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Thank you so much! I really appreciate your input, and hope you enjoy the other lessons on this channel. You can also see the entire course for free at breakingbarlines.com/music-theory-lessons/

Thank you so much! I really appreciate your input, and I agree: rhythm is a very neglected aspect of music theory. I have a blog page where I discuss my system of counting beats and rhythms: breakingbarlines.com/refining-rhythm-in-music/ You can also see the entire Breaking Barlines course for free at breakingbarlines.com/music-theory-lessons/ Thanks again for watching, and I hope you find the other video lessons useful 🙂

Thanks so much for watching! The subsequent lessons take you through the rest of the basic rhythm values, and then you'll encounter meter. You can also see the entire Breaking Barlines course for free at breakingbarlines.com/music-theory-lessons/

Hey, thanks so much for watching! You can also see the full course for free at breakingbarlines.com/

So happy to hear that! These video lessons have been a lot of fun to make, and it's gratifying to know they're helping people enjoy music. You can also see the rest of the videos for free at breakingbarlines.com/

You're welcome! I'm gratified that you found the lesson useful, and I hope you enjoy the other videos too. You can see them for free at breakingbarlines.com/music-theory-lessons/

That means so much to me, thank you! I really enjoyed creating these lessons, and you can see the rest of them for free at breakingbarlines.com/

Thank you for watching! Music theory can be challenging enough, so I try to make everything as visual and clear as possible. You can also see the rest of the lessons free at breakingbarlines.com/

Thank you for watching! I agree, music theory is much more engaging when it uses real music, instead of just exercises. You can also see the rest of the course for free at breakingbarlines.com/

@@rogercharlie hey, thanks so much for watching! You can also see the entire course for free at breakingbarlines.com

I'm so glad she's making use of these lessons! Thank you for watching, and you can also see the rest of the video lessons for free at breakingbarlines.com/

So good to hear your thoughts on one of my favorite composers! I agree, Brahms takes some patience, and there are so many pieces of his I adore today that I didn't think much of when I first heard them. But underneath a somber surface, I've found him to have so much depth and compositional integrity, and it keeps me coming back for more! And yes, he was much more prolific than his surviving output might suggest...he may well have written three to four times as much as what we have today. It's exciting to hear that you've been in performances of the Requiem and Horn Trio...Brahms had such an affection for the instrument, and knew how to use it to wonderful effect. Thanks so much for your thoughts, and for watching the video. If you're interested in music theory, I frequently make use of Brahms in my video lessons: breakingbarlines.com/ They're all free, so enjoy!

Many thanks! So glad you enjoyed the video, and if you're interested in seeing the whole course, you can watch for free at breakingbarlines.com/

Thank you so much for watching! You can also see all 46 video lessons free at breakingbarlines.com/

It's good to hear that! I'm a big fan of color-coding; anything that visually helps in music theory is beneficial to learning it.

Thank you so much for watching! I'm thrilled that you found the lesson useful, and I hope you enjoy the other videos in my curriculum. You can see them without having to wait at breakingbarlines.com/music-theory-lessons/

Hey, thank you so much for watching! You can also watch the entire course for free at breakingbarlines.com/music-theory-lessons/ Have fun, and don't forget to check out the downloadable worksheets and answer keys on the site! Also free!

I'm so glad you enjoyed the video lesson! You can also watch the entire course for free at breakingbarlines.com/music-theory-lessons/ Have fun, and don't forget to check out the downloadable worksheets and answer keys on the site! Also free!

It's so gratifying to me that you enjoyed the lesson and got something out of it. Thank you so much for watching, and yes-check out all the other videos on the website: breakingbarlines.com/music-theory-lessons/

Hey, that's so gratifying to hear! Thank you for your kind thoughts, and keep watching for more video lessons here on the channel. Sounds like you've also been to the website, so enjoy the other lessons and let me know if there are any other music theory topics you'd like to see. I try to base my content as much as possible on what viewers want.

Thank you so much for watching! If you'd like to see more, you can visit breakingbarlines.com/music-theory-lessons/ You'll find all 46 video lessons, curated by topic and completely FREE! Enjoy!

Thank you so much for watching! If you'd like to see more, you can visit breakingbarlines.com/music-theory-lessons/ You'll find all 46 video lessons, curated by topic and completely FREE! Enjoy!

@@dwinesierra9552 I’m so glad you found it useful, thank you! You can see the complete lesson at breakingbarlines.com, and it’s free!

Thanks so much for watching! Cadential 6/4 really is a bit tricky to learn at first: a V chord that just hasn't put the other shoe in yet! If you're interested in watching the whole video lesson, plus 45 others, for free, stop by breakingbarlines.com. Many of the videos also have downloadable resources for both teachers and students!

Hey, thanks for watching! Your comment got by me, so I'm sorry not to have seen it sooner. If you'd like to see more, you can visit breakingbarlines.com/music-theory-lessons/ You'll find all 46 video lessons, curated by topic and completely FREE! Enjoy!

Hey, thanks so much for watching! It's Final Cut Pro X. Each note has to be a separate imported transparent background PNG that moves, rotates, or changes size on its own. It's a pretty exhaustive process editing, but I'm fond of the results :-)

@@breakingbarlinesmusictheory Wow, that seems like a tremendous effort. Thanks; the results are certainly illuminating.

@@TLMuse Thank you! I think my latest video on Augmented 6th chords took about 75 hours of editing time. If you'd like to see all 46 full-length video lessons, they're absolutely free on the Breaking Barlines website!

Hey Kevin! Thanks so much for watching. If you're interested in 45 complete music theory video lessons like this sample, please visit breakingbarlines.com/ These lessons are based on my 28 years of music teaching experience, plus my love of music theory and passion for sharing it. You can browse the complete online course and sign up for a monthly membership if you feel ready. Cancellation can be done easily at any time. Thanks so much for your interest!

Hi Ruthe, thank you so much for your comments, and I'm very gratified to hear you enjoyed the video! You can actually see the complete video with a monthly subscription to: breakingbarlines.com/ Just click "music theory lessons" at the top and you can browse all the video lessons in my course. Also, every month I unlock one video lesson so non-members can watch...this month it's The Cadential 6/4, in Diatonic Harmony. All my best, and thanks again, Aron

Hey, thanks so much for watching! I love teaching this rhythm!

@@breakingbarlinesmusictheory I was teaching this rhythm today to some flute students and had trouble with the Kodaly syllables: I was using “Tum ti” for this rhythm, but that wasn’t really working. Your way of teaching “ta dot (hands out) ti” is much better

@@dianaflute I'm so glad it worked for your students. It really is more challenging to teach than it sounds. Students need a way to feel that second beat without playing on it, so the hands-out gesture lets them mark that second beat, and also sets them up for the eighth note.

Hey, thank you for watching! Breaking Barlines is my online music theory course, and I'm pleased to put my professionalism and 27 years of teaching experience into it. It's a great resource for composers and musicians, full of encouragement and humor. Along with each video lesson, you also get downloadable worksheets and answer keys for practice. Have a look at the video lessons available to subscribers: breakingbarlines.com/music-theory-lessons/ Currently there are 44 full-length video lessons, and I'm always adding new content. Lessons 45 and 46 (featuring the augmented 6th chords) are on track to be released this summer, and new lessons in counterpoint and rhythm are coming this year! You'll find the current videos divided into modules, each covering a different skill: Fundamentals and Intervals Scales Chords Rhythm and Meter Diatonic Harmony Chromatic Harmony Counterpoint Also, if you'd like free samples, you can get two free video lessons here: breakingbarlines.com/ And finally, if you'd like full access to all video lessons, including practice guides, worksheets, and answer keys, it's just $15.95 a month, and you can cancel at any time: Sign Up for a Breaking Barlines Monthly Membership Thank you again for your interest in my course, and please feel free to ask me any questions. Aron

Hi Radim, this is also my favorite of his three piano sonatas. It really is, as Robert Schumann said, a "veiled symphony," a whole orchestra of variety realized on the piano. It's all the more impressive when you consider that Brahms was only about 20 when he finished it. It has the exuberance of a young composer, but the structural maturity of someone much older.

@@breakingbarlinesmusictheory yes, exactly. I can't decide what's more wonderful - if the duet of both hands in parallel sixths in D flat major in the second movement followed by an answer of same structure but in B flat minor, making it in my opinion a literal musical poem which feels as if it literally spoke to you... or the build up in the closing part of the 2nd movement with the pesante FF into D flat major... So powerful. D flat major choral that sounds almost like Austrian-Hungarian anthem in the 5th mvt. is another place to cry. I don't know - I've discovered this sonata just few weeks ago. I heard it before but didn't have the taste ready yet so I appreciated only now. Bought Wiener Urtext immediately, they also have wonderful preface and notes on interpretation and I'll work hard to make it possible for me to play it.

@@breakingbarlinesmusictheory also, big respect for what you are doing. In my opinion classical art and for me especially classical music is the best defense against brainwashing, cure to becoming a herd of sheep instead of independently and critically thinking individuals. Every effort to educate people about art counts and I wish all the best to anyone doing that.

@@geuros Radim, I'm very gratified to hear you say that! Thank you so much for sharing your experiences with Brahms. I'm very impressed that you're tackling one of the hardest pieces in the repertoire.

@@breakingbarlinesmusictheory talk is cheap, but I'll do my best to actually do it.

Excellent question! No, the sub-dominant refers exclusively to the IV chord (and the 4th scale degree that it's built on). While it can function as a preparation for V, it really wears a lot of other hats: IV can also go to I (in a plagal cadence), or ii, or vi. So the term pre-dominant is reserved for a chord only when it's functioning as an approach to V. In classical music, this is most often ii and IV.

Here's a passage that really exemplifies the Romantic Era: Tchaikovsky's Symphony No. 6 in B minor (The Pathetique): ua-cam.com/video/KvGC8hZC29U/v-deo.html At 13:55, the development section of the first movement concludes with this crushing, fatalistic passage. Don't get me wrong: to me, this is one of the most powerful moments in 19th Century music, and I love it. But the suffering is taken to such a level of histrionics that it's dripping with self-pity. Like the operas of Wagner, the earth splits in half over the unrequited love of an individual, and therein lies the literary and musical vogue of the 19th Century. With Brahms, there's just as much passion, pain, melancholy, and yearning, but it's mostly under the surface. There's a restraint on the histrionics, and I find a depth to his music that keeps me coming back again and again.

@@breakingbarlinesmusictheory wow, thanks for the answer! This music was on a record I got from Santa at ten years old. Actually my father passed it on to me because it was to darkish to his liking. It was a melodia record from USSR. Sometimes the memory of the music kept on haunting me in the night and I couldn't sleep from it, when I was a kid. Later on, when I was a piano teacher, I found out it was quite freaky to be so in love with this kind of music at 10 years old. Chaikowsky had enough reason for self pitty when he composed this but I disagree with you. You don't get taken away like this by an expression of self pitty. And the light comes thrue afterwards very strongly. It's to do with contrasts. But I also think you're right about Brahms being more restrained and Brahms is of course a composer of a typical German melancholic temperament whereas Chaikowsky is more phlegmatic Russian, I guess. Thanks again!

@@Johannes_Brahms65 That's really neat that the album was in your family for so long. It reminds me of my Dad's vinyl collection from half a century ago! I agree that the first movement of the Tchaikovsky symphony does let the light in by the end, with that lush, longing second theme. But the fatalistic passage itself (at 13:55) strikes me as very "oh, what a world!" Again, it's magnificent, and I can't ever listen to it without tears, but there is a lot of wallowing there, beautifully expressed though it is. I certainly think I'd call the Russians anything but phlegmatic, though. Tchaikovsky, the Mighty Five, their music is imbued with red-blooded, full-hearted passion 🙂

@@breakingbarlinesmusictheory actually that album was given to me almost half a century ago and I think it was quite new. There's a 'late' string quartet by Beethoven that starts with a slow fuge (I think it's op. 130). According to your definition I would say it's self-pittyful. What's your opinion?

@@Johannes_Brahms65 Hi Rik, I know the string quartet you're referring to: it's Op. 131 in C# minor. That opening fugue is one of the most moving pieces in the repertoire, and one of my favorites! I'd say it's less histrionic and more representative of Beethoven's late period. Unlike the heroics of his middle period, late Beethoven seems a lot more inward, and even spiritual. While he's continuing to develop and modify the structures of sonata form, he's also looking backward at fugue and theme-and-variation. Emotionally, there's more of a transcendent, superhuman yearning here, very different from the Tchaikovsky.

Hi, thank you so much for watching! I'll definitely check that out...to hear any symphony transcribed for the organ is a treat, to say nothing of Brahms's 1st. I don't currently have any videos about transcribing, but it's an excellent idea for future modules in the Breaking Barlines course. What better way to put all that theory to use? 🙂 I think about how common it was, in the 19th Century and before, that composers made a two-piano arrangement of a new symphony (Brahms certainly did this). I've transcribed his Fourth Symphony for solo piano, plus the final movement of Beethoven's 1st. Even though you're reducing the glorious timbral variety of the orchestra to the limitations of piano sound, it's still an art to realize the music pianistically. On that note (pun intended, as always), Portland's Aaron Petite made this stunning piano arrangement of Stravinsky's Rite of Spring: ua-cam.com/video/xFO8qxw3ziI/v-deo.html It is really something to hear!

Thanks so much, Linda! If you're interested in learning more, either as a student or a teacher, come visit Breaking Barlines: breakingbarlines.com/ You can browse the full curriculum here: breakingbarlines.com/music-theory-lessons/ And if you're ready, try signing up for a monthly subscription, giving you full access to all video lessons, tutorials, worksheets, and answer keys: breakingbarlines.com/membership-account/membership-levels/

True, but generational differences aside, I think there's plenty to compare between these two composers. Both were obsessed with an organic connection between the forms they used and the musical content. They also both made huge strides in motivic development, especially across the span of multi-movement works. Nevertheless, I agree with you about the different eras...Beethoven was one of the first European composers to take advantage of the growing middle-class market for sheet music, thus breaking the self-abasing cycle of patronage. Brahms, on the other hand, born a half-century later, could take advantage of a society that already had a strong middle class in place.

@@breakingbarlinesmusictheory thanks for your explanation. Very informative. We are blessed with having these two brilliant geniuses available to our ears. Keep up the good work

@@JBorda Thank you so much for watching! If you're interested in more music theory, stop by the Breaking Barlines website: breakingbarlines.com/ You can get two free video lessons, and if you like what you see, sign up for a monthly membership. I've created 40 full-length video lessons on every topic in music theory, plus tutorials and answer keys!

Hey Darion, thanks for sharing your experience of Brahms. My first experience of him was actually very similar. His first Symphony (The Tenth, as it was nicknamed) is probably not the best of his four to get started with. It is a truly great work, but that first movement is one of his most non-melodic creations, and definitely takes repeated listenings before it grows on you! But it sounds like you were patient and stuck with it, and that persistence is rewarded by a composer who always has something deeper to show you. And yes, his piano pieces can be quite a trip for the left hand. Very widely spaced arpeggios, huge leaps with almost no time to make them, and chords better suited to bear claws!

Thank you for sharing your experience of Brahms! You're right: he did slip into a kind of irrelevance for a time, and has only gradually enjoyed an increasing respect from composers and the general public alike. I think what's tough about him is that the real import of his music is under the surface. The compositional integrity and emotional depth often don't hit right away, so he demands repeated listening. But that effort is rewarded!

@@breakingbarlinesmusictheory Yes, Brahms is not "easy". He often makes you wait for the payoff. If you just look at the surface, his music can seem conventional, but when you really pay attention you see that he was not a conservative at all.

@@theoldar He had a sophistication, especially in the rhythmic and metric arena, that outpaced most of his contemporaries, I think. The irony is that he achieved it largely by looking backward (Baroque hemiolas, Renaissance polyphony and harmonic fluidity). But you're right; he was only formally conservative. He wasn't just "pouring new wine into old bottles," as it was once put. He achieved an organic synthesis of three centuries of forms with the rich harmonic language of the Romantic.

It serves not to compare geniuses but to revere and immerse ones attention to the unique lineages and personal perspectives that formed the individual styles.

He really is one of my favorites: the conservative romantic, if you will. Three centuries of compositional techniques and forms, infused with the lush chromatic language of the 19th Century.

@@breakingbarlinesmusictheory thanks im stealing this

Absolutely, Brahms stood on many shoulders. Like J.S. Bach, he owed much to the past. I just happen to identify with his musical language and emotional sincerity.

On that note, he may have been Captain Ahab, last seen hunting barlines on one leg in the North Atlantic!

@@breakingbarlinesmusictheory ...aaaarh, Maties...you may have a point there...

Absolutely. Combine his poignancy with his love for the darker instruments (cello, horn, and clarinet), and you get some unforgettable music!

Hey Daniel, thanks for watching. Sadly, no relation. I got the name without the fame!

@@breakingbarlinesmusictheory I'm trying to get into Brahms. I tried listening to his Symphony No. 1 and I think it's really weird and I didn't really enjoy it all that much. I loved the first minute of the 4th symphony and like the 1st symphony, it started getting weirder and weirder. I really loved his first piano concerto though. Is there any place to start with Brahms? Any recommendation?

@@DanielFahimi Brahms really does take some patience, but he's worth it. Many of his pieces I love today didn't appeal that much to me years ago. Brahms rewards continued listening and study with an ever deepening pathos, but it can take a while. My apologies for the long list, but this is a boiled-down listening guide, if you can believe it! Starting with his symphonies, I'd recommend the Third in F major, probably the most intensely lyrical of the four. Of his concertos, you'll probably find the First Piano Concerto in D minor and the Violin Concerto the most accessible. Then, the German Requiem, one of the most original and powerful pieces of 19th Century sacred music. For chamber music, the Horn Trio (opus 40), Third Violin Sonata (opus 108), Second String Quintet (opus 111), and the Clarinet Quintet (opus 115) are particularly sumptuous. Finally, the four collections of late piano pieces (opus 116, 117, 118, and 119) are some of the most poignant and profound of the Romantic Period. I hope that helps! Give each piece several hearings, and, if you're a composer, Brahms's music is some of the best to learn from.

@@breakingbarlinesmusictheory Thanks! I'll check those out after virtual school!

@@DanielFahimi Anytime! And thanks for subscribing!

Hey, thanks for subscribing! Sure, I think there's plenty of self-pity in Tchaikovsky. To be fair, though, it's one of the defining marks of Romantic-Era music: raw pathos, subjectivity, favoring emotion over structure, the works. It was the age of Werther: suicidal theatrics over unrequited love, and other delightful indulgences. It's part of what makes the works of Goethe, Wagner, and Tchaikovsky so compelling. With the mature and late music of Brahms, you get something different. I've come to think of him as the Hemmingway of 19th Century German music, an iceberg-method composer. What's on the surface is very concise, and only one-eighth of the total import. Brahms has plenty of pathos and pain, but it's mostly under the surface, with a lot of restraint. He's seldom theatrical or histrionic, which is why it's a bit hard to imagine a Brahms opera. But the upside is that he keeps you coming back; to me, it's some of the most meaningful music of the 19th Century.

You're welcome, thanks for watching! In the upcoming Breaking Barlines curriculum, I'll be using a lot of solfege to help people learn scales, chords, and voice leading quickly. It's quite a powerful music tool! If you're interested in three free video lessons, you can visit: breakingbarlines.com/