This course will introduce students to the theory of music, providing them with the skills needed to read and write Western music notation, as well as to understand, analyse, and listen informedly. It will cover material such as pitches and scales, intervals, clefs, rhythm, form, meter, phrases and cadences, and basic harmony. This course covers the fundamentals of Western music theory, from the absolute basics to some more advanced concepts and, as such, is the perfect course for beginners and more experienced musicians alike. Follow us on twitter @musictheorymooc #edmusictheory
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來自 The University of Edinburgh 的課程
音乐理论基础
658 個評分
與講師見面
Dr Michael Edwards
Reid School of Music, ECA
Dr Zack MoirTeaching Fellow
Reid School of Music, Edinburgh College of Art
Richard Worth
Edinburgh College of Art
Dr Nikki Moran
Reid School of Music, ECA
Dr John Philip Kitchen, MA BMus PhD FRCO LRAM
Reid School of Music
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In music, we find that certain patterns of chords,
what we call chord progressions, recur frequently particularly at cadences.
And we remind ourselves, of course, of the commonest cadence, Ic V I.
[MUSIC]
>> Which sometimes, is, enhanced by, a
dominant seventh, on the the second last chord.
So we hear this.
[MUSIC]
>> So a seventh, is added to the dominant chord, which serves to
pull the music strongly towards the tonic, so it's a very strong
progression and gives a pleasing finality to the cadence.
You find in lots of music, for example the well
known carol, Hark the Herald Angel sing goes like this
[MUSIC]
>> Or Happy Birthday To You.
It goes like this.
[MUSIC]
And that's possibly the commonest of the cords progressions and cadences.
Another cadential progression which we often find in,
involves a different cord in the third to last
position instead of the one C, we find two B and often with a seventh added chord.
Let's stick to G-Major.
There G Major.
[MUSIC]
Chord two.
[MUSIC]
The supertonic sounds like that.
We add a seventh to it.
[MUSIC]
And then we put that in first inversion.
So, we rearrange the notes in this order.
[MUSIC].
And that's our third to last chord.
[MUSIC]
I'll just play that one once again.
[MUSIC]
In addition to these and other
cadential progressions, are recurrent patterns of chords.
We find chord sequences.
The most common of these sequences is called the
Circle of Fifths, which I think has already been mentioned.
And this is a very important particular pattern.
And it's found in 18th century music, by composers like Vivaldi, writing
in early 18th century Venice, but also in later music of all sorts.
The circle of fifths is so called because of the pattern
of notes in the bass going like this from C to F, B to
E, A to D, G to C, so you're going down fifths.
[MUSIC]
And if you put root position chords on top of that in
the context of the key of C, it would sound like this.
[MUSIC]
[I'll play that again.
[MUSIC]
Here we are in, the same thing in G,
circle of fifths in G, all root position chords.
[MUSIC]
Now let's here it with some real music.
I mentioned the composer Vivaldi.
Well, here's an example of a short piece
by Vivaldi from his Concerto Grosso Opus 3.
And he uses a circle of fifths, and it sounds like this.
[MUSIC]
And here's the music again.
[MUSIC]
You find exactly the same pattern of chords in the popular song, Autumn Leaves.
Again, all the chords are in root position.
This time, we're in G-Minor.
And it goes like this.
[MUSIC]
Here's the circle.
[MUSIC]
So far the circle of fifths we've had have been with chords in the root position.
But the circle of fifths also works with some of the cords in first inversion.
Here's G-Major.
[MUSIC]
G-Major again.
[MUSIC]
You don't see the pattern of fifths in the bass because some of the chords
are in the different inversion because the second
fourth and sixth chords are all first inversion.
But it's the same chords so instead of,
[MUSIC]
We have
[MUSIC]
And again, I'll play the whole thing.
[MUSIC]
And finally, the circle of fifths is
sometimes used to modulate to a different key.
Depending on how you arrange things, you can
actually use the circle of fifths to change key.
So for example, if we're in C-Major.
[MUSIC]
And we want to go to A-Minor, we might do this.
[MUSIC]
The all important G-Sharp,.
[MUSIC]
Which is the leading note of A-Minor, pulls us towards A-Minor but
we have the circle there in the bass, once again C-Major to A-Minor
[MUSIC]
>> Or, we might want to go to G-Major.
So, if we start again in C.
[MUSIC]
The important thing there, is that the first fifth is not perfect.
It doesn't go F, it doesn't go C, F.
It goes C, F Sharp, and that pulls around to G.
So, here we are, again.
C Major to G Major.
[MUSIC]
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