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where is the german 6 in bar 2?

This is actually a very good tip for students who want to start composing thank you and God bless you ❤

It seems like someone found some copyright issues with the recordings I used. Sorry, but you can find other recordings of the same pieces. Good luck with your studies. 😎

There are a lot of quiet parts in the video. I can't hear some of the examples given.

great topics and channel.

Very good! Thank you very much, Dr. Bill Carmody!

Very very very very good! Thank you very much!

Thank you for making this. Impressionism is by far my favourite period.

I put flyers up for this concert all around Sierra College and the surrounding area. I was a student of hers at this time and I still regret not being able to make this recital. However all that matters now is to keep practicing and be her good student even as she is no longer here. She's looking down from above that is for sure.

This is very interesting as someone who hasn't gotten into college and is interested in studying composition.

Helo dr. I have a question is it possible to play augmented and diminished with chromatic Mediants

I've seen all sorts of things being done to make the sonata form more interesting, from little things like the recapitulation starting in an unexpected key(such as the F major in K 545 or C minor in Symphony no. 1 in Eb K 16, first movement in both cases(the C minor first theme of the recapitulation in the symphony is more of a retroactive realization because it first sounds like just part of the development section but then you hear the transition material and the second theme in Eb so you can retroactively deduce that the C minor was the start of the recapitulation)) to full second development and recapitulation sections(Beethoven Symphony no. 8 Movement IV) or the lack of much of a development section(Moonlight Sonata first movement) or the coda being the longest part(Beethoven's Fifth first movement).

Most of the pieces I've seen called Passacaglia have had these characteristics: Major or minor key Circle of Fifths progression as a basis, could be inverted or with a clear circle of fifths bass line. Whereas the Chaconnes I've seen have these characteristics: Always in minor Lament Bass(descending scale to dominant in minor)

'67 to 72 at Ft Mac then on staff at SOM for 15 years. Out in '88...14 cruise ships 9 years Busch Gardens, Temps, 4 Tops, Commadors, Peaches & Herb, Tony Orlando, Platters, Percy Sledge, Fifth Dimension, and every biker bar from D.C. to Raleigh, 52 musicals. Still playing lead, practice every day. What a hoot Ft Mac was...Tony Horowitz,. Mike Ewald. Alan Casa grande...etc al. Thanks guys!

Is that Nat Reddick as drum major? I was in the 72nd Army Band from 1969-1971 after the school of music from 6-68 to 12-68. Started on Alto, but mostly played flute. Great memories throughout my tour of duty. Lucky to stay out of VietNam.

Creo que es la mejor interpretación de esta sexta canción y danza de Mompou que yo haya oído. La pianista se toma sus libertades en la danza, al proponer un tempo más lento, excelente idea. Gracias!

I am watching some of your video as I prepare for my DMA qualifying exam! Thanks for making these!

Hi Dr. Bill, I have write you an email. Hoping to hear from you..

Bill, again, thank you for these unusually clear and helpful videos. You are doing us a great favour!

We joined together with the Presidio band from San Francisco and the Fort Irwin band and marched together as the 6th Army Combined Band in the 1964 Rose Parade.

Hello hello! Why haven't I seen this before? I've looked numerous times for anything about the 72nd and have found precious little. This is super. I was 1st Trumpet from June '62 until Feb. '65 when I left for college. While there I was given the opportunity to record all the Army and Navy Bugle Calls at the Armed Forces studios in Hollywood. th-cam.com/channels/VrbfpuMKMrnR4oal9YSSQw.html So many memories of that formative time. Thank you for doing this.

Such a great vid! Thanks for making these!!

Thanks Bill❤️

LEGAL DEMAIS!

Excellent video, thank you!!

What book is that chart at 15:02 from? I recognize it but don't remember where I saw it.

Very useful. Thank you

Hi Bill Carmody. Were you at the Army Element of School of Music in 1964?

Thanks for this! The Clementi is indeed excellent for an introduction - I'm showing this to my class later :)

LOL the "bye" at the end... good video !

Thanks!excellent !!

Title of music?

My Dad's band from ummer '65 'til summer'71.

Always in root position.

This chords only in fundamental position or invertions are allowed?

muchas gracias!!!

what is DPLT? sorry I cant hear it clearly

really thorough, and interesting. The real innovation was in harmonic relationships.

Super great video... very helpful!!!!

How do you equate Napoleon Bonaparte and Napoleon Dynamite with Neapolitan? Very strange connection there.

I guess the question is where do theorist draw lines on calling chromatic passing tones "chords"? I tend to think of something more like m.6 of this Shostakovich piano as an "altered dominant" as he sits on it so long and pronounced... technically still resolving as a passing note would, but like an intentionally functional chord.

At 1:48 on the text there is a half diminished 7th chord on #3, is this also considered an altered dominant? Wikipedia says that occasionally the 3rd is altered, but without a M3rd how can you call it dominant, especially when it spells another functioning chord? I guessed that #3 might be possible to use as a chromatic passing note when giving a deceptive cadence that resolves to a g minor chord, in that way I can see calling it a dominant, but as a theorist I would be more inclined to call it chromatic passing notes rather than an "altered dominant" for that matter, the Brahms you played would be something I would call a dominant with chromatic non-chord tones. I thought altered dominant was more applicable to Jazz lingo than Brahms, but I'm not very experienced as a theorist. My theory of the classical origin of an "altered dominant" in jazz was that it was taken from the substituted 6th chord of a minor key that was enharmonically written to look like a triad, or extended from simple chromatic passing tones into use as a chord by composers like Shostakovich, and that the Brahms would still be seen as more of a passing/leading tone.

What sort of ass disliked this?! Such a comprehensive presentation!

Thank you for this very helpful video. There is a lot for me to learn hear.

très bien vraiment merci a curiosity v=6BD_sQ7IQ3o

Keep studying. You discover more nuances. Even if you find this chapter verbose, what do you consider incorrect?

Hello sir, i wanna know if you do music theory classes via Skype, i'm a music student from Perú and I would really like to have classes ir you!

Do you happen to have a link to the text which you mention?

I have just found your channel and I´m very enthuasiastic about it! I find it a pitty that this video (or the whole series) doesn´t have that many views. Subscribing! Thank you for developing and posting these!!

Is the Ab major chord in C major really a chromatic mediant? I am a little confused, since we can borrow it from C minor.