Tonal HARMONY | The SECRETS of Four Part Writing (SATB)
Vložit
- čas přidán 19. 06. 2024
- In this episode we explore the rules and concepts of Four Part SATB writing. In this video we will also do an analysis of of the J.S. Bach Chorale No. 249.
Figured Bass video:
• Video
THE BEATO EAR TRAINING PROGRAM: beatoeartraining.com/
BUY THE BEATO BOOK HERE → bit.ly/2uTQFlo
Mastering Modes of the Major Scale Video Course:
bit.ly/2yhlfD2
The new all-PDF Mega Bundle! Get it here: bit.ly/2jfkyaB
SUBSCRIBE HERE → bit.ly/2eEs9gX
--------------------------------------
My Links to Follow:
CZcams - / rickbeato
Artist Facebook - / rickbeatoproduction
Personal Facebook - / rick.beato.1
Instagram - / rickbeato1
Follow On Twitter - @rickbeato
www.nuryl.com - Hudba
![Eminem - Houdini [Official Music Video]](http://i.ytimg.com/vi/22tVWwmTie8/mqdefault.jpg)
I learned this in high school and wrote a few chorales as assignments and for a term project. took me from 3 chord punk guitar owner to curious music student in 10 weeks, and i haven't stopped since.
I paid thousands to learn this stuff as a music major in college. This is legit!
WOW WHAT A MORON.
@@theplayerformerlyknownasmo3711 lol chill
you're giving homework now rick??? you're awesome in so many levels man!!!
Bach-- the critical nuts and bolts and inspiration for millions. Unmatched genius for centuries.
mark 👌😊🎶👏
Yeah!
The reason to avoid parallel fifths/octaves is not merely a "hollow sound" but because it causes tonal ambiguity (the voices are no longer separate and the harmonic pull is lessened). Of course some composers sometimes use them deliberately for that reason.
Correct. It makes the voices difficult to hear because the 5th interval contains the note that is strongest in the overtone series which masks other voices.
Rick Beato
I honestly never really truly grasped that overtone argument when dealing with parallel fifths.
I'm honest, correct me if I'm wrong, but I never saw how the fifth, being the third harmonic, moving in parallel motion somehow "masks" the other voices. Is there some evidence I missed out on, or is it all just hypothetical?
Basically where's the merit in such a statement? Is it only understandable once the ability of 'good ears' is advanced enough?
I'm not here to argue since I don't have any arguments against it other than simply me not getting it. I get it meaning I'll pass the exam, but at the same time I don't get it in the sense of not hearing this "hollowness" as you mentioned. Where does this statement derive from? Is there some mathematical explanation that I missed? How come I just don't hear this 'thing' about parallel fifths? Help.
Hi, I think we have to see these rules in the context of a certain aesthetic or musical language. The language we talk about historically differed from earlier styles in (i) stressing melodically independent voices and (ii) accepting thirds as consonances. Parallel fifth do not sound horrible per se but are not exactly sophisticated solutions in the context of the above. Not my argument but that of Diether de la Motte in his harmony theory book (in German).
How would parallel octaves compare with unison singing where the soprano/alto lines are together on the same note with the tenor/bass line an octave below? My SATB choir started Christmas rehearsals yesterday and there was a lot of unison singing in the scores especially on the last verse.
Alex Velasquez-Ebersole
If the soprano and the alto are singing in unison and the tenor and the bass are singing an octave lower, then there is actually just a single part that all of the voices are singing. It has little to do with four part writing.
And yes, parallel octaves and parallel unisons are basically the same thing.
Doubling a voice is common, but then we are talking about a single part that two (or more) different instruments are playing. It's not the same thing as using occasional parallel octaves/unisons.
You have already left such a beautiful legacy of education on this channel. I and so many others thank you.
This is a condensed version of a semester's worth of harmony 😝👍🏻
You learn this on the first day though
Yeah, literally
Svit nope
Yes, it's a lot of work!!
Out of so many music tutorial videos this channel this one gives you a really unique combination of knowledge and wisdom coming from years of various experiences. And more importantly I can feel the true passion about the music here. Rick's videos work for me much better than any motivational speaker's videos out there inspiring me to get better in any aspect of my life, not only music. Thanks Rick.
I had to write everything down, but there is enough here to finally jump start my understanding of vocal harmony, something I sorely lack. 8 minute video has more info in it than some 60 minute lectures. Awesome.
Rick Beato... I hope you read this. The time you've taken to make these videos has had a profound an impact on me as I suspect it has for many of your viewers. You're an incredibly gifted teacher, a talented musician, and an inspiration to many. Thank you! Thank You!! THANK YOU!!!
An amazing amount of useful information here.. Learned more from this video than an entire semester in a college harmony theory course! Thanks, Rick!
This is a Great lesson that has stirred up memories. I purchased the Beato Book and hope we see future 4 part lessons. Thank you Mr. Beato.
That was a ton of great information delivered in just 8 minutes. I now have a little bit of an idea of how voice leading works. Really well done.
Takes me back to my high school music theory class. Thanks for the flashback, Rick!
Nice video. I remember purchasing that Bach chorale book 10 years ago, and in a fit of foolish inspiration analyzed and transcribed the entire thing into the DAW I had at the time. The procedure required roughly 4 months and some 3 to 4 hours per day to accomplish. It certainly improved my sight reading, but I'm still completely numb to the sound of his chorales.
This is a great review of this information, Rick! So many rules and things to keep in mind!
I already knew almost all of this and yet I ask myself... Is this the best youtube channel ever? I think yes. Thank you for everything you share - we are all always learning from you, and your contribution to culture.
Still can't believe my good fortune at having found this channel. Thanks, man!
I started reading Fux's Gradus ad Parnassum last week. It's very nice to see a summation of the basic principles with good examples. Thank you for this video.
Fabulous tutelage, Rick! Thanks for everything.
Great lesson, Rick! I come from over a decade of SATB choral singing as a Tenor 1. One thought I had on the parallel fifth example is that for many tenors that low C is such a weak note that it probably won't come through well in the blend. For many choirs there are fewer tenors than the other three voice parts. Also most every choir I've been on had a couple women as tenors. So low notes for tenors won't add much to the overall sound. If you want that low fifth to stay there is a way to keep it by splitting up the bass voices.
Hi Rick, I started studying this in 1988 but I never have enough :) and you are a great teacher. Ciao!
After only three minutes I am moved to say thank you for these three action packed, information dense minutes. Great concise information on an area that I have managed to not experience yet. Cool Rick. Now for the rest of the video.
Best music channel OF ALL TIIIIME!!! Thanks Rick!😎
i have learned more in this channel than in the classroom, this is one of the best channels of youtube
Took a class for this last year. Ate me up! Lots of stuff too keep in mind!
literally started this in theory class today ! Much love
Great tuition ( blimey, as ever Mr Rick ) thank you .
Thanks a lot for the great summary of SATB rules!
What a gold mine! Rick, thank you so much🙏 A lot to unpack here🍻
you nailed it. And a real nice arrangement of Bach.
Great motive! Love your channel its very inspiring for the musical brain - thank you!
This was really good. I like your delivery and style. Its concise, direct, and no bullshit. Thanks. Sub'd.
Awesome video Rick! Thank you! I sing and record all the parts of Hymns to help me get the sound in my ear, improve sight singing and production skills. Thanks again!
Awesome. This is super condensed and it perfectly complements other material that is more detailed and lengthy. So here's my recommendation to others. Spend a bit of time going over the longer versions of SATB , get some of the concepts down. Then bookmark this video and go back to it for a quick refresher.
excellent cours, facile et compréhensible!
Super sound & Lovely arrangements , Thank you so much Sir...
thank you thank you so much for sharing your knowledge. Is a real inspiration to see and hear the music explained in such detail.
This is sick. much love Rick!
Learning the terminology is so important
Thanks for another great lesson
got my trinity grad 8 exam in five days, this helps!
Hej Rick! Big thanks for that! It's hard to find good explanations on SATB- writing and of course this was quite a bit of info in very short time. So I'll happily spend more time with this clip since I hope this will help me along as a filmscorer and perhaps even as a foundation for big band arrangements? Big cheers from Hamburg and keep up the great work! Dave
Great, informative video!
Great Rick thanks! It was all these rules that messed me up in college learning this. interesting
YES! Thanks Zz Beato
Hi Beato..U have lectured it rather quick and takes a little time for me to keep up the pace in the understanding.,anyway needless to say I had to rewind this video for the do's and don'ts especially..Good job as usual, quite interesting with every word in your lecture was little out side the music and theory.. Thanks so much..God bless..👌😊🎶👏
Finally.. some nice sounding harmonization
Wow cool! My boyfriend should do more Bach Chorales and watch this video - great job! I️ learned a lot!
Hidden 5ths used to kill me in music theory. 😭 I just emailed my music theory teacher earlier today. This was such a nice review. Thank you.
Your alto part is beautiful. The inner voices move so well, and I appreciate your figured bass at the bottom of the staff. It makes for good Roman numeral analysis.
I get it! Rick Beato cases epiphanys. I live your videos.
Excellent lesson! Great job at condensing the info! And of course rocking the Bach is taking it to the source. Go Rick Go!:-)
That's great, Rick! :)
One of the most beautiful examples of Bach put into great Rock Music is the band Procol Harum with three masterpieces called the whither shade of pale a salty dog and homburg.
Recalling the same era and Keith Emerson with "Nice".
Excellent Sir this is Manikandan from Chennai-India I like your simple explanation thank you very much.
Thank you so much rick
Rick, it would be great if you did something interactive where you put the bass continuo alone of a piece and had folks submit their SATB parts, and have a lesson where you pick one or a few to deconstruct or offer constructive criticism! Awesome content as always!
Love it!
Rick's channel rules! Thanks Rick!
You're the man Derryl. Everyone, check out my good friend Derryl's channel!
Nice and concise. London
Finally a simple explanation for counterpoint
Great video. Cut to the chase. Repeating all these rules quickly was how I "prepped" for a test during the 4 part writing education phase. This is a great formula, especially when you combined the visual (staff/notes) with the audio (keyboard example playing). Do you plan to do any more rapid fire rules that build immediately off this?
Really cool!
thank you so much !
Thank you very much .
good stuff!
Theory 1 all over again. I didn't realize I was so traumatized. Great video!
Awesome!
thank you!!
I'm a Baritone but when I sung in a Church Choir I sang Tenor because they only had one and I'm on the high side of Baritone. If you belong to a Church and have decent hears and pitch singing SATB is a great introduction to harmonization. Also if Church isn't your thing their are other choral opportunities like Glee Club. Think there used to be more opportunities like in the folk era of late 50s and early 60s. Many local small volunteer choirs don't require music reading but it helps if you can go over your parts before you sing with the choir.
Parallel Fifths
You should do a video on parallel fifths. Where, when and why did the prohibition on parallel fifths arise? What was the justification for it? Why did almost every composer comply with this prohibition for centuries?
Do parallel fifths sound bad? If so, why did so many 20th-century composers employ them. If the answer is that their training in tonal harmony meant that they knew when to use parallel fifths and when to avoid them, then why did, say, Bach never use them? Was his ear not as good as Holst's?
Do parallel fifths really obscure the harmony or voice-leading? What does Dylan have to say?
Are passages of classical music marred by inadvertent fifths (eg Beethoven's Pastoral Symphony, opening measures)?
Schoenberg devoted several pages of his Harmonielehre to the subject without coming to a satisfactory conclusion. I think he even contradicted himself in a footnote in a later chapter, as though he was having second thoughts.
And what about the ban on parallel octaves? Is that for a completely different reason?
There's an unsolved mystery here - an elephant in the room, if you like. Schoenberg couldn't solve it and it's beyond me.
Schoenberg did go to great philosophical lengths on the subject of parallel 5ths, but only as a means to ponder these questions, not as a means of teaching the basics of music. After pages of pages on it, he finally reaches the conclusion that no matter the historical origin/context of parallel intervals, students of music should still be taught according to the tradition (Fux). I would suggest picking up a more concise book on the subject of Harmony, such as Tchaikovsky's Practical Guide to Harmony. I think reading that will help clear your doubts as to what is musically practical/impractical according to the tradition, although the rules of voice leading have loosened over time and are going to be presented differently in Tchaikovsky's book compared to Fux's. That sort of brings me to my next point- the first example is not really bad. Tchaik argues that the bad effects of parallel 5ths are negated should there be contrary/oblique motion in another voice, which happens in the bad version first exercise. I'm not saying that the good version Rick presents is not objectively better, as it does satisfy more guidelines of basic voice leading, especially for real human voices. I'm just trying to illustrate that there is a difference between "strict part writing" and what is used in common practice in music from the romantic era until today. Brendan, Bach used parallel 5ths all the time like Rick did here (tenor/bass move into a parallel 5th while soprano/alto move in contrary or oblique motion). Part of the confusion lies in that what may be suitable for one composition may not be for another. Every example shown here is good music, but certain distinctions have to be drawn when you're talking about music from different eras and how the composers were interpreting part writing rules at that time.
Hey Rick, awesome video.
I'm a guitarist (mainly rock/jazz/blues) and I got my counterpoint diploma this summer. I've been trying to find ways to incorporate a 4-part writing style (obviously not completely authentic) into a more modern composition, possibly for a jazz band. Do you think it's possible, even at certain sections? Or should I abandon the idea and look at them as completely different styles of music?
I kinda regret taking counterpoint and harmony lessons for so many years because a) I'm not a classical pianist and b) as a modern guitarist, I don't know if it's possible to use most of these concepts in a more modern setting as I said earlier. It's wasn't that bad and I intend to take some proper piano lessons but I still think it wasn't the best idea to study classical theory.
Thanks again for the video, Rick.
powerful stuff
Next lesson please!!!
Thank you.
Beato is a Legend. Like if Zeus was a music teacher. Can go about all genres effortless and different instruments and that elusive vague stuff like feel and style. .
Your videos are really helping me!! Would you make a video about Ennio Morricone?
Awesome! When will you do a video on Zappa ???
yea, that!
where has this video been all my life......
So cool: revising school harmony with Rick. Could you analyse Air on the G string from Suite 3 in D maj. ?
thank you :)
How fast do you go LOL...all those rules are capable of giving me total creative block!!
Awesome.
Great video, rick! I'm surprised I never heard of that "double the 3rd on diminished chords" thing, I'll have to look that up as I'm curious how that works.
It goes along with also usually using diminished triads in first inversion. You don't want unequal 5ths in the bass, and you also shouldn't double the leading tone because you'll either have parallel octaves or one voice resolving weird.
I haven't studied four part harmony since college. It might be interesting to review it again (or not).
Dear Rick, i don't know if you are reading any of the comments, but i really wanted to ask you, i want to learn composition very very much, i am watching your videos and while i am learning a lot i find it hard to do it coherently, i don't know what should i be learning when and what reading materials to use and so on, could you please make a video about how one should go about learning composition on his own. thank you very much, you rock!
I recomend "Deep Peace" album Bill Douglas, it's a masterpiece in SATB choral
I was taught to double the root for root position chords and only double the 5th for second inversion
Thx soooo much
This is also the basics for contrapunkt (the book for second grade of the middle music school).
Hola Maestro, you should consider creating an online everything music university. Saludos desde Colombia.
+Ray Pianoman I have one. It's called the Beato Academy of Music. Just go to my website and you can find it
Voy pa' esa! Gracias.
Thanks.
There are different schools of thought for part writing. Schoenberg advised to sustain common tones to avoid mistakes. Or say for a diminished triad, the dissonant interval (the tritone) will need to be prepared by a II or IV chord, and resolved to a III chord. Other things too, like hidden fifths/octaves are permissable but only if they take place in the inner voices, or one voice moves by a step and the other by skip (as long as it is an outer and inner voice). But movement by Soprano and Bass for hidden fifths/octaves is not allowed. Or for doubling, root takes priority, but doubling the fifth is also acceptable if it leads to smoother part motion.
There are a few details that seem to have been forgotten from the Vienese tradition which Schoenberg was adamant about teaching for some reason...
Rick! Can you do a video on writing a fugues?
In case you didn't know - he now has.
"Too many notes, your majesty."
There it is.
finally some one with a list of rules
I actually love how parallel octaves sound - they create a bit lighter texture even though there are still 4 voices. They're not wrong, they just don't follow early conventions. Parallel fifths are a bit harder to make work but they can sound great if done in the right places - especially if that "hollow" sound that is described is desired. Out of context, nothing can be "wrong" - only within the context of other music can any of these sound bad.
Then again, this is a very good video and explains well why these things aren't used.
If you're trying to sculpt textures of sound, that's totally find, but it seems parallel octaves/fifths are avoid for the sake of contrapuntal clarity between the voices not for their 'bad' textures.
One prime reason that parallel fifths and octaves were banned in academic music is because they were too easy to adopt. This led to the rules defining the genre and training to hear what you are instructed to reject. Stick with the rules if you want to stick with the idiom. Disobey if you want to create a particular effect. There is a saying about the "guidance of wise men and the obedience of fools".
thankyou
Do much more of these pleeaaaaseee
Shiiittt you're going to help us analyze Bach :O
Yeah that's awesome, I'll enjoy watching this series very very much.
Rule 0: break any rule if it sounds right.
your Completely right but, not in classical arrangement i guess :)
If it sounds good, Its because you followed the rules without realising it.
@@arsen578 Yes we can. :) Following some great composers like Mozart, Beethoven, etc. They wrote parallel fifths and octaves on their compositions. Mahler also broke some rules. My compo teacher told me to learn the rules and try to break it. :) Thats the secret of a colorful piece 😉
It's good to have hope but music has already been analyzed back and forth by far too many great musicians. It might be rules on breaking rules you're following but it's still rules, the only difference is the approach you've applied. :D
tompw3141 yea maaaaaaan thats just the maaaan tryna’ put you down with all those rools and buks