Lesson 19: Using Inverted Dominants

[tdtrecordsmusic]

this stuff is crazy. I'm coming from a 10 year hiatus of music. started with trombone for 8 years, left that for midi+computer for another 10 years. then hiatus for almost 10... Thought I'd start this round with some formal theory. I've had plenty of experimentation...
I say its crazy caz my other love is engineering and honestly i feel like this is more difficult to learn. Engineering topics are so clear... I think its caz with objects you can observe them. They exist. Whereas, music exists in time and your reflection is the domain. The best you have is realtime. You try to make it concrete but it is only a memory that you solidify in your mind.
ahh, just thoughts. comments help the algo ...

[MusicLover-oeig]

Excellent tutorial material, very thorough, precise, and systematic with illustrations and examples! Well done!! Thank you very much, Prof....

[curtpiazza]

Wow! This is really amazing stuff! Love the color coding....makes it so easy on the eyes! 😊 ❤ Thanx!

[bohnulus]

Prof. Seth.... Many thanks for video #19 along with your solid explanations. The BOTTOM TIER segment of video ( my fav ) was illuminating by helping me understand which V7 inversions most likely go with TONIC or indicated scale bass note. very reliable... and HARMONIC. I was always uncertain what PREDOMINANT actually meant... NOW IT'S So glad I discovered this Channel. All your videos are I'm a way better Bass player THANK YOU.!!!!

[markchapman]

6:45 That resolution chart for the possible bass note transitions from V to I is pleasingly symmetric.

[caterscarrots]

What do you mean you can't rise to scale degree 5 using just tonic and dominant? Wouldn't this work:

I -> V43 -> I6 -> V42 -> V7

or something like this:

I -> V43 -> I6 -> V42 -> I64

where the V7 would just be extending the dominant function further and the I64 could either be cadential or passing depending on what comes next(I mean, I have heard of the "passing 64")?

Furthermore, couldn't you go up the entire scale using tonic and dominant only like this:

I -> V43 -> I6 -> V42 -> V7 -> Iadd6 -> V65 -> I

where the Iadd6 is the tonic triad with a non-chord tone that is the sixth degree of the scale, so if we were in C major, it would be C, E, G, A

[larstinderholt]

You dont seem to mind doubling the third in a first inversion major chord. I thought that was a no no ? I really love these videoes. Thank you !

[orb]

I have a question regarding the doubling in I6. I learned that you shouldn´t double the bass of a I6 chord, yet in these resolutions it seems that you can freely double any note in the I6 you want. What gives?

[garrysmodsketches]

Great content! Please, can you explain, is it possible for V7 chord in root position to resolve to I6 (tonic chord in first inversion)? I mean in classical style.

[leo.israel]

Great Video! All of them actually! one question: on 4:54, on I6 inversion, following the voice leading rules we actually double the third. Wouldn't that weaken the chord in some way?

[waynegram]

You haven't made a video about resolving the chordal note 7th and leading tones to parallel 10ths. An interval 10th is the root and the 3rd of the key/scale degree. I'm not sure why its often the classical composers will resolve the chordal note 7th and LT leading tone to a 10th interval. I'm guessing classical composers only do this to resolve the V7 chord but not any other chords in the key do they resolve the 3rd, 7th and LT to a 10th interval?

[chessematics]

11:34 while still being completely serious about learning and appreciating all this effort Professor Monahan puts in, we should really enjoy the "Trio van Beethoven" (if you noticed what I'm talking about)

[plastickfork]

Hi, can you explain, or point to where I might gain an understanding, as to why the two pieces, Beethoven and Schubert, in Cm, are analysed as though they are in Eb major? My presumption is that in those passages they have modulated to the relative major and so Eb is designated as the I (tonic) rather than the III of Cm and the rest follow form there. When analysing pieces is there a way to identify this happening if the piece is said to be in a certain key? I imagine this could cause me some confusion when looking at pieces where I would note this 1, 4, 5, 1 bass progression (Eb, Ab, Bb, Eb, as in the Beethoven example) as it’s minor equivalent of 3, 6, 7, 3 if the piece said it was Cm. Presumably identifying the cadence and working back from there to determine if we are in the minor or major progression can offer clues?

I realise I’m a random person asking this many years after you’ve posted these videos but yes they have been keeping engaged in the cold winter months and I have been grateful for them so thank you for all this amazing work you’ve made freely available. I also realise there may be some gaps in my understanding and so this question hopefully at least makes some sort of sense.

[romyn]

Hi Seth, at 2:30 you explain that a V7 chord's chordal 5th has two options for where it could possibly move, up to the 3 or down to 1. But both of those notes are being filled up by the tendency tones, so how is the chordal fifth able to move to one of those tones?

Or is the movement entirely ambiguous and would the movement from multiple chord tones to a single tone still be allowed?

Thanks again!

[Atezian]

11 years of learning theory and i still have no idea what those numbers are next to the roman numerals. I started on ep 14 so i must have missed it. Does anyone know if and which video it is explained in? Thanks :-)

[davids]

in 12:41 isn't it supposed to in Eb major ?