On episode 154, we began a discussion on orchestration for the woodwinds section and it's instruments: the flute, the oboe, the clarinet, the saxophone and the bassoon. We will now continue this discussion with a focus on suggested ratios for arrangement, ranges and more detail on the instruments themselves!
What is polytonality? Can a piece of music be in more than one key at a time? Where do atonality and polytonality differ? What does this music even sound like? If you have any of these questions in mind, join us!
We will now further our discussion of Shankerian analysis with linear intervalic progressions, compound melodies, transition between voices, more on the neighbor note and a continued effort to galvanize our understanding of the 3 main layers involved in Shenkerian analysis!
Melodic sequences occur frequently in music. They are often accompanied by harmonic sequences. Certain harmonic sequence patterns are constructed to preserve good voice leading without breaking the pattern. In this episode, we will focus on the descending circle of fifths sequence.
In episode 132, we merely scratched the surface of Schenkerian analysis. We will now continue our discussion of prolongation and listen to a few more examples of horizontalization. We will then discuss how Schenker looks at dominant and predominant functions. Ready your theory brains!
Schenkerian analysis is a deeper dive into the sea of theory discussions we've had so far. In this episode, we will merely dip our toes into this counterpoint based system. Get ready for another perspective of how classical music works!
Continuing our discussion from Ep.114, we will now focus on some of the more widely known forms of the Baroque period (1600-1750 CE). We will discuss the church and chamber sonatas, the French overture, the dance suites and the fugue, just to name a few.
Continuing from episode 112 (Altered Chords Pt.3), we will top off our discussion of altered chords. Ready your theory brain for coloristic chord successions, chromatic sequences and non sequential linear processes!
Harmonic rhythm addresses the rate in which chord changes occur within a piece of music. On the surface, it seems like a simple concept. On a deeper level there's so much more to discuss. So let's discuss!
Once you've written a theme, or a main melody, there are a number of ways you can develop it and organize it into your overall piece. Repetition, transposition, expansion, contraction, augmentation, diminution, fragmentation, variation and melodic sequences are just a few of the many ways this can be achieved. Let's, listen!
Moving forward in our discussion of form and analysis, we will dig deep into the rondo form. We will listen to a popular example, Fur Elise, and yap about the form in real time. Ready your theory brains!
Continuing our discussion from episode 106, we will find yet more ways to alter chords. We will listen to non-dominant, extended tertian chords. We will marvel at the common tone diminished chord. We will revisit linear chromaticism and reckon with the appoggiatura chord. Finally, we will ponder a few good simultaneities!
Continuing our discussion from episode 88, we will dig deeper into extended tertian harmonies from a theory perspective with the 9th, 11th and 13th chords. We will listen to chords with substituted 6ths and raised and flatted 5ths. We will discuss how they work in traditional, and in not so traditional, ways!
Follow along as we delve into enharmonic spellings and reinterpretation and the various reasons why they are necessary. We will also demonstrate some great ways to use these reinterpretations for some snappy modulations to far away places!
We've almost said everything we can about the fully diminished 7th chord. ALMOST! In this episode we will explore this versatile chord and its many possibilities. We will hear it's use as a secondary leading tone chord (viiº7 of), as a modulatory technique, as a chain of viiº7 chords and as a counterpuntal element. Enjoy our chatter on this extraordinary chord!
Orchestration is the art of choosing the right instruments, and the proper balance thereof, for a composition. Different considerations go into conveying different moods and emotions to better tell the story. The string section is often the most utilized. So let's talk about the instruments: the contra bass, the cello, the viola and the violin!
We've familiarized ourselves with the building blocks of a form, such as motives, phrases and periods. We have delved into small forms, such as binary and ternary. Now it's time to think a little bigger. It's time to talk about the sonata form and it's basic elements: the exposition, the development and the racapitulation.
Dive with us, face first, into chromaticism with this discussion on extended and altered chords. We will make sure we're well acquainted with the concept of suspended ("sus") chords and added ("add") chords. This will prepare us for an ongoing exploration of altered chords. We will also compare the use of these chords, in classical theory, to their rolls in the jazz and pop music genres!
It's time to get a little out of step with time! Syncopation is a technique that can add more color and interest to your rhythms. In this episode, we will define syncopation, give some examples and share some stories where we've been challenged by this composition technique.
In episode 65, we discussed the Italian, French and German augmented sixth (+6) chords and their main functions. In this episode, we'll dig a little deeper into these chords and talk about some other functions and placement options that can really add color to your chord progressions!
When you learn or write a melody, you may want to add some harmonic textures to it. In this episode, we will learn a melody. We will write harmonies that move along with it in parallel motion. We will then find the chords that suit it best. Get ready to know harmony better!
Picking up from where we left off on episode 71, we will now further our discussion on modulation to distantly related keys. The focus, on this show, will be the use of chromatic mediants!
Picking up from where we left off on episode 69, we will now learn how to modulate to distantly related keys using chords that are diatonic, or chromatic, in either key (or any combination thereof). Some pivot chords we will use to pull this off will include the German augmented 6 chord (Gr+6), the Neapolitan chord (N) and secondary seven diminished vii chord (viiº7 of ?). Let us invite a few more accidentals to the table, shall we? Join us!
Picking up from where we left off on episode 50, we will continue our discussion on modulation to closely related keys. We will talk about modulating to relative keys. We will discuss chromatic modulations, with and without pivot chords. We will also take on sequential and phrase modulation and we may get blind sided by a direct, or abrupt, modulation or two. Finally, we will take a moment to harmonize some modulating melodies!