Відео

The part A#m7 D#7/A G#, if you consider the top melody, it sounds like implying vim7 II7 V(7) in C# melodic minor, the vim7 was somehow borrowed from C#major which has a major third, but the top melody has minor third. I think this is a technique which appears a lot in romantic classical/latin Jazz. So the tonality of this section was not in G# major but C# minor for me, it interrupted the major II V cadence by temporarily setting a half cadence to its relative minor. So it is originally like vi II7 ii V7 in E, now it is something like: vi (vi/vi II7/vi V/vi) ii V7 The most important thing I heard from Kapustin was that he could make all other “keys” sound like spinning around the center one.

mindblowing! Every single music theory lesson now makes sense!

Absolutely fantastic, thanks a lot!!

Thanks a lot, will help me to work with my studends, warming up exercises

is harmonic "luminosity" as described here another word for pitch? seems in the examples you give a brighter sound is always higher, a darker sound is always lower

This was amazingly helpful. I've been working on some of Kapustin's Op.59 Ten Bagatelles and found them really hard to commit to memory because of all the crazy harmony and ambiguous cadences. I have some pretty crazy looking pencil scrawl trying to notate the chords. A harmonic language which actually makes sense for his music will be so so useful. Thank you!

Never heard of tonnetz before, I really appreciate your effort to explain rare music theory concepts for us

Но, все это можно проще, логичнее и математически более обоснованно, представить в пространстве кратностей, где по одной оси отложениы терции, а по другой квинты. Реально не существует малой терции, минорный аккорд это трезвучие, в котором тональной нотой является последняя - наиболее высокая, и внет точно так же отложен интервал терции (большой терции) от последней ноты, именно этот интервал соответсует резонансу по 5-й гармонике, что и составляет звучание аккорда. Малые терции не являются онтервалом образующим аккорды, ито всего лишь эмпирическое правило игры, предполагающее что следующим интервалом будет квинта, и терцию мы получим автоматически

There is a video with a live Nikolai Kapustin, in which he talks about his concept of tonal arrangement in his cycle ‘24 Preludes and Fugues’ << The native minor of each major is set off from it by a major third downwards. The distance between these twos is a minor third. >> For example, C major and A-flat minor, then F major and C-sharp minor, then B-flat major and G minor, and so on.... Notice that the major tonalities are exactly a fourth apart. So it is also a circle of fifths, in essence! I understand that Nikolai Kapustin is NOT talking about relative tonalities here, but about something else. About some ‘native’ tonalities. But, it has to be said, it sounds very beautiful! ----------------------------------------------- And one more interesting observation. Here is how the principle of tonalities arrangement looks like in the cycle ‘24 Preludes and Fugues’ by N. G. Kapustin maj | min 0# | | 5# 1b | | 4# 2b | | 3# 3b | | 2# 4b | | 1# 5b | | 0# 6b = 6# | 1b 5# | | 2b 4# | | 3b 3# | | 4b 2# | | 5b 1# | | 6b I found this in the comments under the video ‘Nikolai Kapustin - 24 Preludes and Fugues, Op 82’. ----------------------------------------------- And to summarise what you said in your video. There is another principle of arranging tonalities in twos, but the distance between these twos will not be a minor third, but a major third. That is, it's the other way round. Here's an example: 1) Let's just take a pair of relative tonalities - E major and C-sharp minor. The distance between them = minor third, since they are relative tonalities. 2) Then we step the major third down - we get A major and F-sharp minor relative to it. And then by analogy - D major and B minor, G major and E minor, and so on.... And you know what the 2 main features of this arrangement are? 1) Major tonalities are a circle of fifths. E, A, D, G, C, F.... 2) The lower/left (depending on how one represents the circle) one moves, the darker the tonality becomes. Correspondingly, the higher/right you move, the lighter it becomes. The brightest tonalities are B major, E major, A major. The darkest tonalities are B-flat minor, E-flat minor, A-flat minor.

Everything you told is very similar to matrices and their linear transformations (hi, 1blue3brown), especially when it came to ‘Lum7’. It turns out that Lum1 and Lum7 are nothing but basis vectors in 2D space.

❤❤❤ For You Here, Dear Pianist ! 18 of GREAT JuLy TODAY, of 2024 Year ❤️❤️❤️ ! ___ Teacher SvetLana Here and Now ', ___ Russia, Far East of Russia '. / ... ... ...

О мой Бог! Музыкальный анализ Капустина 🤩🥺😍

It seems to me that the Tonnetz should be front and center in teaching music, and introduced early. Many of the concepts you present are beyond my theory but become immediately intuitive when cast on the net visually. What seems arbitrary on the page becomes obvious on the lattice. Thank you.

It’s weird as an engineer to see someone brilliant approach music with an engineer-like imagination.

What an thoroughly amazing ass explanation

This was an interesting take! Thanks for putting it together. I think even when speaking English it would make sense to pronounce the "Ton-" in Tonnetz as "Tone."

This is so helpful thank you so much!!!

Excellent video, it would be easier if you inserted chords and modulations,thank you.

awesome video!!!

Bravo 👏👏

This is cool! I've never heard of the Tonnetz before

thanks

You are awesome

What software do you use for the Circle of Fifths?

Great tutorial, thanks man!

incredible video

I'm sorry to say this, but it's entirely unfounded. While your experimental spirit is commendable, this content is quite erroneous and misleading. Firstly, it's fundamentally wrong from the beginning. Discussing the brightness and darkness, the essence of chords is not something that can be oversimplified. The connotation of chords is related to the context of the musical progression, and auditory contrast is relative. Your method can be considered an overinterpretation of the circle of fifths. For instance, when you claim that moving from C major to F major darkens the mood, it's merely because the F major you played is in a lower octave than C. If you were to play an F major in a higher register (fourth up), it would sound significantly brighter. The fact is, F major isn't inherently darker compare to C major; anyone can verify this. Therefore, from the outset, this is somewhat of an exaggerated interpretation. Please stop propagating these misconceptions.

I think there’s some interesting stuff to be said about how chord changes can subvert this idea you present about lum7, specifically in the case you bring up around 19:40 where that flip happens on some, but it kind of leaves a “ghost note” resolution to the other notes. That assumes of course that subconsciously you expect all the notes to follow the same flip, but they don’t. In this case, they are just left out.

Great video, thanks!!!

The sonata seems to have glimpses of chopins Polonaise in A

Holy heck this is fantastic. I was a little disoriented since this is the first time I've seen the tonnetz with the fifths axis in a vertical direction, but my brain was able to adjust pretty quick. Anyway, this is a great framework for comparing brightness. I'll be re-watching this several times for sure. Did you write your own Tonnetz program to respond to MIDI input?

I really loved this. That software is genius. I'm a visual learner and this was amazing!

This is one of the best videos on music theory I've ever watched - I want to thank you for how articulately you've managed to make this concept 'click' for me after I've been confounded by a lot of other explanations!

It looks a lot like the DNA of music, the fundamental blueprint of music, the sefirot tree of life applied to music… it should be 3-dimensional

This video is a revelation. I’ve always loved Kapustin! 🥰

Really interesting and very easy to understand! Thanks for this video!

1:40 Sounds like a little bit of an "Iron Man" motif in there in a few spots, at least to my uncultured ears lol

I want to let you know that you have a rare gift - forensic mind and a wonderfully engaging way of sharing what your forensic explorations have discovered, arranged - in order to illuminate some of the underlying patterns embedded within western tonal music. As a professional composer and performing musician - I salute you and thank you for this excellent illustration of our art.

Bravo

The lum system is really cool

Great lesson!

What do you mean C maj is darker than G maj? 4:23 they both have the exact same intervals, so unless you have perfect pitch you wouldn’t be able to tell which one is which. Do you mean that when playing a song in C maj and switching keys would make G maj sound brighter?

This is about the best presentation of tonnetz I've ever seen. I started taking notes on tonnetz transformations and didn't really follow through but this lesson really reawakened the fire of revisiting tonnetz. I was feeling like it would be useful but I had yet to see a direct representation of how it could be applied and digested until now. And the app just compounds on the helpful visual representation. So glad I found you and this fantastic video. Now I have tons of study to do. 😂 Can't thank you enough for creating this!

great video!

Really love kapustins works and this explained and helped soo much!

I played the second scherzo in college and i used this technique to count. My teacher was like "im only sad i didn't think of it" lol

Thank you very much for that. It illuminates what I had kind of avoided learning, and now I want to give it a read.

Fascinating! Thanks for this Will, a really interesting and informative video.

This is eye opening! Thank you!