Music Theory Comprehensive: Part 6 – SATB Composition

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For years I’ve been teaching Music Theory in the college classroom. These classes I’m making for Slam Academy use the same syllabus I’ve used in my college classes for years, at a fraction of the cost. I believe anyone can learn Music Theory – and cost shouldn’t be a barrier.

Recently I was named as a semi-finalist for the Grammy Foundation’s Music Educator of the Year award because of my in-person university classes. Now I’m taking those classes to Udemy in an online format in order to reach more students and give them the joy of Music Theory.

My approach to music theory is to minimize the memorization. Most of these concepts you can learn by just understanding why chords behave in certain ways. Once you understand those concepts, you can find any scale, key, or chord that exists. Even invent your own.

This class is a Comprehensive class – it will have many parts, going through my entire annual curriculum.

This class is Part 6: SATB Composition, and it starts what would be the second semester of a college music theory class.

Throughout this class, I’ll be providing you with many worksheets for you to practice the concepts on. If you get stuck, you can review the videos or post a question, and I’ll back to it as fast as possible. Also in this class I have several complete analysis projects that we will complete together – just like in my college classes.

What will I learn in this Course?

  • My approach to Music Theory
  • Tools of Counterpoint
  • Types of Motion in Counterpoint
  • 18th Century Counterpoint
  • Chordal Dissonance
  • Cadences in Bass/Melody Accompaniment
  • Cadences in 4-Voice Accompaniment
  • Non-Chord Tones in 4-Voice Accompaniment
  • Suspensions in 4-Voice Accompaniment
  • Example Analysis Projects
  • Writing 4-Voice (SATB) Lines
  • SATB Notation
  • SATB Ranges
  • Voice Crossings
  • Doubling
  • T-D-T Phrasing
  • Establishing Tonic Areas
  • Establishing Dominant Areas
  • Resolving Leading Tones (in 4-Voice Accompaniment)
  • Harmonic Rhythm
  • Texture (in Song)
  • Worksheets and Music for Practice
  • …and much, much more!

About the Instructor

J. Anthony Allen is an Ableton Certified Trainer, and a PhD in Music Composition and master of Electronic Sounds. His music has been heard internationally in film, radio, video games, and industrial sound, as well as the concert hall and theater.

He currently is an adjunct professor of composition at the University of St. Thomas, and is the CEO and co-founder of Slam Academy in Minneapolis.

Praise for classes by J. Anthony Allen

“Without a doubt the best explanation and east of use that one can get. It leaves you enough room to go explore. The classes go by quick, so you can be on your way at being proficient. What are you wait for!”

“Amazing – Seriously Loved It! I took all his courses and have to say I’m so happy! Learnt loads! Jason is an awesome teacher!”

“I have never had any formal training in music at all. Trying to learn all the notes and how everything translated was a serious challenge. After going through this class, Dr. J has totally brought down the barriers. The content was very useful and was easy to grasp for me.”

“I like these courses because you can get up and running quickly without having to spend hours of time wading through TMI (too much information!). Jason hits the high points but shows you what you need to know. Thanks!”

“I’ve watched many other videos on scales and chords before, however, this one has been the best. I now understand minor scales and chords and even how to analyze songs. It really gave me the confidence to start producing music because I feel like I have some structure and guidelines to follow. AWESOME!”

“Clear and Informative – Jason has a clear uncluttered style (with the important dashes of humor) of presentation that is focused on the important key aspects of this course. Recommended for those starting out!”

“Dr. Allen does it again with his music theory series. This course really opened up everything I learned from the 1st section, and now I understand more about the composition side of things for music. I highly highly recommend this course to anyone!!! Really opened my eyes to many things I wasn’t aware of.”

“The Best Teacher Ever, who makes you understand the ins & outs of Music Theory by all means without giving what you don’t want to know.”

Course Information

Estimated Time: 3 Hours

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Course Instructor

Jay Allen Author

J. Anthony Allen is an Ableton Certified Trainer, and a PhD in Music Composition and master of Electronic Sounds. His music has been heard internationally in film, radio, video games, and industrial sound, as well as the concert hall and theater. He currently is an adjunct professor of composition at the University of St. Thomas, and is the CEO and co-founder of Slam Academy in Minneapolis.

 

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Getting Started

Introduction

Welcome to the class!
Welcome to the Second Semester of College Music Theory

This is it – the start of your second semester!
Tools We Will Use

Another installment of the tools you will need for this class.
Download: Staff Paper

Some good old fashioned staff paper.
Review: First, Second, Third, & Fourth Species Counterpoint

A little review before we dive in.
A “Master” MuseScore File

Here is the MuseScore file for this entire class.

Composing in 18th Century Style

Overview of 18th Century Counterpoint

Let’s dive with an overview of our tools and techniques available.
Types of Motion

Remember our types of motion from the last class?
Chordal Dissonance

This is a new type of dissonance that results from the techniques we’ve been working with.
Cadences

We’ve talked about cadences before, but now we need to learn a little more about them.
Cadences in Bass/Melody Counterpoint

A few new wrinkles to cadences that stem from cadences in Bass/Melody counterpoint.
Starting Intervals

You’ve got to start somewhere, right?
Summary of 18th Century Counterpoint Rules

A quick wrap up of all the rules.
Worksheet No. 1

Our first worksheet of this class. Don’t forget to check your work!

Melodic Embellishment (in Chorale Textures)

Non-Chord Tones

In this new style, we have a few new things to consider with non-chord tones.
Suspensions

More with suspensions!
Example Analysis

Let’s do a short analysis to see these ideas in some actual music.
Summary of Melodic Embellishment Rules

In this video, a short wrap-up of the rules for melodic embellishment.
Worksheet No. 2

Here is our second worksheet – don’t forget to check your work!

SATB Composition

Writing SATB Lines

We now need to think both vertically and horizontally when writing.
SATB Notation

Fitting four lines onto 2 staves can be tricky, and we have some conventions for dealing with it.
SATB Ranges

When working with SATB, we want to think of each “voice” as having a certain range.
Voice Crossings

Remember in the original Ghost Busters when they crossed streams? Voice Crossing is kind of like that. Not good.
Doubling

When you have 4 voices, but a 3-note chord, something has to double-up.
My Country Tis of Thee (Example)

Let’s look at a song written in an SATB style.
Worksheet No. 3

Your third worksheet – don’t forget to check your work!

Phrasing in SATB Composition

T-D-T (Tonic, Dominant, Tonic)

When writing a piece of music, we have to think about phrasing, and this is a good rule of thumb.
Establishing the Tonic Area

The Tonic Area consists of more than just Tonic.
Establishing the Dominant Area

Similarly, the dominant area consists of more than just dominant.
Worksheet No. 4

Your fourth worksheet – don’t forget to check your work!

More with Cadences

The Perfect Authentic Cadence in 5 Voices

Now that we have 4 voices, there are a few more things to consider with the PAC.
The Imperfect Authentic Cadence in 4 Voices

Similarly, the Imperfect Authentic Cadence has some new issues as well.
Half-Cadences in 4 Voices

Let’s keep going! Half Cadences have some new issues as well.
Plagal Cadences in 4 Voices

We haven’t spent too much time with Plagal Cadences yet.
Deceptive Cadences in 4 Voices

This might be the first time you are hearing about Deceptive Cadences. For good reason – they are deceptive!
Worksheet No. 5

Your fifth worksheet – Don’t forget to check your work!

Voice-Leading on the Dominant

Resolving Leading Tones

In 4 Voices, you really have to keep track of your leading tones.
Other Voice Leading Requirements

In this video, we will talk about a few other things to consider with your voice leading.
Worksheet No. 6

Your sixth (and final!) worksheet. Don’t forget to check your work!

Harmonizing Melodies

Harmonic Rhythm

When you set out to harmonize a melody, you need to think about harmonic rhythm.
Texture

Texture is what determines if something is frantic or serene, and everything in between.
Danny Boy (Example)

Another song example – this time of the traditional tune, Danny Boy.

Wrap Up

What Comes Next?

You’ve come so far – and have so far yet to go.
Thanks & Bye!

That’s all for now! See you in the next class!

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