J. Anthony Allen shows how chord progressions work through fifth and third relationships, using Bach's Cello Suite No. 1 Prelude as an example. He compares learning to recognize three- or four-chord patterns to reading words instead of letters, then previews tonicization and secondary dominance.
Sa. Okay, so some of these that come up the most often. So what I'm talking about now is inside of any chord progression. Just imagine any average song. And these fifth relationships that you're likely to see most often are one to wedding in the U.S. i don't know if this is true elsewhere. You have heard this piece of music before. It has a very nice chord progression and it's great for us to analyze. So let's listen to this arrangement that I just downloaded from Musescore. It's fairly short. And then let's look at, let's look at the piece and do a quick analysis of it. Here we go. What do we have here? D, C, G Now that's a tricky one because that does not make a third in any possible way. C, E, G would but D Botticello, Suite Number one, Prelude. Now, a little tiny bit of background about this piece. Okay, here we are. Holy smokes, you guys. We are in part nine. You've made it all the way to Music Theory Part 9. In this class we are going to talk about new kinds of chord progressions that would be. We're going to look at chord progressions that are relationships of fifths of thirds and a couple others seconds, for example. And what that means is that we're gonna start trying to notice patterns in chord progressions as they come. The analogy I always like to use and will use later in the class, but I'll just tell you now is that when you're learning to read, you learn to identify letters, sound out letters, and eventually you get good enough at sounding out letters that you just start to see words, right? So you kind of take one step back and you're like, okay, now I can just spot the whole word and I don't have to sound out the letters anymore. That's what we're trying to get to with music theory in this class by looking at these bigger sequences. So what that means is that instead of figuring out all the notes and the chords, what we're going to start to do is try to identify groups of like three or four chords. And we're like, okay, I know what's going on here because I see that there's these four chords in a row. They're all third related chords. That must mean this kind of thing is happening. So that's what we're going to be looking at here. And then we're going to start talking about key changing, changing keys by something called tonicization, something called secondary dominance. And we're going to do a big big, big analysis of some Bach music. Cello suite Number one. So I hope you decided to take the class. I hope you enroll. And I had a great time making this class. It was tons of fun. Just like all of these music theory classes are. I'm going to keep making them as long as people keep taking them. So please sign up, and we'll see you on the inside, Sam.
