Lessons with Matthaeus

Hi Matt! The homework is done!

Correction: In the last progression I've left out the "/3" from the v6/3 chord, but it's OK, since v6 has the same meaning.

Máté

Hi Máté.

Thanks for doing the homework. As usual you've obviously worked hard and done a very good job. I have made a few comments on your original pdf, and given you a little example to help. Don't worry about doing corrections, we can move on fine from here, as long as you try to remember the few things I've mentioned in the comments.

Matt

OK, I see! The fifth should not be in the soprano, because it results in paralell-like motion with the "tonic->leading note" motion of the inner voice.

Thanks!

Hi Matt! I still have a question about the lesson: From what scale degree should I start a chord progression? It's ok that the first progression of a composition always starts from I (or i) but what about the other ones? In my d minor excercise there are 3 progressions starting from: i, i6/3 and VI. Is it good?

Hi Máté! How are you? I'm sorry I really am a terrible teacher, I've hardly ever got anything for you...

It's a good question. What I will show you when I have some time (I've prepared two of the three lessons and this is the third, but I want you to get them all at the same time), is about dominant/tonic relationships, and these will certainly help you with this. Often the chord you start on is only important because of its relationship to what comes next.
But basically there's no real rule about what chord to start on, but there are some strong relationships that mean that most of the time, you would either start on I, V or IV. However there are progressions by Bach that start on a chord that is actually foreign to the main key. I think that the only chord you'd better avoid starting with is vii for the moment.

Hopefully you will understand this all better as time goes on. I promise the next lessons will come soon...

Matt

Hi Máté. Hope you're well. Here is a new lesson on suspensions. No homework as yet, but have a good read. Sorry not to have anything more yet. Still really busy.

Best wishes
Matt

Hey Matt this lesson is great, thanks!

You've mentioned earlier that 6/4 chords need preparation. Does it mean that 6/4 chords are not really exist since they can be treated as 4-3 suspensions (6/4 -> 5/3)?

Ah no - that is one way to handle them. They can also be used in other situations... The lesson I'm half way through preparing explains that.

Hi Matt! Merry Christmas! I must thank you all the things I've learnt from you already, so I've tried to compose a christmas song for you (attached) using suspensions, cadences, etc...
I hope that you like it!

Máté

P.S.:
I think I've made a lot of errors (eg. 9:8 suspension approached from above by the bass), so you don't need to correct them . I also find proper voice-leading difficult: when I'm resolving a dissonace (suspended note) against the bass, I often realize that I've created another one against a note in an upper voice.

Hi Máté,

How are you? Happy New Year! I hope you had good Christmas. Thanks so much for the Puer Natus, it's a really nice piece - you've actually done very very well!

Don't worry too much about the voice-leading problems, you see to doing ok for now. I'll put the next lesson up soon and you can then do some more exercises!

Matt