Decorating Straightforward Harmony - Inside the Mind of Bach
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Date: 2022-03-28
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Comments and reviews: 6
Bernard
This is great!
I have two very picayune comments: I don't think -Well, you can think of this as a dissonant passing tone in the bass, but, look, it's also a major seventh chord in the third inversion!- as an ingenuity, trick, or flourish of Bach's skill is right -- those are just contrapuntal and harmonic-analysis languages, respectively, for the exact same gesture, like -Si bemol mayor- vs -Bb major-. Every one of one is the one of the other, too (Figured bass certainly would not show a figure (642) on the unaccented passing tone, and that tips the scale a bit). Secondly, in the last measure, the tenor and soprano are executing parallel sixths into the dominant seventh chord -- although -conflicting simultaneous dissonant gestures- is indeed an earmark of Bach's style, this isn't a case of them -- the tenor and soprano are cooperating in this gesture, they are not -two things going on-, but one, and if I were giving this lecture, I'd say, along with the T/B parallel thirds earlier, that this is extremely common in Bach (chorales and elsewhere), and a trick to be learned. Every time you can do that, the result sounds better.
Terrific, thanks for doing and posting!
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This is great!
I have two very picayune comments: I don't think -Well, you can think of this as a dissonant passing tone in the bass, but, look, it's also a major seventh chord in the third inversion!- as an ingenuity, trick, or flourish of Bach's skill is right -- those are just contrapuntal and harmonic-analysis languages, respectively, for the exact same gesture, like -Si bemol mayor- vs -Bb major-. Every one of one is the one of the other, too (Figured bass certainly would not show a figure (642) on the unaccented passing tone, and that tips the scale a bit). Secondly, in the last measure, the tenor and soprano are executing parallel sixths into the dominant seventh chord -- although -conflicting simultaneous dissonant gestures- is indeed an earmark of Bach's style, this isn't a case of them -- the tenor and soprano are cooperating in this gesture, they are not -two things going on-, but one, and if I were giving this lecture, I'd say, along with the T/B parallel thirds earlier, that this is extremely common in Bach (chorales and elsewhere), and a trick to be learned. Every time you can do that, the result sounds better.
Terrific, thanks for doing and posting!
reply
Hilvert
Very interesting analysis, although I just can-t help thinking that analysing is in actual fact nothing but -hindsight-. Bach was an amazing natural talent, and to me personally, trying to implement his -thinking pattern- into modern music would be not just sacrilege, but if we try to implement -Bach-ism- into our music, classical music will not move on and always remain -that same old tried and tested-. What I-m getting from this analysis personally is just to Try something Different, Daring, and unexpected-..
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Very interesting analysis, although I just can-t help thinking that analysing is in actual fact nothing but -hindsight-. Bach was an amazing natural talent, and to me personally, trying to implement his -thinking pattern- into modern music would be not just sacrilege, but if we try to implement -Bach-ism- into our music, classical music will not move on and always remain -that same old tried and tested-. What I-m getting from this analysis personally is just to Try something Different, Daring, and unexpected-..
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Darth
Another great video! Maybe I've missed it, but do you have a video with tips for fingerings? I'm trying to work through the Bach Chorales, but I get stuck when I try to add more than two voices and struggle with which fingers to use on the inner voices.
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Another great video! Maybe I've missed it, but do you have a video with tips for fingerings? I'm trying to work through the Bach Chorales, but I get stuck when I try to add more than two voices and struggle with which fingers to use on the inner voices.
reply
Elie
Can you please make a video on the beginning of -kyrie eleison- of the mass in b minor of Bach. As a i keep hearing it for thouthands of time and each time i feel the soulful as like the first time. What is the secret of this mysterious melody
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Can you please make a video on the beginning of -kyrie eleison- of the mass in b minor of Bach. As a i keep hearing it for thouthands of time and each time i feel the soulful as like the first time. What is the secret of this mysterious melody
reply
Eph-Jay
The chorals always make my heart melt... The harmony is so profoundly presented. Your explanations are stellar quality as always!
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The chorals always make my heart melt... The harmony is so profoundly presented. Your explanations are stellar quality as always!
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Richard
Without seeing the score, I hear the piece as starting on beat 1. Does it start on beat 4 so the cadences are on beat 3?
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Without seeing the score, I hear the piece as starting on beat 1. Does it start on beat 4 so the cadences are on beat 3?
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