1. Introduction
Yale (YouTube) · lecture · en · indexed 2026-02-08
youtubetranscript
okay good morning ladies and gentlemen my name is Craig Wright and this is listening to music the most basic course that the department of music has to offer its aim is to teach you how to listen to music wait a minute you say that's preposterous I listen to music all the time I got what my iPod I downloading MP3 files continually swapping files uh I've got my car uh what what do we call those things the automobile where is it a DAT tape that you can take your iPod and plug it into the your the stereo system in your car I've got that I listen to music in my dorm room off my computer in the bookstore wherever I bet I listen to a lot more music than you do you Old Goat uh and and you're right you probably do but what kind of music are you listening to well probably pop music and that's fine that's okay fair enough pop music but are you getting the most out of this particular experience are you getting the most out of your listening uh experience I contend that perhaps you are not that that you are not maximizing the time using that time most profitably uh how do I know this what makes me think that you are not getting as much as you possibly can out of your music well experienced to some degree but also uh an experiment that I did just last weekend I have four children the last of the four has now turned 17 so I said last weekend he's you know always with the iPod Chris what are you listening to go away you're bothering me kind of thing you're you're ruining my life again so uh but no come on let me listen to this let me listen to this what are you listening to So I listened to it and I said all right here you listen to this and tell me what you're hearing and what did what was he tracking he was tracking the text he was tracking the beat of the piece I asked him well what what's the mode of the the piece what's the meter of the piece what's the Bas doing can you follow the Baseline there can you identify any chords in this particular piece nothing zero and this from a reasonably sophisticated kid who's had 12 years of serious cello lessons and that brings up I suppose a a point uh that although I don't know much about your music I think I can teach you a great deal about your music by using the paradigms of classical music so we're going be talking a lot about classical music in here Mozart Bach Beethoven it will be the locus of our course how many of you already listen to classical music raise your hand okay great a lot of you and that's wonderful I'd be interested to know gentleman down here how do you do this is it streaming off of your computer are you downloading MP3 files and saving them how tell me how do you do it I just go to YouTube you go to YouTube all right very interesting I should have known that but I didn't you go to YouTube and you listen there anybody else do it a different way yes radio on the radio okay um that's interesting we'll come we'll come back to that point anything else anybody yes my parents CDs are record okay your parents CDs are records that's wonderful the sort of the old technology here but some of those old recordings might be uh very uh very very uh good now here's a question for you why would we want to listen to classical music why why uh who who just answered a question for me here those folks that raised your hand what gentleman here again I'll you're my sacrificial lamb this morning uh why do you like to listen to why would you want to listen to classical music okay very interesting um National Public Radio asked exactly this uh this question in a survey a year or so ago and they got the following principal responses back why do people listen to classical music One it helps them relax and relieve stress so that this is this is perhaps the principal reason two helps us Center the Mind allowing The Listener to concentrate three classical music provides a vision of a better World Vision of a better world a refuge of beauty of majesty perhaps of even of of love and sometimes at least for me personally it suggests that there might be something out there God or whatever bigger than ourselves and it asks us to think sometimes think about things uh the that's what I think these great Fine Arts do great literature poetry painting music they show what human beings can be the capacity of the human Spirit they suggest to us as indicated maybe there is something a larger Spirit out there than ourselves and they get us to think they get me to think frequently about what I'm doing on this Earth Earth what are you doing on this Earth no don't answer that what am I doing on this Earth with regard to this particular course what am I trying to accomplish in here uh well maybe two things one change your personality change your personality I want to make you a richer person a broader person by instilling you with uh an unended um deep and abiding understanding of classical music so that's part of this and not just here for Yale but for your life after Yale uh I would hope that how you lead your life 10 years from now 20 years from now 30 years from now would have been significantly influenced by this particular experience in this course and secondly if I'm successful in my teaching I will accomplish this second aim here I will impart to you a love of classical music you through later on after Yale your attendance at concerts buying one fashion or another downloading MP3 files with iTunes or whatever it happens to be uh maybe being members of your local Symphony board Opera Company something like that maybe giving music lessons to your children you will become the pveers of classical music thereafter you the intelligencia of the next generation will be those that Preserve this great treasure of Western culture and it is a great treasure of Western culture okay how are we going to do all of this how are we going to accomplish these two things on our list of agenda here uh what are the mechanics of the course did you all get a syllabus everybody's got a syllabus I should have brought one up here but I didn't doesn't matter uh first 3 or four weeks or so be following the elements of music rhythm Melody and Harmon Harmony and then a test next we will deal with what's the arguably the the single most important thing when we listen to any piece of music and that is its musical form here's a question for you I was thinking about this the other day as I preparing the lecture for today what's the most common type of musical form in pop music when you listen to pop music do you ever think about the form of the music can anybody name a form of pop music any one form well maybe verse and chorus think about that that shows up a lot lot of stuff and we'll come back to that we'll talk about verse and chorus when we get to the issue of form uh and then toward the end of the uh course we will turn to the question of musical style how does a piece of pop music differ from a piece of classical music we sort of all know this intuitively but can we articulate why this particular difference about musical style was driven home to me the other day it was last Friday I was walking across the campus maybe you saw this too corner of Elm and college there's a large flatbed truck out there and there were these people on this truck getting you trying to sell you audio equipment uh and they had a big banner up there that said pump up your room okay so then to encourage you to pump up the room they had music and this is the kind of music that they had on that flatbed [Music] truck okay so I'm feeling very pumped up at that particular point and my cell phone rings okay my this is true my cell phone rings and because one has the Capac capacity nowadays to select your own ringtone right I have mine selected not to that sound but to Mozart so I hear this sound on my telephone Linda is moving this around here just a second and it will give us a sense of the difference in style between pop music and classical music how does this what we're here differ can you give me say three or four reasons why what we're about to hear differs from what we just heard [Music] Mozart okay let's just stop right there you can go on to the next uh can anyone tell me what what's the different difference between these two what's the pop what did the pop piece have that's Rave Till Dawn that's I own that album I'll have you know ra to Dawn gentleman back here uh yes that's probably true that's probably true as a general um observation whether it comes through clearly on these two this comparison I'm not quite so sure uh but there I wouldn't say there's a great deal of detail in the first one there's a lot of repetition that's where I you know once that gets going it goes for a long period of time anything else yes A Melody a Melody which one had the melody yeah the first I couldn't pick out any Melody at all it was all what Rhythm and beat okay so repetitious Rhythm beats strong pulsation to it uh what was making that sound what were the instruments playing in the in the okay in the Mozart there were violins so acoustical instruments as as opposed to synthetic sound with regard to the pop music so what we we will be doing is differentiating pop from classical and also differentiating within styles of classical music you're driving down the road you who is the FM listener over there you turn on your uh radio your car radio to your fm classical music station and what number approximately would you go to yeah or anywhere your hometown this8 okay 98 that's pretty high what what town is that you oh that's Chicago well they're elevated people in Chicago I'm sure normally normally where you go is all the way down in the low numbers particularly here in Connecticut it's uh 89.5 90.1 90.5 my favorite is 91.5 generally speaking you want to find classical music you go to the left of your fm dial and fish around down there your National Public Radio okay so that's how we do it but got your car radio going music comes on is it broke or romantic is it medieval or modern is it Bach or is it Beethoven well those sorts of answers those sorts of issues or the sorts of things that we'll get to when we come to the question of musical style toward the end of the course okay materials materials uh textbook here is the textbook it is my own textbook listening to music now in the fifth edition uh I'm very proud of it actually it's used ACR all across the United States uh it used across the world about to come out in a Chinese Edition for heaven's sakes um what was it it was simply my lecture notes from this particular course that I've been teaching here for a long time I had these lecture notes I had all of these listing exercises basically just put it in a textbook so this is all material for Yale students Yale material designed here at Yale for Yale students at the back of the book I think I took mine out but at the back of the book you will see wrapped with it an intro CD introductory CD might be interested to know that a lot of the material there actually recorded by Yale undergraduates we paid them for it we paid people across the street school music but this again is kind of native local Yale produce here so we have to we get the textbook and then with the textbook we recommend getting access to this 6 CD set this material will be necessary to do the listening exercises for the course which is sort of the backbone of the course there are a couple of copies of this on reserve in the music library and you can go over there inside of of Sterling Memorial Library and do the listening there if you want but one way or another you got to get a hold of this if you decide to buy it it has one particular virtue and that is you end up with an excellent library of classical music that will last you for a lifetime years after the fact I get email from emails from students nowadays they usually begin hey professor or yo Professor something like this I lost CD4 to my 6 CD set can you get me a replacement yes I can and I do send them a replacement not too hard to do send them a replacement so if you get the CD set not only do you get a wonderful beginning library of classical music but in effect you get a life lifetime service contract with it uh okay requirements you can see this on the sheets too you got the couple of tests here we have to write a short music paper we're all going to go to the con a concert I think this year we're going to go here the sa Brook uh Youth Orchestra and I put on the uh a sheet this year I think I'm going to try to count 5% for class participation we will be taking attendance in the lecture yeah I know it's babyish I'm sorry but I take this very seriously I really do uh it's my lifeblood and I want you to take this seriously too I want you to come to class I want you to come come to lectures um so we have the two lectures each week that you'll come to sections are also also mandatory we have three wonderful specially selected Tas in here I'll introduce you to them next time so come to two lectures one section and do the work regularly now sections they start on Thursday and go through a Monday cycle they do not start tonight they start next Thursday in the cycle you can go online and sign up there but you're still shopping so we're not starting sections tonight you may not may or may not be taking uh this course do the assignments these listening exercises on time music is an orally perceived phenomenon music is an orally perceived phenomenon you can't cram information about music The Sound of Music into your head the night before a test the way you might be able to in an English course or a history course uh the way we hear music the way our mind processes music is very very different from this other kind of information uh very different from history or economics to make this point let me see if we can get my uh helper here technical person to bring up a slide for me and my question to you is as this slide comes comes up is the following uh where in the brain is music processed primarily where where do we process anybody know the answer to that you might take psychology courses neurobiological courses yes young lady out here do you have a sense of that I think the left side left side of the brain that sounds like the old maybe the old creativity Theory uh could we and and that's possible um in a way it's it's it's correct um anything more specific all right here's our brain we took this off of the internet all right that's why it's all in French because it's not copyrighted we have to be careful with that in here with these camera roll cameras rolling so we have the TR on that it just means the brain stem and the the cerebellum and then the the uh temporal lobe the frontal lobe the parial and the octal loes now where is music and language processed anybody here's somebody raising their hand um well the temporal L is where your hearing yes the temporal lobe is where your hearing goes on it doesn't matter whether you're hearing language or whether you're hearing music most of the this processing happens in the primary auditory cortex both left and right of the temporal lob if you're factoring in let's say I had to remember to play something at the keyboard well there I might be factoring in the frontal Lo because much of the short-term memory in particular is in the frontal L let's say I went to play a piece now I didn't think about that actually a minute ago I didn't even know I was going to play but I remembered that am I thinking back then starts in C and that's got a e up there it's got a g no it's like athletes it's muscle memory you know you do that eight billion times in your life and you can hit a good Top Spin backand uh it's muscle memory and that happens in the par that's mostly the peratal here I've got a score up here if I'm looking then I've got the visual cortex engaged so doing music if I'm site reading playing it's a very complex thing but most of the let's shut this down now we'll go back to the other screen most of this music and language processing happens in these the as I mentioned the left and right auditory cortex um therefore where am I going with all this therefore the pedagogical techniques that we use in teaching listening to music are virtually identical to those that we use in teaching language there's a great deal of similarity here because it's just processing sound uh this was a point I was listening to some national public radio thing the other day can you get my screen back up full size here so I can see this um listening to something that had a psychologist talking about the correlation between Sound and Music and they said it was something about music is sometimes very strange sometimes very strange sometimes very strange sometimes very strange and that sort of brought home to me the text is irrelevant the idea that music really is sound and that language is just sound it's a very thin line between the two but we therefore use the same pedagogical methods in the sense that we've got to do the following if you ever read the course descriptions of French 115 or Chinese language basic intro to Chinese they say I think I wrote it it down here uh this process of gradual assimilation yes daily participation in language Labs required so daily daily is the key thing here you've got to do this gradual assimilation so learning to listen to music is just like listening to language we've got to do a little bit every day you got to turn in these listening exercises in regular fashion and come to class this is a beginning course I assume that you know nothing starting from ground zero here and build it up uh all right I've talked I've droned on here let me ask you if you have questions about uh the course generally do you have questions of me at this point yes gentlemen in the back what are the format test the formats of the test will be uh very clearly uh laid out for you there'll be a little bit of written work there'll be a fair amount of listening uh you will be given a list of pieces that you'll have to prepare for a little bit and then we will play out of of th out of those particular pieces but most importantly I will give you a prep sheet each test comes in advance with a prep sheet telling you how to get ready for that particular test good good question though thank you anything else okay if not let's go on to the following we're going to have a diagnostic quiz in here we're taking a quiz the first day now that's on the back of your hand out there this is not really a quiz because we're not going to we're not going to collect it uh you can throw it away going out it's in here to intended to do two things one to show you something about the method that we will be using in here and two to show you something of the level of this course the level of the course the questions that I'm asking on this quiz questions asked on the quiz are the types of things we would expect you to know at the end of the course not now but at the end of the course some of these are difficult uh so if you find yourself getting most of these answers correct then don't take this course you'd be wasting your time wasting your money here so don't don't do this if you if you find at the end of this you got 16 17 18 of these correct all right let's start with a little bit of classical music here and this uh engages questions one and two who is the composer of the piece that you're about to hear and what is its title or what's it called okay so let's set let's I'm going to ask Linda to cue the next piece here while we talk about that just for a moment the composer anybody know the composer of this raise your hand okay um some people do some people don't uh gentleman over here hear dark shirt okay that is Beethoven ludvig b Beethoven and you know the name of the piece okay Symphony Number Five now if you're sitting next to this gent oh God this guy knows so much I'm I'm gonna go down the tube in this course no don't be intimidated by by this as I say we're going to build everybody up here together so that was Beethoven's Fifth Symphony the beginning of it a famous passage in the history of classical music let's listen to another composition here who's the composer of this and what in what composition is this piece [Music] used all right that's probably enough of that so who's the composer of that does anybody know the answer fewer people do uh young lady out here in the green did you have your hand up again Beethoven what's the what's the in what composition does Beethoven use this particular piece anybody know gentan here okay in the Ninth Symphony again if you're saying oh I'm getting really worried now don't be don't be worried here uh okay so night Symphony now I believe that music works a magical potion a magical spell on it music gets us to do particular kinds of things gets us to feel particular kinds of ways and I think these two pieces by the same composer get cause us to feel very very different cause a different mood different psychological state to come over us one of them goes this way okay and the other I'm going to stop it there I want to do a little experiment have never done this before never done this before but um like to do the following and that is to ask you uh to think about what mood each piece causes you to fall into and I've put some adjectives up on the board up there and I've group them by RS and L's because I'm going to ask you to raise your right hand if you respond one way uh to a piece and your left hand if you respond the other so under the R Group there we've got positive happy secure under the L group we've got uh negative anxious unsettled so I've chosen pieces maybe with slightly different feels here let's see let's see what we do with this now uh piece number one how do you feel about that now here's piece two all right so here's one if uh I'm going to play it again if you uh raise your right hand or left hand as your response to that okay here's piece one right hand or left hand all right so those of you that are raising your hand and some aren't raising their hands but that's okay uh those of you un almost unanimously say that the betoven Fifth Symphony sounds somewhat ominous to us somewhat fateful to us and the Beethoven 9th Symphony conversely has a different sort of feel to it indeed does anybody know the title of the bethoven nth Symphony it was a setting of a poem by Fredick Schiller called o to Joy OED to Joy so how does Beethoven go about making the oow to Joy joyful what does he do here this is what we're going to be doing in our course we're going to be zeroing in on this music can anybody tell me why two a person in this room we all responded positively to the Ninth Symphony and somewhat more anxiously to the Fifth Symphony give tell me one thing major minor okay major and minor now once again you you're you're out here in front you've been listening to your parents records and CDs and uh so so maybe I'm delighted that you know this but maybe this is too far too far um below what your your dignity here so but but good for you all right so we've got this idea of major chords and minor chords so let me me ask you this uh which I think this is a quiz question here probably number five which is this a major chord or a minor chord as opposed to the first one is a minor chord the second one is a major chord we could call them Triads and we'll be talking about what that is before so that's one reason major versus minor here's a question for you what about this let me take the Rhythm out of [Music] it that's a bit Skippy isn't it doesn't that move around a lot whereas the if I take the Rhythm out of the Ninth Symphony really Beethoven there is just going up and down a scale so it's very conjunct we have the difference between conjunct music with the the and dis junk music and that perhaps adds to the unsettled quality of the Beethoven Fifth Symphony here's something else and I guess it's a quiz question I think I'm asking you there uh it has to do about a home pitch music gravitates around a home pitch uh and in the Beethoven Fifth Symphony we still haven't gotten the home pitch we go that far we still haven't heard the home pitch can anybody sing the home pitch but he hasn't given it to us and maybe that's why this sounds so disjunct and so unsettled uh apart from the Skippy nature of the melody is that we are not given at the outset the home pitch whereas with the Ninth Symphony second phrase that's the home pitch there and we all feel sort of secure in that home pitch there's another reason I think these two sound differently and that is the following what's the direction generally of Beethoven's Fifth Symphony here down it's generally going down so the direction that music goes can also affect how we feel about it our mood about it so I think the next question I play another piece for I'm going to play this one to piano a little bit um and I ask you the name of the composer of this piece it's a bit less well known but maybe not uh what it's called and when in the history of Music it was [Music] written anybody know that piece the name of the composer yeah okay debc a French composer writing at the end of the 19th century in the impressionist style uh and the piece is called Moonlight CLA tooon but again you may you'll come out of this course four months from now you'll know all of this stuff now you're not supposed to know any of this what I'm interested in is your emotional response to this how do you feel about this music what kind of mood does it put you [Music] in so how do you feel about that anybody want to tell me about that I beg your pardon oops I heard his I heard not not nice and Loud please Serene Serene yeah Serene why does it feel Serene boy I wish I could play my Rave Till Dawn CD now right okay there's no beat to it all right it's very languid in terms of the pulse here it's very UN understated in terms of a beat you'd be hard pressed to identify what the meter of of that is so that's one reason and of course what where am I going with the the next important point about what's happening in this music that makes us feel serene relaxed because it's all going down and only when we get here do our Spirits soar Upward at that particular point at that particular point so again Direction in music also is important with how we respond to it so what do we what have we going over here Major versus minor uh disjunct versus conjunct what else um strongly felt tonal key which is called I don't know if I mentioned this or not the tonic key the tonic pitch the tonic pitch there and this idea of the direction of the music all these will have to be thinking about thinking about as we uh listen to music in this course uh okay now let's see I think I want to do the following yeah here's a question for you here's a question completely different subject here um what are the two dimensions of Music dimensions of Music think about dimensions of painting or architecture perhaps but what are the two dimensions of music ever thought about that can can anybody give me one well pitch oh yeah I'm sorry okay pitch and what would the other one be time okay pitch and time or pitch and duration excellent so those are the two dimensions of music and we we could even call them the axes of music because we tend to think of pitch on a vertical axis we talk in terms of high pitch and low pitch although we'll fine-tune that next time and then we have this idea of duration or time which we tend to write out in symbols that move from your left to right left to right so what I'd like to do now is focus on a piece that uh emphasizes foregrounds just the first axis pitch and here is a question for you uh how many have you of you have heard rard strauss's oos sprock Zara thra okay how many be courageous here how many have not heard rard strauss's Alo sprock zer is to raise your hand nice and big okay the overwhelming majority of people wrong you all have heard this many times it's used continuously as a movie score television radio commercials it's all over the place as soon as I start to play it at least once we get into it you'll you'll oh yeah I've heard that so this is a piece by Strauss where he's trying to resurrect the content or mirror the content of a philosophical novel by friedi nii thus spoken Zara thrust it's about the unleashing of human capacity as it comes forth from the primordial Earth here and Strauss in attempting to do this will use the orchestra to depict here in this particular case perhaps the rise of human power may be as metaphorically represented by the Sun so here is Strauss depicting the rise of the sun and the first question I think you have on the quiz here is the following um what keyboard instrument is playing here it's a keyboard instrument so let's listen to just a little bit of this please Linda okay let's stop there uh because of the condition of the amplifier this morning you can't really hear what that is what that is is an organ pipe of the type of organ that we have over in woy Hall 32t tall this gigantic sounds down there so that's what he's trying to set up okay then a brass instrument enters and what is the name of this brass instrument M yeah go ahead [Music] then a percussion [Music] instrument okay let's stop it there let's stop it there so the the brass instrument is the is a trumpet okay that's what that is it's coming up there let's talk about what we've got on the board here we can see we have these low [Music] pitches what did I just sing almost the same sounding pitch right well we'll talk about this this is called an octave it has to do with frequency ratios that we'll go into a little bit next time so he's coming up initially just through octav then the next pitch on the trumpet yum It's actually an interval of a fifth yum that's a fourth BM but it happens to produce an octave BM BM against that then the first time BM deep so he came up a major third there and then quickly backed off just a half step below it which completely gave it a different feel to it bright shiny major and then dark minor then a percussion instrument came in uh anybody know what that was okay um tell me what it was nice and Loud yell it out there Tony or sometimes called a kettle drum and it was playing two different pitches actually sort of playing this pitch and this pitch the octave and then the fifth um the fifth degree of the scale after the tonic is the next most important um and it's called the dominant the dominant note okay so that's what that is in that particular question so the tempany comes in and it goes crazy bum and comes back to the tonic at which point the trumpet takes over again so let's listen to just a little bit more and I think well let's listen I forget where we left [Music] off okay let's stop it here now at this point what happens is the trumpet B all the way up there it's going to jump way way up uh so let's listen to [Music] that okay let's stop it right here what's happening it interests me acoustically again we'll come back to it is that we're getting up toward here and notice how these pitches in terms of the fre ratio frequencies are getting very close together so we're going to go y you sing the next note B There It Is up there okay good you got it come on louder B kajo okay so there we are there my question on the quiz is what's this one called B okay so this is a this is a leading tone going in into that particular into that particular note so let's listen to here again just the very end of this with the spectacular sound of the [Music] orchestra [Music] and there at the end you could hear the organ a little bit better bit better so that's how using some of these basic ratios he gives us this primordial type of music and it's quite spectacular it's quite spectacular because here in the 1890s we have the apex of the western classical Orchestra this big beautiful powerful instrument uh okay we've talked a little bit about Pitch here let's go on to talk about the other axis of music and that is rhythm or duration now in music as you probably know we've already talked a little bit about this um we have theimportance of The Beat Beats very important in music and generally speaking in in music we divide the beat we organize it into groups beats kind of like the heartbeats kind of like the basic pulse of bum bum bum bum bum bum bum but given our psychological makeup we tend to divide these up into units of generally two and generally three and if we have groups of two we call that duple meter troups of three we call that of course triple meter how do we indicate these well by some kind of conducting pattern we'll come back to this you'll all be conducting in here so duple is just one two one two one two [Music] one one strong beat one weak beat strong weak strong weak in that fashion and conversely of course Triple is strong weak weak strong weak weak with two weak beatss between each strong beat so here's a question um for you who wrote the musical it's on your quiz there Chicago anybody know the answer to that okay how many how many don't know a rousing show of hands here don't know who wrote Chicago this is amazing to me this guy is the stealth bomber of Music how nobody could know the name of this person that has given us so much great music Cabaret Chicago songs that you go around singing in you know having in your ear all the time John kander lives down in New York City writes writes a lot of this stuff so uh we're going to listen to a track out of John cander Chicago here and the question uh that's is in play at the moment is what's the meter of this cut from Chicago and F me okay here's something that may interest you we'll be playing a lot of pop music in here but they will generally be short clips of pop music why is that the case be for copyright reasons right yeah for copyright reasons so we've heard a passage here what was the uh meter of that section gentlemen down here you seem to be moving with the music which is very good what did you think duple or triple duple okay duple now I would come that's correct I would come right back to you with yeah you intuited that but can you explain to me what you were hearing what did you hear that allowed your brain to instantly go to that decision make that correct decision any ideas anybody cut okay cut time what accent on one but what part of the music were you listening to yeah yeah that's it some but somebody's up to and it's actually the bass so we'll be wanting to zero in on the bass in a big way in music bum bum because that's often times giving us much more information than the melody so there we had an example of dupal Let's see we got another excerpt here let's listen to a little bit of that understand understand perfectly understand so what about that one well you know the setup here we did duple then we got to do triple okay so that but you could hear B to the strong weak weak strong weak weak in that fashion all right now let's listen to a little bit more of this and something interesting happens to the beat it's slows down what do we call the passage of Music in which the beat slows down what's being applied what's being affected here what's being used [Music] here def okay very simple word there okay so the music is we have the the the pulse being slowed down and almost like a law of physics if something slows down there opposite equal reaction now John cander makes the music accelerate so let's watch a wonderful example of eeler here yes [Music] let me hear it okay so at that point the music begins to speed up with the accelerando now uh we're getting close as you might imagine to the end indeed he wants to drive to the end you ever notice this in musical compositions keep an eye out for this particularly in pop music they've got an idea but they've got to fill up a track they really need good 3 minutes and 30 seconds here they'll have something going and then almost unbeknownst to you they will take that and lift it up in terms of the pitch content what is that called when you change the fundamental pitch in a piece going to a different uh pitch level anybody know about that called modulation and this is sort of where we'll be really really four months from now modulation it's very subtle very subtle a lot of what we were doing today is PR is very straightforward the idea of duple versus trip triple meter but most modulations we don't usually hear so let's listen to We got two more cuts to do and then I'll let you go uh let's listen to John cander sit on one pitch level and then suddenly raise the whole thing up raising up music builds excitement got it yes yes yes yes [Music] yes okay let's stop there now he builds I think this is the last question what do we call this last chord well we've already talked about it it's not the ponic chord it's the anybody remember the second most important pitch the dominant so let's watch John cander sit on a dominant chord now yes yes yes yes [Music] both reached [Music] for and now you sing the tonic okay hit the [Music] tonic [Music] okay so these are the kinds of things we will be doing if you decide to take this course get a hold of the materials for next Tuesday do listening exercises 1 and 9 through 11 I'll see you then