Відео

O: Todo eso mercería un vídeo aparte!

Good question! Indeed I-V cadences aren't as usual in modern musical styles as they were in classical music, and the concept of what constitutes a "strong" or "weak" cadence has varied a lot since then. For instance a "plagal" cadence IV-I was never used in the classical period to end a theme, but today many consider it as conclusive as a perfect authentic cadence with regard to pop music. So, in oder to apply these principles to a more modern style, I'd recommend you pay attention to what is considered a "strong" or "weak" cadence within each musical style (and especially if it sounds "strong" or "weak" to you). It's also worth noting that, while we can still find plenty of examples of actual "Sentence" and "Period" structures today (especially in film music and the like), in pop music thematic structures tend to be a little more simple, such as one single phrase repeated exactly two or more times, both times ending with the same type of cadence or no cadence at all. At the level of the basic idea however, some of these principles are still applied, especially the so called 1 + 1 + 2 technique, in which two related motivic cells are replied by a longer one to conform a recursive basic idea. A more specific video on pop music songwritting should be necessary to cover all the different procedures used today. In conclusion, take this video as a tool box of "classical" ideas that is good to have in your repetory but you don't have to use every time.

@@Zarty-Music Thanks so much for this answer. I'm gonna take a good care about hearing those "weak" and "strong " cadence and try to apply those construction method into my music. If you make another video, I'll 100% watch it ! I am actually working on "horor" music, with chromatic minor cadence. Its kinda hard to feel wich is strong or weak and to make a "linked" theme between those chords avoiding classic arpegios that make sounds like 2 different scene/world at each chord change. If you have tips for it too. I would be very happy to hear it.

@@sic94 That sounds interesting and intriguing. I'm currently offering feedback on people's works through my patreon (link in the description), you may consider joining me there so we can review your music in more detail if you wish!

@@Zarty-Music I am interested but I am only guitarist and bassist, not pianist. Is it a problem?

@sic94 Not at all, as long as we don't get into specific questions with regard to guitar and bass technique :D

Thank you, I'm glad it was helpful!

Excellent and very detailed analysis! Just a couple of details with regard to cadences: first cadence between bars 8-9 is not a half cadence but a kind of truncated authentic cadence. The tonal goal is the tonic chord (A minor), with the bass resolving upwards from dominant (E) to tonic (A). However, the upper and inner voices resolve in a non normative fashion: last B of the melody at the end of bar 8 should resolve either downwards to A or upwards to C, but jumps up to E instead; at the same time, inner voices jump in parallel motion, leading to consecutive fifths. This is justified by the fact that bar 9 is actually an exact repetition of bar 1, so it kind of feels like suddenly "going back" to a previous point without properly resolving the cadence. Some theorists call this the "one more time" technique. The cadence between bars 15-16 is a half cadence as it resolves on a dominant function chord: G major, dominant of C major/minor. This one is known as the converging half cadence, with the bass moving through grades 4 - ♯4 - 5 (of C) and the top line descending by stepwise motion. Overall we've got a special type of compound period, which ends on a haf cadence instead of a perfect authentic cadence. It is also a modulating type: the whole antecedent sentence is in A minor and the second one ends on the dominant of C major. Thanks for the comment!

@@108RudiThis is called "recomposing", I don't quite understand what you mean by "intelligent plagiarism", if such thing exists haha. Variations on a given theme and melody composition techniques are covered in more recent videos in case that's what you're looking for.

@Zarty-Music your other content is much more valuable than this. I was expecting techniques of breaking the melody and harmony into it's components in order to reassemble them, or alter their qualities. This is nothing more than "copy the chord chart and change stuff"

@108Rudi That's a nice idea to explore in future videos!

@@Li0nMa5K A cadence is a conclusive musical pattern. A few examples are shown at 11:45.

@@CrustaceousB haha good idea for my next video!

@@JoshuaDb_The_Witness I'm glad to hear that!

@@arturoescalera8275 That depends on the style and genre.

@@Zarty-Music Hello, following this video, I tried composing a minuet with trio. I’d love for you to listen to it. Please don’t worry about a detailed analysis-just focus on the structure, rhythm, and overall feel, and help me improve it. ua-cam.com/video/4DCMjtliCBo/v-deo.html

@@arturoescalera8275 Hello Arturo. Overall I like your Minuet, you did a good job! My take: you rely on asymmetrical phrase structures all along (3 + 5 bars) except for the contrasting section of the first Minuet which is 2 + 2 and the last part of the Trio. That's not wrong in itself, but making asymmetrical structures sound balaced is very complicated and I think you should start with symmetrical phrases first (4 + 4) until you feel confident. Keep in mind that the step dance of the Minuet is 2 bars long, so as long as your phrase structures are even numbers (4, 6, 8, 10...) it will sound like a historically accurate Minuet. In your case 3 + 5 phrases are not danceable (or at least it would be perceived as a challenge) and most likely a dance master of the 18th century would draw a pencil and add a couple of extra bars to make the structure even, such as 4 + 6, which is danceable even if it's asymmetrical. The overall structure is correct, so just focus on the phrase level. Harmony: Don't start the first bar on first inversion (I mean, you can, but that's not what a 18th century composer would do). So bar 1 bass note should be A. Be careful with the parallel octaves between the accompaniment and the melody at bar 1. This accompaniment sounds closer to a waltz than a minuet, I recommend you try this very same pattern but omitting the last note of each bar, except before cadences, it'll sound a lot more like 18th century fashion and you'll minimize the risk of parallel 5ths and octaves. Bar 2 Dominant harmony with the 5th (B) on the bass, which is second inversion. This inversion is only used as passing tone, when the bass proceeds by stepwise motion, so in this case, if the first bar has A on the bass and the second bar B, then bar 3 should proceed to A or C sharp on the bass. Otherwise, you should avoid this inversion and use either E or G sharp on the bass on bar 2. Also on bar 2 you use a couple of non chord notes (C sharp on the first beat and A on the 3rd beat) which is fine but sound more romantic than classical in this case. In any case, dissonances in the 18th century always resolve downwards, so the A of the 3rd beat should resolve down to a G sharp on bar 3. Bars 3-4 sound like a cadence but a few things are off. Bar 3 last bass note should be E, and one of the G sharps must be eliminated (duplication of the leading tone should be avoided). Between bars 3 and 4 I'd add an extra bar with a proper resolution of the cadence, just like you do at bar 8 but ending on the tonic (I suggest an Imperfect authentic cadence with the B resolving upwards to the C sharp). Bar 4 should start with A on the bass. Between bars 4 and 5 I'd repeat the bar 2. Bars 7-8 this cadence sounds very nice, but don't forget about the leading tone duplication rule on bar 7 (the upper D sharp must go). The contrasting middle sounds really nice. Bar 14, I'd repeat bar 6, the harmony here sounds off. Bar 15, for a proper authentic cadence I suggest you change the bass line for the following: first beat D (but octave up), second beat E , third beat E octave down. Or as alternative: first beat E, second beat rest, third beat E octave down. Bar 16, on the right hand, keep the G sharp from the previous bar and resolve it to A on the second beat (B moves down, G sharp goes up to unison). Additionally you can substitute the initial C sharp for an E and resolve it downwards to the C sharp on the second beat. It will sound a lot more conclusive. Bar 17, the E must go, tonic harmony can't have the 7th on the classical style. Between bar 17 and 18 I might add an extra bar with the motivic content from bar 21 but different harmony. This should balance the structure. Bar 18, watch out for parallel octaves. Bar 19, don't duplicate the leading tone (E sharp), also on the second beat try B instead of A. Bar 20, repeat the accompaniment from bar 18 (except for the E), tonic should appear on the bass (F sharp) Bar 21, unclear harmony. Try D major on the accompaniment with D on the bass and substitute the E on the inner voice for a F sharp (or remove it altogether). Bar 22-24, unclear cadential gesture, I'd remove the bar 23. On last beat of bar 22, right hand, I'd maybe move down again (G sharp, E) and resolve to F sharp on the first beat of the next bar, either directly or as appoggiatura. Remember that the cadence should end with the tonic on the bass (F sharp). Bars 25-26, sounds like a Fonte Schema but the harmony is off. Bass should proceed fro A sharp to B (bar 25), and from G sharp to A (bar 26). Bar 28, first two beats should be F sharp on the bass for a proper cadential resolution. Bars 29-32 try reworking them to match the changes from bars 21-24. Peace.

@@Zarty-Music Hello. Thank you so much for taking the time to provide such a detailed and thoughtful analysis of my Minuet. I've never received such a thorough explanation of my music before, and your feedback means the world to me. Thanks, I will try to fix the errors.

Ofc, it's the Rondo (3rd movement) from Mozart's piano concerto no. 6, Kv. 238.

@@MichaelOrtega Thank you for the comment, it was interesting to read you! I agree, the principles stated in this video apply mostly to the historical classical period, when composers made big efforts to make their themes sound as obvious as possible (as opossed to the previous baroque sequential procedures). This is not to be regarded as a universal rule for other periods and styles as you pointed out.

@@Zarty-Music That is true. Music as art form is subjective, but elements can be shared amongst all genders of music. We musicians tend to be very critical with our creations, but there’s nothing wrong about having repetitious melodies as long as it goes with the theme of the story you’re trying to portray. I always say, “variation is your friend”. Making repetitious melodies can help listeners sink into the musical story, just make sure you make variations as to not fatigue the ear.

Haha, don't worry, there is always room for some... minor adjustments.

@@Zarty-Music ill just own it, i already jotted down my matrices and want to stick to the rows as much as possible, otherwise i might as well just write all of it freely it's not like there aren't any other traditional (or anti-traditional) voice leading rules being broken also i did rewrite a version avoiding it by altering the rhthym of one of the rows (that parameter is serialized too), and my mom preferred the octaved one 💀

@@ihaveacoolnickname I agree, but these tools are as essential to music creation as grammar is for a writter. You cannot make art unless you learn how to create artifice first (a lesson the masters knew very well, including Beethoven), otherwise we'll lack the proper knowledge to transform our musical ideas into a coherent work, just like trying to write a novel in a language we don't speak.

A.I. : Hold my beer…

This sounds pretty pretentious

​@@tangerinesarebetterthanora-v8k And it would be, if it weren't at least half true. I doubt most musicians actively try to "do their own thing", instead of choosing the more comfortable path of generically writing in a certain genre, or basing their entire musical vocabulary on just a couple of sources. It seems to me that a lot of musicians (and artists in general) never really move on from the "imitation" stage in their development, and just get better at imitating; not even just personal twists on a style, just imitation. I think a cure for this would be listening to a lot of varied music, from many different ages and genres.

That depends on the context and the intentions. If we apply your definition strictly every single composer is a thief, from J.S.Bach to Hans Zimmer, because at certain point all of them borrowed or got inspiration from others. There is a huge difference between learning from other's music and adapting it in a creative manner, which is the basis of musical pedagogy, and simply copy it and pretend it's yours.

It's very likely, although the exact date of composition is unknown. The initial theme is actually a fast paced funeral march.

@@davidgleba3832 Oh? Could you please share your sources so I can read more about that? I knew that was the case for Mozart's piano sonata 13 Kv.333, first dated to 1778 then to 1783, but I hadn't heard of a similar thing happening to Kv.310.

@@Zarty-Music: I am so glad that you asked me that, because I just looked into it, and it turns out that you were absolutely right: all my sources say that KV310 was composed in 1778 in Paris. I was mistaken; I apologize for the confuzzlement, and will delete my erroneous comment.

@@BarrySahagian You are correct. I'm not a native english speaker and I didn't notice that mistake when editing the video, sorry for the inconvenience. Maybe there are some baaaas players out there but we can confirm you aren't one of them xD

@@Zarty-Music you are right, I have only been playing professionally for 63 years toured for 10 years in US and Canada, wrote published and distributed internationaly 26 books and bass music theory not nearly as much as you have accompished. So, how can you confirm tha tI am not a bsss player? Any way I apolgise...good luck in your development....

Thanks for the comment. I believe both approaches (inspiration and methodical work) aren't mutually exclusive. Inspiration is worthless without the proper tools to materialize it, as much as methodology alone is also pointless without having something interesting to say. Good artists learn how to balance both worlds.

there is no "true artist" or "constant inspiration", inspiration and creativity are nurtured by insights and sometimes tools that help reading the world around you in certain ways. this is why we often study art analytically, so that we can try to get a little bit of that insight and see how that may inspire you. analyzing and giving structure to a piece is not ripping it off its spirit, it's trying to make more substance out of it. it actually *fuels* creativity.

@tubb1 Thank you! I try to explain it in a way that I'd understand too xD