Music Theory 1 - Video 24: Musical Form I - Motive, Phrase, Cadence.
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- čas přidán 21. 04. 2015
- Material in this video corresponds with material from Chapter 10 of your textbook. I'd strongly recommend looking at some of their examples and wordings to help solidify these ideas!
0:00 Introductions to form
1:17 Motive
2:38 Phrase
5:17 Cadence
6:19 Authentic Cadences - Perfect and Imperfect
9:43 Half Cadences
11:27 Deceptive Cadences
13:01 Plagal Cadences - Hudba
Love the video... Finally found a tut that explains this topics just exactly the way i understand, comprehend and learn. Perfectly explained with examples and sounds. Thank you Sr. I tip my hat and pay for your drinks!!! I would go through the rest of your videos. Thanks again.
Thank you Professor ! I from China learning music in BU, your video is really help me to pass the exam!
You are amazing. Thank you for taking your time to help students looking to review or better grasp counterpoint.
These videos are so helpful! thanks
perfect and concise explanation
Thanks very well explained!
I wish I had known this stuff while I was in choir. I would have actually understood some of the things that the voice majors were saying.
Mi music Teacher Dick Grove taught me that a phrase ends when an open primary beat as silence is "open" only silence (no pickup notes into silence). So both considerations make sense, cadence and open primary beats. As I look classical education calls a phrase a construct of what Jazz arrangers would conceive as an idea composed of various phrases. Like English language, there are commas, and periods. I think open primary beats 1X 3X 5X 7X (example in a 2 measure of 4/4) are commas. Half cadences are also commas. Authentic cadences are periods but not final. and perfect authentic cadences are final periods in a discourse of one to
many phrases.
Hi, first of all, thank you for this video, you explain things very clearly!
I was wondering if you would mind helping me understand something.
I'm looking at Brahm's lieder vorschneller - Op. 95 -5, at the last phrase of the first section (in Dm) which modulates to D Major, in anticipation to the second section.
From what I understand, the first 3 phrases are 8 measures long, ending each with a quarter note and a silence; but I'm not sure how to analyze and delineate the structure (form?) of the last phrase (the one that modulates):
As the previous phrases and based on where the singing ends, I think it is also 8 measures long. But I'm not sure, first of all because here there is a fermata between bars 4 and 5. Secondly, the modulation to D Major "settles" already in the 7th bar, and after the singing ends (8th bar), there are 2 more measures already in D Major, before section B starts...what I don't know is if I should I consider and mark the end of the last phrase at its 8th bar, where the singing ends (and subdivide it as 4 + 4 because of the fermata), or if the extra 2 measures need to be included and say it's a 10 measure-long phrase, (subdivided 4 + 6).
I just don't know enough about these technicalities, and I wonder if the last two bars are simply an extension of the whole section, separate from the phrases containing the verses from the poem and therefore should not be considered part of the last phrase??
I hope I was able to explain myself clearly :\ and thank you for your time.
Hi! Thanks for your kind words and your thoughtful questions. This video talks about the fundamentals of phrase and cadence, but as you are discovering, plenty of music is more nuanced than the examples I show here. Theorists like Rothstein and Caplin both have some great writing on the idea of phrase expansion, which seems to be what you are encountering here. I would recommend you check out some pages on openmusictheory.com to get introduced to their ideas (or maybe you want to jump straight to the authors' original writings!).
openmusictheory.com/externalExpansions.html
openmusictheory.com/internalExpansions.html
Hope these are helpful. Happy analysis!
I just bought the book
Very informative video! Btw, you look and talk like Stu from the Californication series. 😂
I like your videos thank you! I don't really see viio as a chord that leads to I however, can you tell me where you go this information? Do you mean V in 1st inversion? the dimished chord wouldnt normally be used in root position like that as a cadential chord.
hi! you are correct - the diminished triad in root position does not occur with any regularity in common practice music. when i say "viio-I" in this video, i mean the leading tone triad or seventh chord broadly. if we are talking about triads, then the vii chord will occur most frequently in the first inversion.
dear david can you name the text book which you are referring,that will be very helpful
Hello! The school at which I teach uses the book Tonal Harmony, by Kostka & Payne.
thanks David Farrell.I follow your videos to learn about music theory.
your videos are wonderful.i have ordered that book.Can you do a full class on counterpoint to
learn to compose like JS Bach.
Glad you enjoy the videos. Counterpoint videos are a great idea. Maybe someday I will make them! If you want to learn about counterpoint and Bach, a text that might help is "The Craft of Tonal Counterpoint" by Benjamin - I found this book to be very useful in my studies. Good luck!
thanks David Farrell.will order that book.