MusicCorner's video: How to Build Musical Phrases with 3 Harmonic Functions

Want to learn how music theory talks about tonal harmony through three function zones? David Kulma teaches you about tonic, dominant, and subdominant through a musical phrase by Beethoven here on the fifth episode of Music Corner. In this fifth episode of Music Corner, I explore harmonic function through a phrase by Beethoven. Music Corner is your source for nerdy thoughts on music. Music knowledge is for everyone. David Kulma made this. Learn music theory today! Join the music nerd community in the comments below and on Patreon. Patreon: https://www.patreon.com/musiccorner Read a sample patron-only post: https://www.patreon.com/posts/working-on-next-6792992 Website: http://www.davidkulma.com/ Twitter: https://twitter.com/NewMusicKulma Bibliography 1. Wolfgang Amadeus Mozart's Piano Sonata No. 11 in A major, K. 331, was published in 1784 and is in the public domain, as stated on Wikipedia. https://en.wikipedia.org/wiki/Piano_Sonata_No._11_(Mozart) 2. Ludwig van Beethoven's Piano Sonata No. 11 in B flat major, Op. 22, was written in 1800, published in 1802, and is in the public domain, as stated on Wikipedia. https://en.wikipedia.org/wiki/Piano_Sonata_No._11_(Beethoven) 3. My tagline is a short quote from Robert Ashley's television opera, Perfect Lives. http://www.robertashley.org/ 4. A good place to learn more about harmonic function and functional bass is the open-source music theory website, Open Music Theory. The authors are Kris Shaffer, Bryn Hughes, and Brian Moseley. http://openmusictheory.com/ http://openmusictheory.com/harmonicFunctions.html 5. Thank you to Krista Abrahamson, who emailed me a copy of her recent doctoral dissertation "History, Implementation, and Pedagogical Implications of an Updated System of Functional Analysis." She wrote a useful historical overview of harmonic function and included sections on Quinn's and Smith's separate systems of functional bass. Here own new analytical method, Functional Analysis, is pedagogically oriented and borrows concepts from Riemann-influenced German function labels. 6. Ian Quinn's unpublished "Class Notes for MUSI 210" and unpublished 2005 Society for Music Theory paper "Harmonic Functions without Primary Triads" is a primary source for how I went about the analysis in this video. I thank Kris Shaffer for sharing this with me three years ago. 7. Charles J. Smith's unpublished theory textbook "Tonal Models of Music" is another source for thinking about combining harmonic function with bass scale degrees. I was able to peruse some of the book through Brian Moseley's website (as noted in a footnote in Krista Abrahamson's dissertation noted above). Smith's 1986 Music Theory Spectrum article "The Functional Extravagance of Chromatic Chords" is cool example of his theory in some analytically difficult harmonic moments. https://www.jstor.org/stable/746072?seq=1 _scan_tab_contents