How to Listen to Classical Music: Tonality
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- เผยแพร่เมื่อ 9 มิ.ย. 2024
- Explains Tonality, Keys, Key Relations, Modes, Characters, Modulations, Relative Major/Minor, Dominant Preparations, and how composers use all this.
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This video covers much of the crucial ground needed to understand tonality, tonal systems, tonal and modal music, major and minor keys, key relations, what it means to modulate or key change, what is the tonic, dominant, subdominant, relative major and minor chords, and more. This information is crucial to absorb if you want to understand classical music at a higher level, because it permeates so much music, from J.S. Bach through Mozart and Beethoven, all the way to 20th Century composers such as Shostakovich and others.
While many people use classical music for studying, relaxing and relaxation, or sleeping, far fewer people actually enjoy listening actively. Due to the difficult state of music education, most people don't know how to follow a symphony, or how the best composers wrote and structured their works. While it has been proven that classical music can be beneficial to the mental development of babies and kids, I believe it has life enhancing qualities for all ages, and as an art form deserves to be shared, whether through outreach, or tutorials and lessons like these.
Classical music, at its best, can be richly emotional, and I believe that its emotion can be unlocked by anyone willing to follow these guides through. The principles that I will go through apply to all music, whether live in concert or on CD or Spotify, and whether you're listening to Mozart, Bach, Beethoven, Handel, Brahms, Chopin, Wagner, Verdi, or Puccini, and whether listening to Renaissance, Baroque, Classical, Romantic, Orchestral, Choral, or Chamber music.
Many programs suggest that learning an instrument such as the piano, violin, guitar, cello, oboe, clarinet, or singing in a choir, is crucial for music appreciation. Well I think these skills, as well as learning to read sheet music and training your ear, can be extremely useful, I believe that almost anyone can learn to enjoy classical music with minimal training and music theory. Therefore, this short series will be very light on music theory, and will only use it when necessary to highlight certain forms such as sonata, rondo, and other typical forms.
While I originally got into classical music via movie scores and film composers such as Howard Shore, John Williams, and Hans Zimmer, I discovered this way of listening which has completely changed the way I approach and enjoy classical music. I hope through these videos I can share that with you.
Sources:
Essays by Donald Francis Tovey
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Dude, again: Thanks for this amazing content!
Thanks! Glad you enjoyed it
100 likes 2 replies
I just found you today (October 2020). Quarantine has changed me in many ways (see: my screen name). I'm a music omnivore who is just getting in to classical and found your "First Thoughts on how to Listen" video by searching "Introduction to Mozart". - New fan in LA
The Shostakovich picture is from his Hogwarts days.
Harry, yer a Soviet composer.
I enjoy that Beethoven picture. It looks like he's wearing a bad wig.
He was a tonal magician.
You are a composer, shosty
If TH-cam was a university, then you are definitely one of the finest professors!!! I love these video series, learned so much!! Thank you!!!
I’ve been playing classical piano since age 7, so you could say I’m a “native speaker” of music reading. But listening to this video, I realized I would have had no clue how to explain these concepts to a non musician. Excellent presentation.
The Bach at 9:30 is the Credo: Et Expecto from the Mass in B minor (cantata BWV 120) if anyone was wondering ;)
Thanks!
God bless you
Tonality:
Schoenberg: We don't do that here
wyschnegradsky- we don’t do 12 tone temperament
I'd like to hear a comparably coherent explanation of serial composition theory and techniques, eventually. I'm one of those people who has listened to Schoenberg for pleasure.
@@georgehenry8391 Isn't Schoenberg a form of masochism? Haha
Thank you for giving the significance of historical tunings a mention! This is so important to tonality and not a mere footnote in musical history / aesthetics.
Wow, I just binge watched many of your videos, and I think I am convinced to try out this whole universe of music... Really excited
Definitely do! I hope I can make more videos this Christmas! Just been super busy at Yale. So glad you enjoyed - that's why I made them, so people can discover the power of art music :)
Why does this amazing channel have only 2 thousands of subscribers? I firstly thought because of the level of content that it has 1,8 millons. Thank you for your videos!
Haha - it's a hard grind! Spread the good word
44k in Jun 19 and growing
"Why does this amazing channel have only 2 thousands of subscribers?"
Because everyone is busy listening to the really _culturally important_ "musicians" like Lil' Wayne, Kanye, and Beyonce.
@@djtrendsetta5766 headass
@TurbanGuy4k "do you hate rap?"
Yes. It's devolved into nothing but a bunch of low-IQ cretins, virtually none of which can (a) play an instrument or (b) sing, speaking over the top of someone _else's_ pre-processed beats.
Love that I’m using this to study for a final exam where I have to be able to tell or at least guess fairly accurately which key he has modulated to… And the final comment is to not worry about it bc most people can’t hear it… OMG this class is killing me.
Hope you were exam successful. That instructor sounds sadistic.
Haven’t got a clue as to what he is talking about but it is fantastic.
What a fine presentation: clear, easy to follow, very helpful....
Thank you - very glad you enjoyed it!
I read and watched a lot about these things without getting it, now I understand, you are amazing in explaining this. Thanks
2:34 that's harmonic minor, not a natural minor scale. Aside from that, great video. As someone who grew up on classical music, I hope more people learn to understand and appreciate it. I think I can learn a lot from your channel too, because as a child I never really paid attention to structure or tonality because, well, it was music I liked and it didn't really go beyond that. Thank you for educating me and many others about classical music ^^
I was gonna comment that
@@tteerabeats9116 me too
I normally don’t comment on videos but I LOVE THIS! Helped a lot to understand tonality for my class!
You used one of my favorite passages in all of music to illustrate the distant key relationships - the Schubert B flat somata, and that pendulum swing he does between Bb major and d minor, with the rumbling in the bass. So smooth, so subtle, and astonishing. Schubert always surprises me with his modulations, I find myself asking "how did we get here?" because he does it so effortlessly and quietly. He seems to avoid the usual route through the circle of 5ths, or obvious emphasis on the leading tone, I think he slips into his new keys in the voice leading and that's how it passes unnoticed while he's doing it. His ability to shift harmonic centers amazes me every time because I never seem to hear it as he's doing it; it's hard to catch him in the act.
Would you consider an analysis of "Erlkonig" or perhaps some highlights from "Schone Mullerin?"
Hmm two new compsers to me I haven't heard
This isn't just for classical! Excellent!
I highly recommend the book Beethoven: His Spiritual Development by J.w.n. Sullivan. I really felt like I understood Beethoven and his music. It's a really good book.
This is just WONDERFUL, I studied without any but any, zero knowledge of tonal music at college; MUSIC. It was entertaining but yet hard and nevertheless the motivation of studying what I always liked and wanted to study kept me going 'til HARMONY IV, until, well, German chords and Italian chords blabla started, then for the sake of my dignity Lol I dropped the class. However many doubts stayed within my "developing ideas" at the time to compose my own music. I had two private tutors and they never had the patience to listen my questions, always cutting me off and going different direction going over what I understood but what I asked. Painly. Today listening to this wonderfull explanation after many years I've FINALLY understand the Modulation on key relation. How easy and simple is that, plus the bonus of how composers composed? Wow!! U are wonderful, I'm subscribed and ur first student in the row. I only hope u really reply any Q's I may have. Awesome great informative well clear explained Tonal Music. Thanks so much 😍🙏🏻🎼
I already knew much of what you covered; from that perspective, I found your explanation extremely coherent and useful, and did learn a few points. Thank you for the engaging tutorial.
This may be one of the best music theory videos on YT
I appreciate your channel so much! You make theory easier to understand and everything so engaging, I want to know more and more.
Loving these videos. Thank you!
I really enjoying this series very much, thank you!
"This system of tonality is not a science."
Would Pythagoras agree?
Well... it doesn't behave universally across cultures in ways that are consistent. There is certainly some science within these theoretical things but not in the same a modern scientific theory has to be composed of.
I am a relative newcomer to classical and orchestral music. Your videos are very helpful. Thanks for putting this information out there!
Thanks! Well worth listening, you really put a lot of info in/on this one.
Can you please make videos dedicated to explaining tonality explored by each composer individually, and make them into a playlist? I am not a musician myself, however I am passionate about classical music and would love to venture into the details of how tonality works. This video is the clearest quick explanation I have ever listened to and I am afraid you've left me only wanting more!
Feel free to inbox me if you have any questions about a particular composer or style. These videos take the guys who make them a long time, so there's no guarantee you'll get answers you want quickly and completely.
They're doing an awesome job, and this kind of quality takes a lot of time and effort.
The basics of tonality have been consistent since Bach's time, so all composers since have basically been working with the same tool set. However some composers are more constrained - meaning they tend to remain within a few comfortable keys, and other composers are more adventurous - meaning they like exploring distant keys more. Most classical music has fairly conservative use of tonality, until the late romantic period, where it become more adventurous. However, the amount of chords used has nothing to do with how good a piece is. Brilliant music can be written in just three chords or so. When chords don't change often, it creates more emotional impact for when they finally do change.
@@avenp.5739 I just saw this, thank you very much! I'll get back to you with particulars soon I guess
@@malekelsayed144 Coolio! I'll be waiting.
That is a really good request.A lot of work but he can put it together in one video.
Just discovered your channel today. I am so grateful! Thank you so much!
Really good lesson, clear talk! Thanks
Thanks for these videos. I love classical music and im a music theory geek. Pls keep up the good work!
Very informative, clear and concise. Thank you very much. I look forward to more.
Wow brother thank you for this wonderful work,I'm a first year music student and your explanations are easy to follow and not to complicated!
May the Lord bless you for all your hard work!
Thank you. Very very interesting and enjoyable. This is an exciting adventure into beautiful music.
so good! I have never taken much interest in music theory but now I am so interested because of your videos
That passage from the Schubert Bb Sonata beginning around 11:00 gets me every time I hear it. I don't really know why it touches me a certain way, but that pendulum swing between d minor and Bb, and the rumbling in the bass... That's playing around with the harmony and the key relationships, pivoting so beautifully around the single note D. If you ever revisit this topic, a great piece to exemplify the use of key relationships is Schubert's "Erlkönig." It's easy to hear the key changes, and coupled with the story being told from three different perspectives - the boy, the father, the elf king - you have all the ingredients to highlight how key relationships can paint the picture and tell a story.
Same here. Whenever I listen to it I remember about my "not-so-good" childhood.... Listen to Beethoven's arietta of 32nd piano sonata its same as emotional as Schubert's one and it always makes me cry. The scherzo of Schubert's B-Falt is also one of my favorites
I thoroughly enjoyed this ! :)
This is so well explained; thank u very much. So great.
Your videos are awesome! Finally I can understand!
I'm getting these vids to help my sister learn music, thank you!
Thanks for the video. I really liked it. Subscribed! love
Man where have you been all my life! Such incredible content, thank you!
Who else has to watch this for music class??✨
I cant thank you enough for your great videos!! Thanks so much! You offer so much!
You are a great music teacher! Please post more videos on the theory of Western music and music composition!
Wow, such awesome content! Thank you sir!
I love classical music as well as modern but I don’t understand music theory. I’ve always found it intriguing and I thank you so much for this video. I am looking forward to the others. I am not bored by music theory
Thanks for the video. I really liked it. Subscribed!
Nice stuff! Thanks!
Amazing content. Thank you very much!
Great lesson. Thank you very much.
Thank you so much for this video!
Thank you, much appreciated! 🤗
I want Bruckner symphonies analysis. Thank you!
THIS IS THE BEST FUCKIN' EVER INTRODUCING VIDEO OF THIS SUBJECT I'VE SEEN.
Thank you, dude. I'll watch your uploads and immediately apply it.
Many thanks. That's very exciting. You explanation is art too.
GOOD JOB
Interesting that you guys have different names on the second, third, and sixth step.
In Swedish we call it Tonika, Subdominant paralell (because we se it as a paralell to the fourth step in the scale), Dominant paralell, Subdominant, Dominant, Tonika paralell... and the seventh is an incomplete Dominant sebtim.
I like the idea of these videos. I’d appreciate more blow by blow analysis of particular songs.
This is the first video in this series I've gotten excited about
I'm obsessed with the PMD score, and I found a video a while back explaining why it works emotionally. I kind of followed it but didn't understand a lot of terms they were using. It made me realize I wanted to, though. It made me realize that a lot of compositions have so many deliberate decisions in them and I wanted to hear what composers were trying to tell me. I also searched for this series bc I was frustrated I couldn't tell people why I kept listening to the Firebird finale over and over. What moments I liked and where they were. It is kind of exciting to find out about the real structure behind these great melodies. Your descriptive language makes me wonder if tonal shifts are the reason I usually see space travel or birds whenever I listen to classical music.
Very good video. I learnt a lot from this thank you.
Amazing amazing amazing!!! Thank you 🙏
This is absolutely excellent
really well conveyed
I don't think of E minor as being a direct relation to C major but rather a two step relation. Here are the direct relations to my ears:
C major -> C minor - Parallel key
C major -> D minor - Modal change
C major -> F major - Subdominant
C major -> G major - Dominant
C major -> A minor - Relative key
Bb major -> C minor - Works as dominant even if technically not dominant function
By the way, I like your videos.
Thank you!
Great video, thanks!
Thanks! Glad you enjoyed
I was whooping (internally) by the time you'd gotten to 'different composers'. So much of composing is intuitive. Love these videos. Excellent series.
2:37 Part of the reason could have also been because of his presumed perfect pitch and therefore his immediate association of each key to something else because he could distinguish them
This was the hardest one for me to grasp and hold on to so far, being a total nubie to music theory. Perhaps some more listening examples with the sheet music may have helped me??? I don't know, I'll keep watching. Thank you so much for this series. I am learning a lot.
Fantastic, thank you
damm this is amazing!! thankyou!!
I didn't know I needed sunglasses Bach in my life, but now I do.
Well even what i understood was epic content!
Wonderful!
Amazing 😍
Very good. Thank you
Thanks for the amazing content. You're one of the few who really helps amateurs like me getting deeper into musical theory. You've got a radio voice too. Very relaxing and articulate.
Hi. Love your videos. Could you go more in depth in this one when you get a chance? Or mention more about keys and the specifics of modulation in your podcasts. I still can't pick out many modulations and I feel like I'm missing part of the experience
Thanks for this! A very interesting video ... it ended with parts of my favourite piece of music Schubert D.960 piano Sonata ... don't know why, but this piece moves me the most
I still hear characters to keys, even in equal temperament. Like for example F minor to me feels like the key of death, unreleivably sad, and A major sounds not just happy, but bouncy, especially when it is staccato.
I’ve found something similar with a few keys though I suppose the instruments also relate. I particularly think of Eb/Cm as a very nostalgic key.
@@saracen8441 Yeah, I think the instruments do have a relation to the key characters in equal temperament. A flute, a violin, and a piano are going to have totally different characters as solo instruments, even if the melody played by each of them is identical in tempo, key, dynamics, accent, etc.
Maybe it is something about the percussive timbre of the piano that makes me feel the deathly lamentation of F minor, the dreamy nocturnal vibe of B major, and the desperation of Bb minor. Then again, there are pieces that don't have the emotions that I typically associate with a certain key, like I have heard happy and joyous pieces in C minor and melancholic pieces in A major. When that happens, I usually find that the melodic motion, tempo, octave, instrumentation, and harmonic emphasis explain the character of the piece when the key alone doesn't(more downward half steps or motions from scale degree 2 to scale degree 1 = more melancholy, even in a major key for instance).
I think it all depends on what instrument you play, it can change the tone colors.
Thank you
That brief explanation of key characters, and how Beethoven's keyboard was tuned differently than modern pianos, really explained something I've never understood! Other than being higher or lower, I've never understood how one key has a different character or color than any other (besides the obvious difference in major and minor). But if a piano was tuned to a specific key, then other keys would definitely have slight variations, some more so than others, which explains why some were more pleasing and others more menacing. I've often wondered if I'm just not hearing it, but perhaps this distinction has been lost in our modern tuning. Am I understanding that right?
Yes - the distinction has been lost in modern tuning. Because for example, F sharp minor or major would sound pretty "crap" on a historic instrument, while C, G, D, A etc would have their own characteristic qualities. Whereas now every pitch is spaced totally equally ("Eqaul Temperament"), so every key sounds identical (on a piano at least).
thank u so much for sharing these fantastic vedios
I love your videos. Can you make one on the history of tonality?
You’ll find out that it invented after all the composers were dead
i just found this best content, hope this video have a subtitles (without auto-generated)
Thank you.
From what I've learned Beethoven pushed the level of musical theory so far that later composers were afraid of being compared to him, which led to some trends:
- the symphonical form was given up for some decades to come
- composers rather focussed on pushing the musicians to their limits than the music itself (so it was less about mathematics & more about skills)...
- ...or on "making imaginative music inspired by a picture or scenery", which basically was what all of romantic music was about (so the audience got to be pleased rather than surprised)
Then it was Wagner who came up with the next step in the evolution of western music: the "unresolved" tristan chord. Kind of a blasphemy :) Anyway, he didn't take it to the extreme, he just introduced it. Anton Bruckner soaked that up (since he was both a Wagnerian and an overly passionate musical theorist) and was the one to push the music as a whole, all the while not becoming too popular (since his scores didn't feature clear & obvious themes [he drifted beyond a bit too far before coming back again for the dominating zeitgeist]). So it was finally Gustav Mahler who made it popular and really set the stage for orchestral cinematic music as we all know it [with the latest most famous piece possibly being the Pirates of the Carribean theme].
Long story short:
It was Haydn, Mozart & Beethoven who pushed music itself during the Viennese Classic. Wagner, Bruckner & Mahler pushed it in the Romantic era.
1:51 Excuse my ignorance but how is the song called, i've heard it before.
Nevermind is the Orchestral Suite No. 3 in D Major, BWV 1068
I never imagined that the reason older composers treated keys as different was the temperament!
Excellent
My God absolutely enlightening revealing scientific side of music by the perfectly chosen English words. Thank you for this and other related videos on understandung western classical music . I am fortunate to have come across your videos. I listen to classical music and play a bit violin too but now these videos have opened a new level of appreciation of western classical music. Thank you.
This is just too good...
I would suggest also studying the music of Thelonious Monk. It is always challenging / affirming
the enigma of tonality.
Great !
Best music teacher! Thanks
In this video , why don't you discuss "off key"?
hello i'm dion from indonesia, i have a question
So, I am currently in my final semester at the academy and my paper covers the differences in ionian and major scales. of course ionian is modes and major is tonal but is ionian only for polyphony? were the music of that era in the form of polyphony or were there others? and what is the dominant and final function in glarean dodecachordon? I hope you answer this, thank you
A question. What was the Bach piece playing while discussing JS moving out of the close keys? It was choral, i know that. But what piece? Mass in B minor?
I never learned music theory in school as a kid. For me to appreciate music as an art form regardless of genre one must start at classical music because everything genre, except jazz I believe, is rooted in classical. Thank you for the lesson.
Jazz is still rooted in classical.
Jazz seems to combine blues and classical but not all jazz has blues in it compltly but might dip into it momentarily. There is no jazz without classical.
What’s the name of the Bach piece at 09:30? Thank you.
In the discussion of the diatonic triads, I don't understand why you move in the opposite direction for minor keys as opposed to major. What significance does this sequence have?
I'm currently studying Music History but I don't quite understand expanded tonality. What's an example piece that uses expanded tonality?