Відео

many thanks!

The ‚Prinner’ is a term invented by the musicologist Robert Gjerdingen, using the name of a German 18th century music theorist that describes a prevalent standard cadence of baroque and classical music that takes place above a snippet of the descending major or minor scale on the degrees 4-3-2-1. It usually begins with the triad on the 4 (subdominant), descends in to the 6th chord on the 3 (tonic) and does a 7-6 suspension on the 2 resolving into the tonic. In many cases the 2-1-progression (tenor cadence) is replaced by a 2-5-1 cadence with 7th chords on 2 and 5. There is a Chapter in Gjerdingens ‚Music in the Galant Style‘ on it but you probably find other sources online. The Prinner is part of a greater repertoire of musical schemata - which are standard, or off-the-shelf phrases that have been uncovered in the field of historical informed music theory and the historical improv scene but for some reasons have been ignored by mainstream music theory.

lol no😂 sorry

@@en-blanc-et-noir Why not? Pathetique was literally based on Mozart's Sonata 14

@X10Bombs apart from the key... there are no structural similarites at all. How is it "literally" based on it? It's like a totally different piece in any regard.

@@en-blanc-et-noir There are many similarities, but the main one is the themes in second movement

@@en-blanc-et-noir There's a point in time where Mozart second movement sounds exactly like the Pathetique

thx

apart from what‘s available on my patreon I do private lessons…

Kabels... interessanter Accountname hahah

oh yeah? Which one?

Zur Kenntnis genommen! Wenn Sie vor dem Hintergrund der Sachlage, dass im 19. Jahrhundert mal ein 15-Jähriger von TBC aus dem Leben gerissen wurde, ein Hüstel-Meme unwitzig finden dann kann ich das allemal nachvollziehen. Ihnen muss hier nicht alles gefallen und das zum Ausdruck zu bringen dazu ist die Kommentarfunktion ja da. Wenn ich das nächste mal ein Video bastle und denke, dass es Zeit für einen Lacher ist, werde ich an Sie denken: "wie würde Herr Kokolores das finden?" ich nehme mir Ihren Hinweis zu Herzen... auf Jokes ganz zu verzichten wird mir allerdings schwerfallen. Ich würde mich trotzdem darüber freuen wenn Sie mir treu bleiben, vielleicht gelingt es Ihnen darüber hinwegzusehen.

look into the description

der war halt auch son Hipster…

@@en-blanc-et-noir Der Komponist, dem die Frauen vertrauen... 😎

And Field was influenced by folk songs to some extent; those of Russia, Ireland and Scotland.

Yeah

watch video to the very end, the last 2 minutes of the video is his realization played by him

Like who?

@@Daniel_Doce275 any

Merci, Naphta!

hahha, I used it already in another one

Beautiful piece Roberto!!!❤️

hahaha

Thanks, Jonas!

Nice

Hey Yuri, i don’t think the end of recomposing is to become a “genius”. But certainly it was one of many exercises great composers did to learn their craft. I guess it becomes an efficient exercice if you have in mind a very clear idea of what you are doing, for instance: in the case of this video, we were taking a partimento and exploring textures, jamming with it in an especific style. However we could only find nice solutions because we know the repertoire very well, if I didn’t played a lot of Chopin pieces, I couldn’t find anything. However, taking a piece, making a partimento and strictly realising it was probably not the most common way of recomposing. If we take the examples Michael showed, what was emulated was precisely the texture, or large formal/narrative structures. The later case is probably the one we can go more far from the original piece. It means you must get the structural cadences and modulations, you must understand their strength, and what makes one cadence stronger than other, you must get where there are prolongations, where there are sequences/elaboration, where there are simple statement cadences. So when you map this, you can compose your own guideline: when the original makes a prolongation, you prolong but in other way, when it sequences up, you sequence up but with another sequence, when it cadence strongly, you cadence strongly but in other way, etc etc etc of course all these exercises only make sense if you have already a deep knowledge in figuredbass/partimento and basics of counterpoint…. Don’t forget before recomposing Chopin, Filtsch had studied several years under Simon Sechter!

thanks a lot, Christian!

absolutely! Didn't know that one