Pulcinella's overture by Stravinsky is also a great example of a modern use of the circle of fifths, and the tenth piece of Schumann's Kinderszenen really cements Schumann as the most revolutionary harmonist of the early romantics.
Would have been an added bonus if you explained a bit about how the keys are related and link to each other. Mostly what I got here was the ability to recognize it and put a label on it, but now how it works.
Really beautiful video! I think the most profoundly beautiful cycle of 5ths I've ever heard is towards the end of "Non mi dir" in Mozart's Don Giovanni (and a part of me feels that it was Mozart's favourite example too); but the only singer I've heard do it its due justice is Carmela Remigio, in the famous 1997 performance of Don Giovanni conducted by Claudio Abbado. Another really nice example: Domenico Scarlatti's sonata in D minor, K1, really cleverly and effectively uses a _cycle of 4ths progression_ to build up tension towards a climax that takes the form of a cycle of 5ths progression. Incidentally, Igudesman & Joo have a really nice exposition of diverse potential of the cycle of 5ths, based on "I Will Survive".
@@enjoyclassicalmusic6006 By the way, I think you would enjoy the final movement of Buxtehude's cantata 'Der Herr Ist Mit Mir'. It's got a rich and fun circle of fifths progression that ends with a picardy third. :)
The sequence at 4:35 is actually a romanesca, the same progression as Pachelbel’s canon! A lot of good examples of fifth progressions in the romantic era are in Brahms, such as the first movement of the Clarinet Quintet, the piano piece op. 117 no. 2, the scherzo of the Piano Quintet, the finale of the C minor Piano Quartet, or the third movement of the d minor violin sonata. Those are just a few examples of the top of my head.
My favorite circle of fifths moments has to be at the end of Schumanns piano concerto (when the Piano is playing arpeggios) or from his f-sharp-minor sonata in the last movement.
No one seems to notice this, but there is an absurdly beautiful circle of fifths progressions at the beginning of Rachmaninoff's piano concerto No. 2. Other good ones are in Mozart's requiem (rex tremendæ and confutatis) and his Great Mass in Domine Deus
It just became too academic. They cared very little for whether their music was actually enjoyable. And modern classical music is much more so just post modernist garbage
Hey, modern composer here. While a do agree on what you said, to a certain extent, I'd like to point out that much of the 20th century music is, to my and to many other ears, very enjoyable, even when it lack the basics harmonic progressions that were discussed in the video. I mean, how can you dislike Prokofiev? ;) Too many composers, nowaday, try to look for "noise", instead of music, but atonality is a great tool to create certain feeling that are not quite possible in the ranges of classical tonality. But that's just my opinion.
@@lucazordancomposer1733 I completely agree so where does the line cross between atonality and noise? I really like Prokofiev but Schoenberg umm not so much. Yet at least.
@@eladpeleg745 Here is my method: when writing melodies, I always have in mind the concept of "cantabilità", which is an Italian word for "possibility of singing" (I believe it's the best way of describing it). By that I mean that melodies should have a sort of easyness of singing, and to reach that task they have to be linked, to a certain extent, to the classical concept of tonality (or modality). What happens underneath that melody has much more freedom: dissonant chords, parallel sevenths, clusters, but all with an objective, specific sounds used to create specific effects. Not all noise is the same, a cluster of semitones can be very funny if well placed. I'll post an atonal fugue on my channel that is, to me, a perfect example of what I mean. This is just one of the many approaches to modern music, but regardless of the method I believe that even in atonality one should always have some sort of awareness of what our ears are used to
ua-cam.com/video/pGbh_oAwuOE/v-deo.html is this a progression of fifths as well? I've always wondered why I really like this part of the piece so much. Great video btw.
Pulcinella's overture by Stravinsky is also a great example of a modern use of the circle of fifths, and the tenth piece of Schumann's Kinderszenen really cements Schumann as the most revolutionary harmonist of the early romantics.
Would have been an added bonus if you explained a bit about how the keys are related and link to each other. Mostly what I got here was the ability to recognize it and put a label on it, but now how it works.
This is exactly what I have been trying to figure out. Thank you so much. Brandenburg 2, and that specific part, is my favorite.
Really beautiful video! I think the most profoundly beautiful cycle of 5ths I've ever heard is towards the end of "Non mi dir" in Mozart's Don Giovanni (and a part of me feels that it was Mozart's favourite example too); but the only singer I've heard do it its due justice is Carmela Remigio, in the famous 1997 performance of Don Giovanni conducted by Claudio Abbado. Another really nice example: Domenico Scarlatti's sonata in D minor, K1, really cleverly and effectively uses a _cycle of 4ths progression_ to build up tension towards a climax that takes the form of a cycle of 5ths progression. Incidentally, Igudesman & Joo have a really nice exposition of diverse potential of the cycle of 5ths, based on "I Will Survive".
Love your content!
I never thought I'd thank damnation, but thank you!
How does this not have over 100K views at least?!?!
That's very kind, thanks
@@enjoyclassicalmusic6006 By the way, I think you would enjoy the final movement of Buxtehude's cantata 'Der Herr Ist Mit Mir'. It's got a rich and fun circle of fifths progression that ends with a picardy third. :)
The sequence at 4:35 is actually a romanesca, the same progression as Pachelbel’s canon!
A lot of good examples of fifth progressions in the romantic era are in Brahms, such as the first movement of the Clarinet Quintet, the piano piece op. 117 no. 2, the scherzo of the Piano Quintet, the finale of the C minor Piano Quartet, or the third movement of the d minor violin sonata. Those are just a few examples of the top of my head.
My favorite circle of fifths moments has to be at the end of Schumanns piano concerto (when the Piano is playing arpeggios) or from his f-sharp-minor sonata in the last movement.
No one seems to notice this, but there is an absurdly beautiful circle of fifths progressions at the beginning of Rachmaninoff's piano concerto No. 2. Other good ones are in Mozart's requiem (rex tremendæ and confutatis) and his Great Mass in Domine Deus
Yes! Thank you so much for this video. Very well done! 🎶
A high compliment from Sergei himself!
4:35 excerpt from Mozart. it reads Bb on the up-beat of the second bar, but i hear a B natural. just wanted to point that out. Good work as always.
The reason why classical music kind of fell down in the 20th century is that they thought abandoning the past is the way ahead.
It just became too academic. They cared very little for whether their music was actually enjoyable. And modern classical music is much more so just post modernist garbage
@@eladpeleg745 i agree.
Hey, modern composer here. While a do agree on what you said, to a certain extent, I'd like to point out that much of the 20th century music is, to my and to many other ears, very enjoyable, even when it lack the basics harmonic progressions that were discussed in the video. I mean, how can you dislike Prokofiev? ;)
Too many composers, nowaday, try to look for "noise", instead of music, but atonality is a great tool to create certain feeling that are not quite possible in the ranges of classical tonality. But that's just my opinion.
@@lucazordancomposer1733 I completely agree so where does the line cross between atonality and noise? I really like Prokofiev but Schoenberg umm not so much. Yet at least.
@@eladpeleg745 Here is my method: when writing melodies, I always have in mind the concept of "cantabilità", which is an Italian word for "possibility of singing" (I believe it's the best way of describing it). By that I mean that melodies should have a sort of easyness of singing, and to reach that task they have to be linked, to a certain extent, to the classical concept of tonality (or modality). What happens underneath that melody has much more freedom: dissonant chords, parallel sevenths, clusters, but all with an objective, specific sounds used to create specific effects. Not all noise is the same, a cluster of semitones can be very funny if well placed. I'll post an atonal fugue on my channel that is, to me, a perfect example of what I mean.
This is just one of the many approaches to modern music, but regardless of the method I believe that even in atonality one should always have some sort of awareness of what our ears are used to
What's the piece being played at 1:41?
That's from Mozart Sonata in F K332, there's a link to the piece in the video description
@@enjoyclassicalmusic6006 Thank you!
ua-cam.com/video/pGbh_oAwuOE/v-deo.html is this a progression of fifths as well? I've always wondered why I really like this part of the piece so much. Great video btw.
and these two? ua-cam.com/video/pqnlFvFhNFE/v-deo.html ua-cam.com/video/9rDGc69FQcY/v-deo.html
Sounds like it, and I agree, what a lovely bit of Schubert!