Lessons with Matthaeus

Matthaeus has asked for some lessons on the basics of music theory. He's already familiar with the very fundamentals: keys and key signatures, clefs etc.

For the first lesson we're going to start with cadences. I've compiled a couple of PDFs to make for easy reading/printing.

The first will probably serve as a recap for you Máté, I've just written out some of the basic principles of harmony for your reference.

The second contains our first lesson on the perfect cadence, with a couple of homework assignments. These shouldn't take too long, just stick your answers up as a finale file (or PDF if you prefer) and I'll mark for you. Then we'll move onto the other cadences! Good Luck!

Thanks, I will do it soon!

OK, i'm ready with the V - I perfect cadences. During the exercise I realized that the base note of the dominant chord should not be moved in any direction.
I'm not sure with the last "B minor" cadence, but for my ears it seems to be ok.

I haven't tried V7 - I cadences since I don't know, yet, what rules apply for them.

EDIT: Uploaded PDF for easier access to the score

Hey Matthaeus that's all great. The last cadence isn't wrong, but you've put chord V into 1st inversion (6/3). In most situations cadences take place in root position. Don't worry about using V7, we'll come onto these later when we look at dissonances properly. I want to be careful to do things all in the right order with you, that way you'll save a lot of confusion later! I've attached a PDF of the B minor perfect cadence for you. More tomorrow hopefully. Good work so far!

Matt

Thanks, I was careful with all the rules you gave me, as you suggested.
I've tried to make stepwise motion for the bass in the B minor example so - without knowing it - I've inverted the chord by accident.
I see now why it is the best to let the bass leap and other voices step (or no motion). This is the only way to place both chords in root position.

Yeah that's exactly right. In the tutorial PDF, as CreationArtist rightly pointed out, there was a mistake - I marked IV as submediant - which it isn't! It's the subdominant, and I've uploaded a new version for you. Another lesson will come later today, with more homework etc.

Next lesson is ready. Any problems, let me know.

Great, I will read it!

EDIT: "Lesson 2" written by matt.kaner is reuploaded in a reduced resolution form.

Ok - it seems like a few people have an interest in some of things that I'm teaching Matthaeus here. CreationArtist has asked that I put something up about the naming of chords and inversions etc., which is cool with me and I will do once I get the chance. If anyone else has any questions that relate to what I'm teaching etc. they are more than welcome to post in this lesson thread, and I'll try my best to keep up!

I've finished the homework (phew). It was much more difficult than the first, but I've learned a lot. There are some not-really-necessary 10ths between the tenor and bass but it was easier for me to look it over.

Just a few questions:
1. When doubling the root of a chord, is there any influance in strength or stability which note is the doubled one (soprano, alto, tenor)?

2. Is it always necessary to keep the bass as far as possible from the tenor?

3. Can I double the 3rd of the IV in an imperfect cadence in major mode? (in the E major part of the homework, may the tenor go from c# to d# instead of e to d#?)

4. Is it possible to create an imperfect cadence in minor mode starting with root positioned IV ? (I haven't managed to do it.)

I don't know if my last F sharp minor imperfect cadence is good, but I was impressed how easily can a dissonant diminished chord go to a consonant one. Now I start to realize why it is important to learn how to use 7th and diminished chords correctly. Voice-leading can be much easier and more continuous with them. (Please, correct me if I am wrong.)