Harmonic Prolongation EP 01: Tchaikovsky's Sick Doll Op 39, No 7 and Tonic Prolongation

[@jpilot07]

Studying classical forms by William Chaplin and this video definitely help understand the first chapter of prolongation.

[@SkeerdAint]

AAAAHHHH Finally a good channel to visualize the analysis of classical progression! Thank you! I can't give anything on Patreon for now, but I subscribed!

[@GUIM1797]

Thank you! I have a lot of Common Practice Period analyses to post up. I'm about to start working on an episode for this series that is pulled from Beethoven's Pastoral Sonata in D Major (Op. 28). So much stuff to get done! Haha. Scriabin, Faure, Schubert, Mendelssohn, Haessler, Mozart, Bach, Holst, Vaughan Williams, Grieg, Ravel, Brahms... so many analyses piling up in my office. Haha!

[@SkeerdAint]

@@GUIM1797 Nice! Glad to know that you know what you're going to do next. Looking forward to it.

[@music-theory-practice4131]

Great video, GUIM! Around 4:51, regarding the embellishing diminished 7th chords, you mention that the C and F# are neighbor tones. I'm wondering if you would you consider the "A" in the bass clef as an incomplete neighbor tone that resolves to the G an octave below, even if the resolution is displaced by an octave (sort of a mix between an APP and ET)? It sounds like that to my ear, but I'm wondering the if the octave displacement means it's not technically a neighbor tone of any sort. Thanks! Really enjoyed the video!

[@GUIM1797]

Thanks so much for the comment! I'm glad to hear you enjoyed! And yeah, you can definitely think of it as a Neighbor Tone that has just been transferred in register. Similar to the way a chordal 7th can be resolved in a different register (even by a different voice) and still function as the falling resolution. Eb to D can also be considered a Neighbor Tone even though Eb is leaping to G on the surface. Personally, I would have no problem calling A to G a Neighbor Tone as long as its understood to have experienced a change in register. The only reason I didn't mention that is because most of the time people perceive Neighbor Tones as exclusively being motions via seconds. So it's really cool to see this pop up in a comment! Also, for what it's worth, I usually think of both APP and ETs as being Incomplete Neighbor Tones these days. What about you?

[@sound-engineer]

Thank you so much for the insightful video.

[@YuriNoirProductions]

Hey man! great work as always. i still think your channel needs more exposition. whenever you are covering video games themes make sure to use an image of that game on your thumbnail. maybe you should do a few more about games in genereal to increase your audience. target some beloved games that tend to create tons of nostalgia with people and you will naturally gain subscribers. then divide your video portfolio slowly into absolutly beginner stuff (like your actual music theory videos ) your analysis videos (like this one ) and the one you are doing mainly for the clicks eg video games OST analysis i really hope your channel grows

[@ZooDinghy]

awesome! thank you so much!

[@Dima7979]

Thanks for a great video! Quick question - in the last section, how do you know that the fourth chord is Eb major and not C minor?

[@gruforevs]

Great video I'll have to watch it a couple more times to absorb everything! I've seen a pedaled V often used resulting in a kind of restless feel and I guess this explains why.

[@GUIM1797]

Thank you! Should any questions arise, feel free to ask! And absolutely! It's often that you'll hear Tonic pedals in the beginning and ending of piece and a Dominant pedal in the middle or latter half of the middle building up to the ending. Pedaling the Dominant will provide a large sense of restlessness because it's, essentially, empowering the Dominant chord and ramping up its need to resolve home.

[@Nirias103683]

You make such clear and enjoyable videos! Will you be making videos about modes and the soundscape each of them presents?

[@GUIM1797]

Thank you for the kind words! I sincerely appreciate it! I intend to get into Modes. I've considered doing series on each Mode that shows excerpts that fit inside the pitch collections of Modes to demonstrate their different uses. That said, are you referring to the standard Major Modes are the more obscure pitch collections like Double Harmonic Major or Dorian #4 (those are also going to be looked into)? I have a very different approach to Mode Mixture that I want to talk about as well. Normally the term is synonymous with Borrowed Harmony and Modal Interchange, but I don't used the Borrowed term and I differentiate between Mode Mixture and Modal Interchange.

[@Nirias103683]

@@GUIM1797 Wow thanks for the prompt reply! It'd be all the more awesome if you talked about modes of the major scale as well as modes of harmonic minor, melodic minor, harmonic major, double harmonic major, etc. I'm really intrigued by your take on Mode mixture and modal interchange! can't wait to hear about it!

[@EntruvWriting]

Thank you for another great video! Question from a music theory amateur about tonic prolongation: If going from a section of prolongation to the next step in a functional harmony cycle (from tonic to subdominant for instance), do you first have to always return to a tonic chord? Using the example from your video, instead of going from Gm to D7 to Gm and then to a subdominant chord, would it also work to go from Gm to D7 to a subdominant chord if, for instance, that D7 was metrically weak, inverted, and/or used in passing?

[@GUIM1797]

Hello and thank you for the kind words! When prolonging a tonal area (Tonic, Subdominant, or Dominant) you will often find that the chord initiating the prolongation will occur at the end of the prolongation as a sort of "cap" on both ends. That said, it is certainly not a requirement that the chord reappears at the end of the prolongation in order to move forward. It really depends on the context and the overall structural design. But yes, in this case a progression like... G- l D7/A l G-/Bb l D7/A l C- l C#°7 l G-/D l D7 ll ... would be a Tonic prolongation for the first four measures and then transition to the Subdominant Area in measure five when C- arrives. It would be maintained through C#°7 and last until G-/D which transitions the music into the Dominant Area with the Cadential 64.