Surprise Use of Modulations - Inside the Mind of Bach
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Date: 2022-03-28
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Comments and reviews: 10
yiuqwfj
I think you should also show the text when analysing Bach, because the harmonies in his music are always closely linked to the text and the choices of harmonization can only be understood that way. The harmonization of this chorale for instance comes closely to the 11th movement in St. John Passion, therefore it can be taken that the same words apply here. I believe the special harmonies at the end of these two phrases relate to the words -who has -struck- you- and -...with -torments- ...- respectively -I, I, and my -sins- -, -
-that are as many as grains-.
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I think you should also show the text when analysing Bach, because the harmonies in his music are always closely linked to the text and the choices of harmonization can only be understood that way. The harmonization of this chorale for instance comes closely to the 11th movement in St. John Passion, therefore it can be taken that the same words apply here. I believe the special harmonies at the end of these two phrases relate to the words -who has -struck- you- and -...with -torments- ...- respectively -I, I, and my -sins- -, -
-that are as many as grains-.
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Martin
Don't change the title for this series, but really this is more 'outside the mind of Bach'. Your perceptive and clear explanations serve to illustrate how hard it is to comprehend the scope of Bach's achievement (and the 'inside' of his mind).
I find his bass line particularly extraordinary and even more extraordinary how well it works.
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Don't change the title for this series, but really this is more 'outside the mind of Bach'. Your perceptive and clear explanations serve to illustrate how hard it is to comprehend the scope of Bach's achievement (and the 'inside' of his mind).
I find his bass line particularly extraordinary and even more extraordinary how well it works.
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Luke
I really love your videos, thank you for making them.
As for surprise modulations, how about the mother of them all - the chorale Leit Uns Mit Deiner Rechten Hand from BWV 90. It gives me chills every time, and shows off not only Bach-s invention, but his mastery of word painting with music.
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I really love your videos, thank you for making them.
As for surprise modulations, how about the mother of them all - the chorale Leit Uns Mit Deiner Rechten Hand from BWV 90. It gives me chills every time, and shows off not only Bach-s invention, but his mastery of word painting with music.
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Gregory
I'm sorry but I would not consider this sample as modulation. It's rather DEVIATIONS into 1) related minor A-f# : first sentence is ending on HALF cadence C# = Dominant to f#. Second sentence however is a HALF cadence into initial key of A.
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I'm sorry but I would not consider this sample as modulation. It's rather DEVIATIONS into 1) related minor A-f# : first sentence is ending on HALF cadence C# = Dominant to f#. Second sentence however is a HALF cadence into initial key of A.
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vic
Sorry, my friend, you're wrong. Bach learnt to cram modulation examples into the exercise book he wrote. He then, as usual, reworked many snippets for his 'vast output'. A very practical and dour man, he was NOT being artistic in any way.
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Sorry, my friend, you're wrong. Bach learnt to cram modulation examples into the exercise book he wrote. He then, as usual, reworked many snippets for his 'vast output'. A very practical and dour man, he was NOT being artistic in any way.
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spb
To look at the last measure I would think it-s in three, not the time signature of 4/4. Is this allowed because of (1) the pickup measure, (2) the fermata that ends the second phrase, or (3) am I not reading that last measure correctly?
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To look at the last measure I would think it-s in three, not the time signature of 4/4. Is this allowed because of (1) the pickup measure, (2) the fermata that ends the second phrase, or (3) am I not reading that last measure correctly?
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Carl
Gorgeous AND Fascinating. Once again, Bach breaks a cardinal rule of part writing--and not only gets away with it, but gets praised for it. Methinks the instructor is biased...but then, so am I. Wonderful video. Thanks!
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Gorgeous AND Fascinating. Once again, Bach breaks a cardinal rule of part writing--and not only gets away with it, but gets praised for it. Methinks the instructor is biased...but then, so am I. Wonderful video. Thanks!
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wayne
The BACH Double Whammy with the G natural accidental note isn't this considered an anticipation? or out of key anticipation? I often see these BACH Double Whammy in his music but don't know the correct terminology
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The BACH Double Whammy with the G natural accidental note isn't this considered an anticipation? or out of key anticipation? I often see these BACH Double Whammy in his music but don't know the correct terminology
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fnersch
Hearing this got me to play Christus der, uns selig macht on the pipe organ I built a few years ago. There's something cathartic playing Bach on a real organ. Bach's works are unique in the world of music.
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Hearing this got me to play Christus der, uns selig macht on the pipe organ I built a few years ago. There's something cathartic playing Bach on a real organ. Bach's works are unique in the world of music.
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Peter
There-s something of homecoming in Bach-s resolutions here. Moments of bliss after the hard work of all those suspensions!
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There-s something of homecoming in Bach-s resolutions here. Moments of bliss after the hard work of all those suspensions!
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