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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.

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.

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!

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Thank you so much. From Malawi (Africa). I just discovered you recently and I love your videos

We love your channel 😊

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!

May I know why the in practice part the (final) I chord is not closed but open? Thanks in Advance.

3:38 the answer is a 4th higher, not a 5th

How can i contact you

I wanted to ask you.

Thank you so much.

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

Hello Again, how many times can a Model Sequence be repeated???

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,

You are the best teacher, thank you so much for this!

2:55 what about in the aeolian natural minor scale? Are there any other chords besides the 5 chord that has a dominant function?

useful information

1:08 3:35 5:05 7:01 8:39

FYI around 6:30 the 3rd set of intervals b-c is m2 and c-b is M7.

Error in labeling the 9-8 and 7-6

Dr K, I do enjoy your lectures. One errata, though. Tenor Sax sounds a M9th below the written pitch.

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?

I wish Dr. Kati were my teacher...😭

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

5:36 how can 9/8 be accepted as dotted quarter beat. y is it mentioned there

In 6:28 how is the root doubled in the II6? Sorry I can't see it!

Excellent ,Thank you

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).

I would like to have private lesson abour this ...how can i reach you?

How about a borrowed major IV chord in a minor key context?

8000 subscribers!!! Woohoo!

Just discovering this channel! I already knew the concept but this is so complete and well exemplified! From Guatemala, thank you for the class!

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!

Thank you very much, 🙌 from INDIA......

thnk you so much for sharing

Why is that 7th chord major?

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?

Thanks

Pretty simple and straight forward. Ca you recommend where we can get some more pdf exercises please

It's so goooood! Thank You! 🤘

8:00 IV to ii is down a 3rd... ii to V is up a 4th....

This was posted years ago, but I still reference this video when arranging.Easily the best video on part-writing I've ever watched.

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.

Great videos, great contribuition well explained, clear and helpfull. Thanks so much 😊

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.

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?

I’m a little sad that I did not get an example for F major. It’s okay though

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!