Common Notes Between Chords - Inside the Mind of Bach
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Date: 2022-03-28
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Comments and reviews: 10
Lester
What I really would like to see is a video about the overal structure/form of these kind of pieces. There are so
many videos explaining harmony and melody and all those things are super insightful but if you want to actually write a whole piece or play these pieces with some sense of direction you need to understand the overal form and what kinds were typical for which genre.
When a piece goes on for 8 minutes it is not just mindlessly doing whatever or that it is just -genius- that us mortals can-t comprehend. All these styles are heavily structured and refined, these composers weren-t just doing whatever or mindlessly riding on their genius. But this so often gets overlooked. Same for pop music. You can find endless videos on chords and progressions and whatnot but so little on song form. Often times it doesn-t go further than verse chorus repeat bridge chorus. And same with -classical-, a quick mention of ABA and sonata form and that-s it. It took me ages to figure out by myself how a piece like the aria from Goldberg variation was structured. 16 bars establishing the I, 16 bars establishing the V, 16 bars floating around in the paralel minor key and then a 16 bar ritornello-ish sequence part back to I. But there is probably some kind of name for this, probably pretty typical aria form from that time.
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What I really would like to see is a video about the overal structure/form of these kind of pieces. There are so
many videos explaining harmony and melody and all those things are super insightful but if you want to actually write a whole piece or play these pieces with some sense of direction you need to understand the overal form and what kinds were typical for which genre.
When a piece goes on for 8 minutes it is not just mindlessly doing whatever or that it is just -genius- that us mortals can-t comprehend. All these styles are heavily structured and refined, these composers weren-t just doing whatever or mindlessly riding on their genius. But this so often gets overlooked. Same for pop music. You can find endless videos on chords and progressions and whatnot but so little on song form. Often times it doesn-t go further than verse chorus repeat bridge chorus. And same with -classical-, a quick mention of ABA and sonata form and that-s it. It took me ages to figure out by myself how a piece like the aria from Goldberg variation was structured. 16 bars establishing the I, 16 bars establishing the V, 16 bars floating around in the paralel minor key and then a 16 bar ritornello-ish sequence part back to I. But there is probably some kind of name for this, probably pretty typical aria form from that time.
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wayne
How does various classical composer -displace notes- in their own way as a formula? My classical teachers would always give me a big fat F- minus in a red pen will I used common notes for each chord or finding common notes because they said that is considered boring and blain which most jazz composed used common note voice leading and its avoided in classical music as entry level voice leading very boring and blain plain vanilla. I rather learn more about how classical composers used displacement of notes by displace the notes by -cross voicing- is considered displace of notes?
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How does various classical composer -displace notes- in their own way as a formula? My classical teachers would always give me a big fat F- minus in a red pen will I used common notes for each chord or finding common notes because they said that is considered boring and blain which most jazz composed used common note voice leading and its avoided in classical music as entry level voice leading very boring and blain plain vanilla. I rather learn more about how classical composers used displacement of notes by displace the notes by -cross voicing- is considered displace of notes?
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Pablo
How crazy is this: I was watching this video last night and recognizing this choir somehow, today I realize that it is very close to the one I was preparing to record as a guitar duo arrangement. It is a similar version, but a bit less sophisticated (perhaps an earlier version?). I've been following the -371- editions. I just posted the performance of it if anyone is interested.
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How crazy is this: I was watching this video last night and recognizing this choir somehow, today I realize that it is very close to the one I was preparing to record as a guitar duo arrangement. It is a similar version, but a bit less sophisticated (perhaps an earlier version?). I've been following the -371- editions. I just posted the performance of it if anyone is interested.
reply
Tasteapiana
It gets quite esoteric when you look into the internal harmonies of Bach and I think that's what led to many of the way out there works of Schumann, Shostakovich, Ravel, Villa-Lobos, etc. Each looked into that reflecting pool and saw a pure logic that resembled, to them, insanity, then they just ran with it lol I know, I know, I'll see myself out. Great video, by the way.
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It gets quite esoteric when you look into the internal harmonies of Bach and I think that's what led to many of the way out there works of Schumann, Shostakovich, Ravel, Villa-Lobos, etc. Each looked into that reflecting pool and saw a pure logic that resembled, to them, insanity, then they just ran with it lol I know, I know, I'll see myself out. Great video, by the way.
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Martin
Ah... Bach... and he manages to get away with a direct unisson alt-ten (beat 2 and 3 in measure 4). Luckily the soprano goes to the A allowing the alto to jump down to the tenor's C# seamlessly...(I wasn't allowed to do that...) Amazingly clever that Bach...
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Ah... Bach... and he manages to get away with a direct unisson alt-ten (beat 2 and 3 in measure 4). Luckily the soprano goes to the A allowing the alto to jump down to the tenor's C# seamlessly...(I wasn't allowed to do that...) Amazingly clever that Bach...
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Bernard
Excellent. Important insights into the style. Maybe a whole lesson is in order on vii0 6-3 as a -4-free- substitute for V is in order -- a characteristic of the -Regola dell'Ottava- of the Neapolitan school that Bach uses often.
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Excellent. Important insights into the style. Maybe a whole lesson is in order on vii0 6-3 as a -4-free- substitute for V is in order -- a characteristic of the -Regola dell'Ottava- of the Neapolitan school that Bach uses often.
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David
Hi Gareth and gang:
A possible suggestion: any way to enlarge the score? Some of us are viewing this on mobile. And it-s pretty small right now
If that works for you
Best regards,
David
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Hi Gareth and gang:
A possible suggestion: any way to enlarge the score? Some of us are viewing this on mobile. And it-s pretty small right now
If that works for you
Best regards,
David
reply
David
Leaps at the conclusion of a phrase, stability otherwise, including repeated notes. Good stuff! I feel my knowledge is getting more and more solid
Thanks!
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Leaps at the conclusion of a phrase, stability otherwise, including repeated notes. Good stuff! I feel my knowledge is getting more and more solid
Thanks!
reply
Evelyne
Thank you very much for your 2 last videos on Bach chorales! Bach's absolute mastery of harmony is an eternal resource of knowledge and inspiration.
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Thank you very much for your 2 last videos on Bach chorales! Bach's absolute mastery of harmony is an eternal resource of knowledge and inspiration.
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Colin
Lol this looks so much like the chorale melody I wrote for myself to make my life difficult. Needless to say, Bach handles it better
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Lol this looks so much like the chorale melody I wrote for myself to make my life difficult. Needless to say, Bach handles it better
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