely it's gonna be at the top.

[@ChristopherBrellochs]

Thanks for the tips on "getting to the top." I'm still learning how to make the most of KZbin so I appreciate the feedback and advice! I hope you LIKED all my videos :)

[@larsderuiter7907]

Dear Dr. B, I have a question; isn't the transition into the last bar (IV6 --> V) parallel 5ths between the alto and soprano? I am loving your lectures, I am learning so much. Thanks a lot!

[@tekchand7341]

Nice ....thank u sir...

[@patrickcunningham618]

Thank you.

[@lisasexammusicoriginalcomp5861]

heya just managed to get the figured bass section in my grade 6 done now im having to add chords to a melody

[@ChristopherBrellochs]

That's great! Keep up the good work. Best wishes, Dr. B www.patreon.com/DrBMusicTheory

[@angelpropen9646]

Sir: First I would like to thank you for taking the time to teach someone like me and us. I am writing to ask you the following question: In the Treble Clef does the top Note(s) indicate the Melody Note, having said that (I hope I am right) when putting chords to the top Melody Note (it could be an inversion of the actual chord - but the top note of the inversion makes it the Melody Note??) Now did I understand right, I can take the top note of the Melody Note and because the top Melody Note can be the Root/Third/Fifth of the Chord I can take it from their to write the chords pertaining to the top Melody Note of a Root Position Chord or a Chord that has been Inverted. Again, thank you much with much appreciation, please, please do not stop. A

[@patrickpirker1634]

beste lessons on this channel!!

[@akarshsain8263]

Thanks a lot!! Brilliant lesson

[@97tanish]

Really really loved the video. Keep it up man. But then what about harmonic rhythm? Any video in which you have mentioned about it?

[@ChristopherBrellochs]

Why I have a video right here about harmonic rhythm - enjoy! kzbin.info/www/bejne/qIaTo2dnhN94ptk

[@Fanchen]

There's a little mistake. Parallel 5ths m. 3 beat 4 to m.4 beat 1, soprano and alto. He overlooked it. Otherwise a helpful video for those who suffer understanding the concept.

[@ChristopherBrellochs]

When I teach in the classroom I tell students they get 1 point added to their final grade for the semester if they catch me making a mistake; I want to be kept on my toes! You have good eyes and are correct! Another subscriber had already caught me and I put a note about in the description. Thanks for keeping me honest!

[@RodrigoCamposBr]

What should I do in this case? Ommit the fiith in V chord and double the third is good (raising the alto to F#)? Otherwise if i choose a complete chord, raising also the tenor to A will that cause problems (another parallel fifth) with the resolution in I? Realy thanks for your videos, so helpfull!! Hope you still doing it! Congrats from Brazil!!!

[@mikesrandomchannel]

@@RodrigoCamposBr Double the 5th in the alto, dropping down to the A, also brings in contrary motion?

[@martiglesias60]

No he dont overlooked, look at (16:24).but he has lake a error with doubling with last I6, it gets worser the next measure!

[@Fanchen]

martin rodri you are allowed to double the mediant, the only notes you should avoid doubling are the leading tone, and 7th of a chord, tendency tones. The parallel 5ths were overlooked, he even admitted himself.

[@massimozart]

THANK YOU!

[@laytonjames9741]

I notice that you have used a chord for each note in the melody. Having just watched your 'Non Chord Tones' video could you explain why some of the notes in the melody weren't chosen as non-chord tones and the remaining notes part of the appropriate chord; this would result in less chords and a more 'uncluttered' feel about the piece.

[@ChristopherBrellochs]

Good question! You will notice that my music theory lessons are numbered and should be watched in sequence if you don't already 100% understand the subjects covered. This is Lesson 21 on Melody Harmonization which occurs BEFORE I discuss Non-Chord Tones in Lesson 24. That said, once you understand Non-Chord Tones you can go back to this lesson and take it to the next level by doing exactly what you suggested! You can rewatch most of these videos and see how they can be done in a clear/expected way, and as you get more advanced how they can be done in a more sophisticated way. To expand on what I'm saying: a critical part of learning music theory as clearly and efficiently as possible is to make sure you understand your fundamentals before moving on to more advanced concepts. Every piece of knowledge should be built upon what is needed as a foundation. Best wishes, Dr. B www.patreon.com/DrBMusicTheory

[@serenaroses.8234]

Could you do a video on harmonic dictation? For FR 3 & 4 for the AP Music exam I'm still a little uncertain on the roman numerals, though I understand how to harmonize a melody and complete four part writing samples. We have to notate only the bass and soprano and then identify the roman numerals and cadences.

[@Sofiya963]

Параллельные квинты в конце третьего - начале четвертого такта (сопрано и альт)

[@milesdoodling1054]

Would you go through a similar process when harmonizing a lyric melody (for pop, rock ect.) but just one chord per bar or whenever you feel like the chord should change?

[@ChristopherBrellochs]

That's a great idea! Stay tuned, it might take a little while before I post a video but I will.

[@elvirjade4742]

Do we need to think of this as more of a guideline, because I've seen countless progressions breaking these rules on so many levels

[@ChristopherBrellochs]

Good question! Yes, these are more of a guideline and all FEEL like progressions. By that I mean, they create a sense of moving forward, going somewhere, and being goal directed. Most progressions that "break these rules" are often creating a feeling of floating, side-to-side, or misdirection. For music from the 17-19th century a feeling of inevitable progression was the norm, so you might have 70-95% of the progressions following the chart I listed. "Retro-gressions" and other exceptions were used to create variety, tension, and surprise. The challenge for the composer was to determine where the progression should go against the listener's expectations (i.e. mostly the guidelines I listed) to create a particular mood or feeling. It can't be randomly inserted anywhere, but carefully considered. Now your next question should be, "how do I break the rules and not sound random?" and "what feelings do specific progressions that break the rules create?" Best wishes, Dr. B www.patreon.com/DrBMusicTheory

[@theskoomacat7849]

Is there a chord chart like the one you did around 7:00 but with minor? i'd be very interested.

[@ChristopherBrellochs]

The chart for minor is covered in Lesson 15 (kzbin.info/www/bejne/i6eTpKNjr92UrpI). It is the same as major with only two differences: 1) the sonorities are different (review Lesson 10 - kzbin.info/www/bejne/pavCm3-Hbs2sptk), 2) the subtonic VII chord precedes III at the beginning of the chart. Enjoy!

[@TheAtheistworld]

Super duper bro. Thnx

[@letsplayharmonica]

Excellent, professor Christopher! I only would like to know why does vii° chord always must be in first inversion? I've never come across with this rule before. Thank so much. You're lectures are very handy and helpful for those like me who are trying to learn and understand this tricky issue.

[@ChristopherBrellochs]

Great question. I answer this in some of my earlier videos but here is another explanation: 1) The human ear hears the highest pitch as the most prominent part (which is why melodies are usually in the soprano). 2) The human ear hears the lowest pitch as the second most prominent (which is why the bass is so important). 3) The interval of a diminished 5th is so dissonant that if the root of the interval is further emphasized by putting it in the bass it becomes too jarring/ugly, etc. That means, if you put the root in the bass of a diminished triad you get the intervals if a d5 and m3 above the bass - the d5 sounds bad (usually)! By putting the 3rd of a diminished triad in the bass you get the intervals of a M6 and m3 above the bass - this sounds good! This applies to ALL diminished triads, so viio AND iio (in minor). Hope that helps! Dr. B

[@pixelatedparcel]

Christopher Brellochs This is another reason why I love your channel, Dr. B. The fact that subscribers are so engaged and often ask questions your answers to which everyone can benefit from. I wonder if the relative anonymity this medium provides increases the probability of such fruitful exchanges? Wouldn't that make for an interesting scholarly paper, lol...

[@benjammin7184]

I get that the thing was in G and made sense due to emphasis of G, but why would you expect a D# in key of Em? Very confused as I thought one would expect a min7 in that key?

[@ChristopherBrellochs]

Good question. In many styles of music, minor keys usually have two different pitches for scale degree 6 and 7 depending on the harmony and melodic direction. The major 6th and major 7th are often used when the melody uses the sequence of scales degrees 5-6-7-1. If the scale is going down like 1-7-6-5 sometimes the minor 6th and minor 7th are used. The major scale degrees are also used if the chord underneath them is a V chord (major triad). My theory videos should be watched in order starting with Lesson 1 to make sure you have a solid foundation. Your question makes me think you might benefit from reviewing Lesson 2 kzbin.info/www/bejne/h4eYk3dso6eEh8U, and Lesson 10 kzbin.info/www/bejne/pavCm3-Hbs2sptk. Best wishes, Dr. B

[@pixelatedparcel]

Love, love, love this lesson!!

[@ChristopherBrellochs]

Thanks!

[@emilywong4601]

Permutation- id all possible path direction 2^n

[@darrenfromla]

Hello sir! Question! I understand just about everything you have posted. BUT what about big leaps in melody that require voice overlapping? Is that something that should be done freely as long as voice leading is correct? I see excerpts from Mozart for example, huge leaps in melody and lots of voice overlap. Are there rules for that stuff? Cant find that info online. You're by far the best I've found online. thank thank thank you

[@nope24601]

What about the leading tones in the viiº6 and penultimate V?

[@ChristopherBrellochs]

The leading tone must resolve up by step when viio6 or V resolve to I ONLY if it is in an outer voice (soprano or bass). When the leading tone is in an inner voice it is not as obvious to the listener's ear and can skip down which often allows smoother voice leading in the outer voices where it matters more since they are more obvious to the listener's ear. I hope that helps, Dr. B

[@michaelspirosbrazda8600]

At 19:33 you say you know you need to double the a. You're part writing for a viio 6 chord, where I thought the only doubling absolute was that you cannot double the leading tone (the chordal root in this case). Why do you say you know you need to double the a?

[@ChristopherBrellochs]

viio6 is an exception to the general doubling rule for 1st inversion triads. You are correct that with all major & minor sonority 1st inversions triads the only doubling absolute is "don't double the leading tone." However, for diminished triads like viio6 and iio6 (in minor) the rule is, "double the 3rd of the chord." The reason for that is because the dissonance of a tritone between the root and 5th of a diminished triad is to jarring to emphasize by doubling one of those pitches. By doubling the 3rd of the chord you emphasize the more consonant tone that creates a minor 3rd with the other members of the chord. SPECIAL TIP: The most common doubling with 1st inversion triads is to double the soprano so you emphasize the melody! Best wishes, Dr. B www.patreon.com/DrBMusicTheory

[@michaelspirosbrazda8600]

Thanks for clearing that up Dr. B! After reading your response, I remembered you covered this in lecture 19 at about 6:30 when you gave all the doubling rules for triads. (putting this here for other people's benefit). Thanks for being so responsive! I'm freaking loving learning music theory with you!@@ChristopherBrellochs

[@ChristopherBrellochs]

I try my best to answer all questions from my Patreon subscribers as quickly as possible. :)

[@f.o.4537]

Can't you use d7 on the c?

[@yashramawat1063]

Couldn't understand the seventh diminished six chord or inversion... N i couldn't get why it was used instead of the simple diminished seventh. Would be really great if you could shed some light on it. Thank you! From India.

[@ChristopherBrellochs]

Do you have a specific timing in the video you are referring to? Watch Lesson 16 at 21:40 for an explanation on why diminished triads are normally used in first inversion: kzbin.info/www/bejne/p6HKg4B9arStZ6M Does that help? When in doubt watch previous videos since Lessons 1-47 all build upon the one before it. Best wishes, Dr. B www.patreon.com/DrBMusicTheory

[@anatoly1239]

Please forgive a rookie question, but it feels really counter-intuitive to me that you can fill in the whole thing without hearing it. Are you saying that as long as the final result satisfies all the rules it is as as good as any other? I always thought that there's only one "right" chord progression for a given melody.

[@elsicongru7400]

Hey Dr. B, thanks for another fantastic lesson! After the last few lessons this one felt like a breeze 😅 I have a question, how does the ii chord going to the V chord become an octave? I know the octave in the V chord was sort of 'melding' together and had to be changed, but I couldn't see any octave in the ii chord. The parallel movement has to be harmonic, i.e. a octave going to another octave, to be called a perfect octave, right? I think I'm missing something... PS: If this was unclear (or seems gibberish 😂) please say so, I'll try to make more sense :)

[@ChristopherBrellochs]

I think you are talking the ii chord in measure 2 (beat 3 & 4), going to the V chord in measure 3 (beat 1). There are two rules to consider for this: 1) parallel octaves (an octave in between two voices in the ii chord, moving to an octave in the V chord between the same two voices), 2) direct octaves (any interval between the outer voices [soprano & bass], moving in similar motion [both up or down but by different intervals], to an octave in the outer voices, with a leap in the soprano). You were describing parallel octaves which would be a problem in my example if both chords were in root position, but I initially put the ii chord in first inversion to avoid that. Unfortunately, it created DIRECT octaves which are also bad!! At 17:15 I fix the direct octaves. In the V chord, the octave in between the bass and soprano isn't a problem in isolation as you frequently find octaves in harmony. The problem would be creating those parallel octaves. My solution was to make an octave between the bass & soprano in the ii chord move in CONTRARY motion to a third between the bass & soprano in the V6 chord. Phew! I hope that helps, Dr. B

[@elsicongru7400]

Ah, so the direct octave in the V chord was the problem. Does that mean direct fifths are not allowed too?

[@viborrr]

Parallel fifths in bar 3 onto 4 between soprano and alt?

[@ChristopherBrellochs]

Good catch and thank you VERY much for sharing! When I teach a class I give extra credit if I get caught making a mistake - it keeps me on my toes. What do you want for extra credit?

[@viborrr]

Your lectures are enough credit. I've been binge-watching several a day for a week now to refresh my knowledge. It was more to confirm I was seeing right, anyway. Let me add that you are an awesome communicator. Holding my attention for so long is no small matter. Keep up the good work in spreading the thing of magic that is music. Best of luck, sweet man! :)

[@ChristopherBrellochs]

Thanks! It feels great to get comments like yours.

[@juanitogabriel]

Hello professor Christopher. You start with quarter and half notes and that is ok but, what if you start using eigth notes, even sixteenth notes? Is it mandatory that all harmonizing exercises start with whole, half and quarter notes only? Thanks.

[@ChristopherBrellochs]

Quarter notes are by far the most common (look at most J.S. Bach chorales), with eighth notes often being non-chord tones. That said, any note value is possible. The main aspect to remember is to have a clear harmonic rhythm (how often the chords change) and that certain chords should fall on strong vs. weak beats (for example I6/4).

[@whydoyoulook]

Shouldn't the F# (the leading tone) in the tenor's final bar resolve up to G?

[@joaopaulocesar7210]

teacher, can you recommend any theory and exercises book that talks about this subject in more depth?

[@jampishon]

I think there's a mistake at the very end as all voices are going down, last chord should rather be G g h g1

[@martinbennett2228]

I thought that it is advisable to avoid a fifth to an octave moving in the same direction (S and B at the end). Doesn't that have a similar effect to parallel fifths?

[@Fanchen]

There’s something called a “direct octave” when the bass steps up, and soprano leaps up into an octave interval. This I know is not something advisable, however what’s shown here is not terrible. Even though it is parallel, the bass leaps, but of course would have been better if it leaped in contrary motion.

[@inbarsegevsusar7122]

Helo there, I have a question. what about the "chart of good harmonic progression" for the miner scale?

[@ChristopherBrellochs]

The chart for minor is covered in Lesson 15: Harmonic Progression (kzbin.info/www/bejne/i6eTpKNjr92UrpI). It is the same as major with only two differences: 1) the sonorities are different (review Lesson 10 - kzbin.info/www/bejne/pavCm3-Hbs2sptk), 2) the subtonic VII chord precedes III at the beginning of the chart. Enjoy!

[@inbarsegevsusar7122]

Christopher Brellochs Thanks a lot!

[@peetnaude8483]

I see that you have doubled the third of the 3rd beat of bar 3. I have been taught that you never double the third of I IV or V.

[@ChristopherBrellochs]

Great question. For root position triads you are correct that you never double the third of I IV or V. For first inversion triads that remains true for V, but it isn't unusual to double the third in a I or IV if it helps smooth voice leading. Best wishes, Dr. B

[@joaopaulocesar7210]

hello, could you recommend me a book that talks about this subject that contains exercises? thanks

[@Dimitreus]

Great lesson but I have a question. If say, the first note is not included in a I chord, which chord am I going to use? Same for the last notes. Also, do you follow the exact same procedure if the melody is in a minor scale?

[@mikaylacooney]

I realize this comment is from two years ago, but just in case anyone is wondering: On normal circumstances, the melody will begin with a I chord, though there are some exceptions. I've seen pieces start on a iii chord or V chord, the latter being more common. As for the ending, it depends on the cadence. Perfect authentic cadences, imperfect authentic cadences, and plagel cadences end on a I chord, but half cadences end on a V chord and deceptive on a vi. For minor, yes, pretty much the same procedure is used. The only difference would be the tonal quality of the chords. In major, the I, IV, and V chords are major chords, the ii, iii, and vi are minor chords, and vii(with the small "degree sign") is a diminished chord. In minor, with the third, sixth, and seventh scale degrees lowered, the major chords are now III, VI, and VII, the minor chords i, iv, and v, and the diminished chord ii(again with the "degree sign"). HOWEVER, usually in minor, we raise the leading tone (scale degree seven) because we are making harmonies (and the harmonic minor scale includes the leading tone, whereas a natural minor does not). So now with a raised leading tone, all chords with the leading tone have different qualities. The III chord is now an augmented chord (marked by a +), the v now a major V chord, and the VII is now diminished.

[@riverfilms4548]

Couldn't the second note (A) also be harmonized with a Gsus2? I mean it doesn't always have to be a route, third or fifth of a chord right?

[@VimDoozy]

Does root position IV to V always result in parallel fifths with the outer voices? If so, why does the harmonic progression chart state that IV goes to V when you're not supposed to do parallel fifths? Is it only a problem when part writing?

[@ChristopherBrellochs]

No. You can avoid parallel fifths in root position IV to V by moving the soprano, alto and tenor down while the bass moves up by step. Also, keep in mind parallel fifths are a problem not only in the outer voices like you mention but in between any voices. Best wishes, Dr. B

[@VimDoozy]

Christopher Brellochs Thanks!

[@angelpropen9646]

Sir: quick question can the ii go to the I and can the iii Chord go to the I Chord. Please advise, thank you,

[@Lucas-hh7tk]

Hello Dr. B, I am currently watching this entire series and I have a great time learning theory with you. I have a question. In this example you are harmonizing each note in a melody. I am thinking about applying this knowledge to a simple pop song when I have a melody in let's say common time with each note having quarter value and I just want to harmonize first note in each bar to enrich the melody (so harmonic notes will be whole value). In this scenario, can I just pick first notes of each bar, skipping other notes and do the harmonization procedure on them?

[@the_unique_kulique]

Hey Lucas ..you can do that by simply harmonizing that note in a bar which has the resolution...in other words...find out the tonal centre among the notes in that bar/measure..where all the other notes in that particular measure resolve..I'm not talking about the tonal centre of the entire melody but the measure where you harmonize .it doesn't necessarily have to be the first note but any other note in that bar...I hope this helps you

[@davidasgedom8834]

Hello mr Chris, what do u mean by V6 & I6 . Does this mean the chord D6 as in D F# A B?

[@m.e.4653]

how is this going together with the most popular chord progressions (where many chordmotions move against this chart) (ex. 5->4)

[@nicholassinnett2958]

A lot of popular chord progressions are meant to be played on repeat. Using non-functional harmony (stuff that doesn't fit the chart, like V to IV) helps to stop the repetition from getting grating, since the lack of resolution makes it feel like the progression is always on the move. Another trick is to use functional progressions, but avoid strong resolutions like V-I or vii°-I (like the cliche "four chords" progression, I-V-vi-IV).

[@MikeDGuitar]

@@nicholassinnett2958 Is modal harmony, like Dorian and Mixolydian, non-functional?

[@Validol0]

Very helpful! Could you answer please how to be able to understand which chord can be used with another? You were writing that IV goes to II or V or VIIdim or I and so on, how to be able to underdstand there relationships between chords when they can or can not be used together. Thank you if you answer!

[@ChristopherBrellochs]

Thanks! I cover exactly what you are asking about in "Dr. B Music Theory Lesson 15: Harmonic Progression." Let me know if you have further questions after watching it! kzbin.info/www/bejne/i6eTpKNjr92UrpI

[@Validol0]

Thank you so much for reply! I will definitely research it!

[@DavideSchachterJazz]

Why would you expect a D# in a E- key if E- does not have a D#? Am I missing something ?I don't get it...

[@ChristopherBrellochs]

Good question. Remember that there are two possible keys in E - E major and E minor. In minor keys ONLY, it is common to raise the 7th note of the scale a half step in order to increase tension (in a dominant V chord) and therefore resolution back to E. What that means is that in the key of E minor it would be common to see D and D# at different times in the composition depending on when the composer wanted to increase the tension on a V chord!! I hope that helps! Dr. B

[@DavideSchachterJazz]

@@ChristopherBrellochs It absolutely does help! All clear Thanks so much for getting back to me this quick I appreciate!

[@michaeldumas4907]

Dr. B what video references the Vii dim 6th?...in the key of "C" does it convert to a B major chord?

[@rahimbasal6990]

B diminished chord

[@JamesKapeyeye]

Can you make another video. I can't understand😢.

[@ChristopherBrellochs]

Melody harmonization can be very tricky. At the most basic level you only need three chords to harmonize ANY diatonic melody: I - IV - V. For "traditional" classical music you'd avoid V going to IV but everything else is fair game. Try some exercise with that, or take a common melody like "Happy Birthday" and see what sounds "right" just using I, IV, and V. Also, keep watching my videos (in order), including my "Ask Dr. B" series as there may be a few things that help you in them. Best wishes, Dr. B

[@sarancharoenit5770]

❤

[@GracefulLiving1]

Agree, very complex!

[@ijuka]

Do you not consider harmonic rhythm at all? The rate of chord changes? Measure 1 clearly just is I with one passing chord. Measure 2 suddenly changes this rhythm, and it actually becomes V -> ii, as the vi is a passing chord. Your V -> ii progression, of course, is incorrect. Passing tones or passing chords don't affect it. Measures 3 and 4 are with the same melodic rhythm as measure 2. So you have a 1, 2, 2, 2 chords per measure for melodic rhythm. I think that 1, 1, 2, 2 would be much more logical, especially as this melody seems to be built for such a harmonic rhythm. What made you go for this one instead, and what's with the V -> ii?

[@denizkaptan5482]

damn i jus saw some random letters in my beginner adult piano book on the harmonization page AND now im watching this AND i don’t understand anything

[@denizkaptan5482]

i’ll come back in 5 months

[@danieltheangrydemocrat7018]

I cannot begin to comprehend this approach to composition. I am sure that not even Chopin or anyone else began with a melodic line and then harmonized what they wrote. Notes without the context of a chord progression have no meaning, they express nothing. Sitting at the piano it does make sense to first work out a chord progression that establishes an emotional context. Secondly, begin trying different melodic lines until you find that which best matches your musical idea. I have not doubt that a person such as Beethoven "heard" the musical idea in his head, both melody and chord progression at the same time and then just took that to manuscript paper. Since their manuscripts (Beethoven, Chopin, etc) are full of scratched out and Rewritten measures, this just means that they changed their mind after thinking of another way to compose the musical statement they were thinking about.

[@ChristopherBrellochs]

I agree with you that chords convey LOTS of emotion; I think that is one reason why some film scores contain long sections with primarily chords and no obvious melody. However, it is worth remembering that during the early Middle Ages all composers wrote were melodies. No harmonies! Gregorian chant is a great example of notes without the context of a chord progression, and I would argue they still express something. Certainly all the bishops and monks, thought these melodies captured an emotion of reverence, etc. Before them the Ancient Greeks talked about ethos and how specific modes expressed certain emotions - much of there music was also simply monophonic melodies. That's one of the things about music I love so much - there is so many different aspects to consider and discuss. Best wishes, Dr. B www.patreon.com/DrBMusicTheory

[@afonsodeportugal]

@Daniel TheAngryDemocrat J.S. Bach used this approach constantly, as he had to harmonize the melodies of his Lutheran predecessors, including some tunes from 'the heretical' himself (e.g 'Christ lag in Todesbanden', BWV 4 or 'Ein feste Burg is unser Gott', BWV 80). Listen to the final chorales of these cantatas. You can find them right here on KZbin: kzbin.info/www/bejne/amTHo4SVgLenr8k (BWV 4)

[@Whispersofthewaves]

E minor doesn t have D# !!!!

[@modernmozart813]

Too complicated,does Mozart learn these?

[@AbdulazizShabakouh]

Are these I II III IV V VI VII VIII called roman numerals or English alphabets? Numbers should be written as numbers not as letters! if you are using ii iii vi vii to make it easier for your students to know if the chord is major or minor etc., well you shouldn't. A music student should know what are the intervals of the chords according to the major or harmonic minor, not by changing the numbers to letters.

[@rachelsmename6]

ABDULAZIZ SHABKOUH music theory uses Roman numerals to indicate what diatonic chord (the chord of a scale) is being used or discussed.

[@Cloxygen]

guy sounds like dane cook XD

[@Freddytacvbito]

🤦‍♂️

[@donlessnau3983]

Horrtible audio. Couldn't you have found a room with even more echo>

[@ChristopherBrellochs]

Haha, yeah, it is far from what I'd like it to be. Knowing what I know now I wish I had gotten a lav mic for all these lectures. I may redo everything at some point and definitely would like to step up my audio production values. Sorry it isn't better, Best wishes, Dr. B www.patreon.com/DrBMusicTheory

[@javiermedina5313]

The parallel fifths between the alto and soprano is not a problem? (measures 3 and 4 of the final harmonization)

[@ChristopherBrellochs]

Oh, it is a problem! I think Dante's "Inferno" has a special ring in purgatory waiting for me. A previous subscriber caught my mistake but you should also get a prize for catching it! Good job. If you look in the comments for each video, I will indicate if I made a mistake. If you catch one I haven't noticed already PLEASE make another comment. I recorded these "live" which was a great challenge to be perfect; a challenge I didn't always meet. Thanks, Dr. B

[@javiermedina5313]

Christopher Brellochs Thanks a lot, your videos are really helpful, you are great teacher.

[@lioneddy6702]

Thank you.

[@ChristopherBrellochs]

You're welcome. Thanks for the comment. Best wishes, Dr. B