Відео

Merci beaucoup ;)

He was much much more than a just a revolutionary piano player; he influenced modern harmony

You ask for origin of that Melody, you already answered it in your analysis Dorian, Aeolian, Lydian, Ionian etc. ancient Greeks used this melodic scales for sacral purposes so called Misterion like Eleusinian Misterion, that concludes pagan nature of Satie`s beliefs in ancient ocult misteris of greeks.

Never thought of it as a conversation... but now I can't unsee it; or unhear it I guess. With that said, I don't know if the choice of images was on purpose, but A sounds like and old man, B like an adult and C like a young man.

Thanks so much; I'm a classically trained player, approaching jazz after many years, so I'm having similar experience in reverse! I spent half an hour at the piano trying to figure out what that chord is before I found your video. Thank you!!

You're wrong 😂😂. Really. It's a modal piece ( Harmonic Mineur) . Start on the IV degrees and go to the I.

Well done, thank you.

Tkx Meta Andy for clarifying that! Ravel had nothing to do with jazz, certainly not at that period, and certainly not the modern jazz that came in the late 1950s. You could also have said that the jazz that Ravel heard in the 1930s was very not the jazz that uses upper extensions (9, 11, 13s).

I adore Bach❤❤❤

The conversation between a b & c was amazing

I would say identifying the chords has some value, but you can't analyze this piece by its chords because the chromatic movement and the choice of inversions require the analysis to be about more than just chords.

Brilliant, thanks.

those are rich chords that explains a lot.

i was ready for something more.

i wasn't ill tempered after 2 years of pop music and abd easy tunes when i furst got my starter keyboard.

how do i hold the bass g while pedaling

Really enjoyed this, I'm going to play it more jazzy from now. You're right too, it's the notes that count, not whether we can identify the 'style'. I have thus theory that most composers just muck about and have fun with chords, but the ones that end up in their works have to stick to the so-called rules and expectations of their time. But there's a lot of jazz in Bach and Beethoven!

Bravoooooo❤😊❤😊❤😊❤😊❤😊❤😊❤😊❤😊❤😊❤😊

Thank you, most insightful analysis, and very helpful presentation. In classical harmony, the bII chord in bar 3 would be regarded as a Neapolitan chord with a flat 7th (Eb). The B is an appoggiatura, resolving to C (which belongs to the Neapolitan, and the chord where it is sounded, Fm). What is fascinating about this move is, the resolution is only sounded at the very end of the bar, so it is like coming up only briefly for air. I think this mechanism is an important part of the ebb and flow of this piece, and its character of sustained, almost suffocating tensions.

I'm so sorry. I can only imagine. I hope you are doing well.

Excellent analysis!

Thx dude

that was helpful thanks!

Thank you this was fantastic! ❤

I absolutely love this! Thank you so much!

Your explanation is too complicated as much as the sheet. If somebody is able to understand it it means that he doesn’t need any tutorial.

Excellent video,Andy. You have a gift for analysis so keep using it. Thank you.

Thank you. Nice, especially the Satie-like composition part.

Brilliant video,Andy.Thank you.

Thank you for this upload.

Fascinating video, thank you.

Thanks so much great help for any pianist

THANK YOU SO MUCH!!! I have been struggling to analyze this piece. This is so helpful!!!

Very nice. Technically competent and not boring.....enlightening, even. Ah: At the end of your commentary you hit what I think is the essential thing about this music. The zeitgeist of that time. Satie evokes it more profoundly than any of his contemporaries. For me it is very powerful.....

Takes a German to understand good French music.

Thank you for posting! I am currently going through them and am now on the third fugue! Really enjoyed your analysis and it helps bring more life to the piece, kind of like the bonus features to a movie you already liked :-D. One thing I noticed while learning this was that during the C7 and Fm section before the end, the last little part of the run is actually 64th notes. You have to go slower and then speed up on the way down. Thanks again for sharing! Keep it up!

Great analysis. Your 3-way conversation analogy makes it super easy to remember the arrangement. Thanks.

Bro looks like he's gonna kill me

ua-cam.com/video/n6wifq7YdYs/v-deo.html

thanks for the video!

Thanks a lot. I play it almost every day!

Ravel bolero

Grossartig u humorvoll. I play jazz and adore Ravel so what could be better than your analysis.!!!

Great stuff thanks. The Bb dim 7th at measure 27 seems to function as A7b9, is that why it is notated as II7/V (A is the II and D the V of Gm)? Bb is the III of Gm, so wondering if it should be listed as III/V or II7/V. Not arguing or anything, just trying to understand, as this is the "strangest" chord in this song. And Bach uses the diminished 7th chords in many crazy, interesting and confusing ways. Thanks again, cheers!

Definitely one of the most hauntingly beautiful peices of music ever written, great analysis

Excellent analysis! I’m studying this gem in these days - your comments are very useful.

than you so much for this analysis, very clear and comprehensive

Great! Thank you!

Splendid