Wow. Thank you....I've been so perplexed by this piece!! Playing it over and over and trying to understand why it's so beautiful. Now I have an inkling as to why....but still a beautiful mystery.
Wonderful tutorial; includes the chord notation, the piano, and the commentary. Your piano has a beautiful tone. The challenge I have is that the volume of the piano obscures the commentary along with it until you've stopped playing. Thanks for the great work
This is the greatest insight on music theory I’ve had! So many great connections I’ve made in my mind and so much wisdom as to how each chord relates to one another. Thank you 🙏🏼
Thank you for the feedback and I am so happy the video helped you make these connections! Indeed, in tonal music chords are always moving towards one place or another, and being able to follow that movement is key to understanding how music works.
This was awesome, hope you do more analysis of Bach pieces, I’m trying to learn more music theory and it’s cool to see Bach teaching how to modulate and using substitutions through this
you explained all that in one go, very good i didn't realize the dminor at the end, interesting d minor is in the beginning as well in the 2nd chords, didn't notice that till you pointed it out
Thank you. What a welcome and detailed analysis. Unfortunately the piano made it difficult to hear your voice in some cases. But I will listen again to try to pick up more.
Thank God I found this video. The others are not this detailed and they are prepared for advanced students. They use signs to explain things and advanced students get them. But I am a self learning student who started playing one year ago and less detail means no achievement for me. This video helps me a lot in the progress. Thank you so much. But I have a question: How is the C sharp is a dominant chord of a D chord at 7:20? I thought that we go five below to find the tonic of a dominant. So in this case, I thought the tonic of C# would be F# or F. Can you explain? Yes you explained it later in the video, but I still don't understand. I would be glad if you could be more specific or direct me to some sources. :)
It's the leading tone diminished chord. Let's say we are in the key of C for the sake of simplicity. There are two chords that create a strong pull towards the C major chord. One of them is the G7 chord (G B D F). The other is the Bdim chord (B D F). Notice something similar between these chords? They have 3 notes in common with each other (B D F). B is the leading tone, which creates a strong pull towards the tonic. F is a tritone away from the root of the chord, which makes the chord sound very unstable. Because of this instability and a strong pull towards the tonic, both of these chords have the dominant function. I guess this term is a bit confusing since dominant also refers to the 5th scale degree and the 7th chord built on that scale degree. But it's also a harmonic function. It basically means a chord with the strongest pull towards the tonic. And two chords in a key pull really strongly towards the tonic, and these are the dominant chord and the leading tone diminished chord. Both of them contain the leading tone, and both of them also contain the tritone (between the 7th and 4th scale degrees). But yes, to find the _dominant,_ you count 5 up from the tonic. But the dominant isn't the only chord with the _dominant function._ The leading tone diminished chord isn't _the dominant_ - it simply has a _dominant function_ because of its strong pull towards the tonic. (And as I said, G7 and Bdim behave in a similar way because they have so many common tones.) In this case, we are talking about the leading tone chord of Dm, the C#dim7. We can compare this to A7 (the dominant of Dm), and you'll notice that they have 3 common tones. A7 = A C# E G. C#dim7 = C# E G Bb. This is why both of them resolve so strongly to Dm (both contain the leading tone).
The answer by @MaggaraMarine could not have been more complete! Both the V7 and the VIIdim can function as dominants because of the presence of the leading tone and the tritone in them.
@@zmba6924 Glad the dominant function of the VIIdim chord makes sense! We will make a video only about dominants soon. To answer the last question, no, an F7 chord can't substitute a Dm. The F7 is a dominant chord and leads to a Bb chord; Dm is just a minor chord that doesn't lead anywhere (like dominants do). Was that the question?
Thank you for providing this excellent analysis of this piece and its harmonies. I am starting to study the work and your video has really improved my understanding of it.
Excellent analysis, but didn't JSB think in terms of Doe Rey Me instead of modern key signatures? And did he compose under the rules of this type of musical theoretical analysis, or did he simply write music which was a matter of pure beauty and genius? I'd appreciate a reply as my question is quite sincere.
Excellent points, let’s start with the first: 1) indeed Bach would not call musical notes A, B, C, but instead Do, Re, Mi. Until today, most countries in the world use that last system. But that does not change the notes, their pitch, or relationships, so any analysis using a different naming system still maintains the same underlying fundamentals. 2) music theory was very different in Bach’s time. They understood music in terms of voice leading, counterpoint, dissonance vs consonance, rather than dominant, subdominant, etc. These terms came around in the 1800s as a new way to understand how chords relate to each other. But still, the fundamental thinking is still the same: in Bach’s musical world, a G7 moving to C translates to the dissonances in the G7 chord (specifically the note B and F) resolving as consonances in the C chord (notes C and E). That resolution is just described in a different way today, when we say, for example, “dominant (G7) resolving in the tonic (C)” instead. But Bach was certainly well aware of the theory behind how music works. Such artist wouldn’t be thinking about theory, but instead was guided by it. His musical genious is better understood as how he was able to combine harmony rules and inspiration in art that is beautiful both in structural form and sound. Hope that makes sense!
Thank you for the feedback! Measure 12 has G in the bass (the lowest note is the bass, regardless if it is in the right or left hand). So we have a chord with G-Bb-E-C#. Now to find the root of this chord we need to order these notes where each note is a skip (also referred to as a 3rd) above the other. As it is, G to Bb is a skip (3rd), but Bb to E isn't, so the G cannot be the root. The only correct order is C#-E-G-Bb. Now we know the C# is the root, so this is a C# chord. The type (diminished) comes from the intervals each note creates with the bass. 1) the first interval is the minor 3rd C# to E, 2) the second interval is a diminished 5th C# to G, 3) and the last interval is a diminished 7th C# to Bb. A chord with a minor 3rd and a diminished 5th is called a diminished chord; add the diminished 7th and we have a "fully" diminished chord. So this is a C# fully diminished chord.
Sure you can analyse this prelude harmonically - BUT you first should know that it is composed (technically) using counterpoint of 5 independent voices! For instance in the 2nd bar there is a suspension in the bass (c below d), followed by the solution into b (3 below d). Next bar suspension in the soprano: f is 7 above g, solution is e (6) above g ... and so on similar throughout the whole piece. Of course Bach "heard" the harmonies, but he had no grade theory nor the function theory, only "Generalbass" which works with intervals above a bass. Btw: also watch the progression of the bass ( and the melody)
Thanks! Maybe this question has been made, but why there is always the silence symbol marked after the first note of each measure if we are playing the left hand legato?
That is a great question! Bach did not think of this music as a sequence of notes moving from the left hand to right hand, but instead a 5-part choral where each voice is coming in one after the other (that is why we see those rests). It is a subtle difference that highlights the chordal progression of this music, rather than a melodic one.
Ok, you explained us every chord, that G7 is the dominant of C, D7 is the dominat of G, C#dim is a substitute for A7 which is the dominant of dminor, Bdim is a substitute for G7, the dominant of C, C7 is the dominant of F, but you didn't explain us which function the F#dim chord has. Why? You just explained what Gounod did at this part in his compostion but you didn't explain the function of F#dim. I would suggest it's a substitute for the double dominant of C, which would be D7. I think thats why Bach can jump to Ab in the bass after it, which belongs to Bdim, because we can see Bdim as a substitute for G7 ( even with a flat 9) . Would you agree?
Excellent point, and yes: the F#dim is a secondary dominant, pointing to G (which is the dominant of the home key of C), but we move not to G but to Bdim (a substitute of the dominant G). Just keep in mind that Bach would not be thinking in these terms (dominant, tonic, etc) but in figured bass and counterpoint terms instead. When using the F# in the bass, Bach indicates that the bass should move towards the G. He simply delays that movement by going to the Ab instead. The Ab being the 7th in the Bdim chord would naturally move down to the G, which is why the whole sequence sounds so natural, and we move to G in the next measure.
I would love to understand music like this, please help. I've been learning piano for a couple years now and I can read sheet music, play chords, scales, fingering etc, all at a reasonably "beginner" stage of course. But I would like to understand the "language" of music, I feel it would be much easier to learn a piece, when you know why you're playing what you're playing in terms of the relationship between chord etc.. rather than just playing what you see on the page until you get it through muscle memory. I want to know tonic, dominant, and terms like these so I know what and why I'm playing what I am playing. What do I need to learn?
Absolutely, that measure was added by editors to “fix” the missing measure where the bass moved from an F# to the Ab (which based on the rules of counterpoint is indeed a very strange movement), by adding the measure in the middle with the G in the bass. But Bach’s own manuscript doesn’t have this measure so I would certainly not play it.
Measure 21 comes two measures after the arrival in the C major key (after we spent a few measures in G major), so this Fmaj7 is the IV in the key of C. Another hint that this F is not a tonic chord comes from the presence of the 7th in this chord (F-A-C-E, where E is the 7th above the bass F). In this period composers would never play a tonic chord with the major 7th.
Hey there! Both are correct. Bach wrote this prelude without that extra G chord. Although some musicians say the bass moving a dimished third (from F# to Ab) is a very strange move, it is exactly what Bach wrote and intended. Gounod comes along over 100 years later and uses this prelude as an accompaniment for his Ave Maria. He added the G chord between those measure to better fit his melody. So if you are playing Gounod’s Ave Maria, you should play it with that extra measure. If you are playing Bach’s prelude, you should not play it.
Excellent, but could you do it again with a good microphone and without pedal, so that we could hear what you are saying? I'd really appreciate. Thank you very much.
I agree: When you speak, your nice explanations should take the foreground and everything else should be a very soft and unobtrusive background. YOU should take the spotlight at center stage ;-)
So glad to know that! This progression wasn’t invented by him, it actually around even before. The one important difference is that a jazz progression will typically add a 7th to all chords, including the tonic at the end, making it a ii7-V7-I7; and Bach would had used ii7-V7-I. He would never end a phrase with a 7th chord, something jazz composers have no problem with. In Bach’s time composers were very much concerned with balance and stability in harmony. A 7th chord is unstable (due to the dissonance of the 7th), so ending a piece with such chord would had been a very strange thing to do in his time. Such concerns were thrown out the window in the late 1800s, so jazz composers in the 20th century were more concerned with color and pure sound, rather than stability and order.
Amazing how Bach uses the most complex chords progressions and modulations and still makes it a very easy to listen to, very nice explanation!
Fantastic analysis. I have seen several analysis of this piece and this is the very detailed and well explained. Excellent work.
Thank you very much! We are exploring different types of content for the channel and this is certainly one we’ll do more of.
Wow. Thank you....I've been so perplexed by this piece!! Playing it over and over and trying to understand why it's so beautiful. Now I have an inkling as to why....but still a beautiful mystery.
I've known this piece so well. _And now? _*_so much better!_*
thanks
Perfect analysis. I'm a adult beguiner and it's helping me a lot . Thanks very much
A superb tutorial. I have been playing both versions of this lovely prelude since the 1950s, and you have "nailed" it here.👍💖
Great video! It's really helpful to understand music theory better. I'd love to see more videos like this :)
Excellent, we are trying out this format, thank you so much for the feedback!
I agree. Thanks bro. This is helpful.
Fantastic! UA-cam needs more of these great videos. Thanks for taking the time to share that. Have a good day!
Thank you so much! We will be making more videos of this kind, your feedback is very helpful and greatly appreciated.
This is a wonderful video. I love the combination of the theoretical aspect AND the pure passion of Bach (and music)
Merci beaucoup. I want this to be my first classical piece and I've had these questions which you've answered brilliantly.
Wonderful explanation and beautiful, sensitive playing.
Wonderful tutorial; includes the chord notation, the piano, and the commentary. Your piano has a beautiful tone. The challenge I have is that the volume of the piano obscures the commentary along with it until you've stopped playing. Thanks for the great work
Perfect analysis, the best of any I've seen. Precise, detailed and very clear. Bach would have appreciated ... Thank you very much!
Thank you so much for the feedback!
Wonderful, top notch explanation of the chord progression of this famous piece. Please bring us more.
Great
I'm looking forward to improvise a violin melody to this, and you have spared me a lot of work Thank you very much!!!!
This is the greatest insight on music theory I’ve had! So many great connections I’ve made in my mind and so much wisdom as to how each chord relates to one another. Thank you 🙏🏼
Thank you for the feedback and I am so happy the video helped you make these connections! Indeed, in tonal music chords are always moving towards one place or another, and being able to follow that movement is key to understanding how music works.
Great job! Very clear analysis, and well interpretated too. Gracias a lot!
Thank you so much for the feedback!
I'm amazed, you sure are an amazing teacher and musician, this was so good! Thank You!
Thank you so much, you just made my day!:)
@@PianoLIT ☺️🙌🙌✨
This was awesome, hope you do more analysis of Bach pieces, I’m trying to learn more music theory and it’s cool to see Bach teaching how to modulate and using substitutions through this
So glad you liked it! We do have a few coming up and the Chromatic Fantasy in D minor (one of my favorites!) is one of them.
Excellent, Thank you. Hard to follow when new to theory, though it is obviously a very good study to learn.
The perfect piece of music perfectly explained
This video is so enjoyable! Very enlightening! So glad this video was made, and that I was able to find it.
you explained all that in one go, very good
i didn't realize the dminor at the end, interesting
d minor is in the beginning as well in the 2nd chords, didn't notice that till you pointed it out
Thank you for taking the time to do this video. Made my day...
Amazing explanation! One beautiful song and I think I understood after month all chord options theory and the circle of fifths 😃 thank you!!
Amazing lesson, thank you
Absolutely underrated video. Nice job.
I learned a lot from this video! Thank you so much!
Me too, I want more videos like this! Great video
Thank You So Much - I have been listening to the WTC - your explanation has sharpened my understanding of this beautiful work - many many thanks.
Thank you very much for the feedback!
Thank you. I am studing the piece and the video is wanderful.
That is excellent to know, thank you very much for the feedback. We will be posting more videos like this soon.
Thank you very much. Great explanation!
Very insightful and very patient
Thank you. What a welcome and detailed analysis. Unfortunately the piano made it difficult to hear your voice in some cases. But I will listen again to try to pick up more.
Thank you for the feedback! Yes the mic needs to improve for sure, the next analysis videos will be better.
Wonderful explanation!
Thank you. So helpful!
Thank God I found this video. The others are not this detailed and they are prepared for advanced students. They use signs to explain things and advanced students get them. But I am a self learning student who started playing one year ago and less detail means no achievement for me. This video helps me a lot in the progress. Thank you so much. But I have a question: How is the C sharp is a dominant chord of a D chord at 7:20? I thought that we go five below to find the tonic of a dominant. So in this case, I thought the tonic of C# would be F# or F. Can you explain? Yes you explained it later in the video, but I still don't understand. I would be glad if you could be more specific or direct me to some sources. :)
Totally agree. I am in the same boat and super appreciate this very beginner friendly video
It's the leading tone diminished chord.
Let's say we are in the key of C for the sake of simplicity. There are two chords that create a strong pull towards the C major chord. One of them is the G7 chord (G B D F). The other is the Bdim chord (B D F).
Notice something similar between these chords? They have 3 notes in common with each other (B D F). B is the leading tone, which creates a strong pull towards the tonic. F is a tritone away from the root of the chord, which makes the chord sound very unstable. Because of this instability and a strong pull towards the tonic, both of these chords have the dominant function.
I guess this term is a bit confusing since dominant also refers to the 5th scale degree and the 7th chord built on that scale degree. But it's also a harmonic function. It basically means a chord with the strongest pull towards the tonic. And two chords in a key pull really strongly towards the tonic, and these are the dominant chord and the leading tone diminished chord. Both of them contain the leading tone, and both of them also contain the tritone (between the 7th and 4th scale degrees).
But yes, to find the _dominant,_ you count 5 up from the tonic. But the dominant isn't the only chord with the _dominant function._ The leading tone diminished chord isn't _the dominant_ - it simply has a _dominant function_ because of its strong pull towards the tonic. (And as I said, G7 and Bdim behave in a similar way because they have so many common tones.)
In this case, we are talking about the leading tone chord of Dm, the C#dim7. We can compare this to A7 (the dominant of Dm), and you'll notice that they have 3 common tones. A7 = A C# E G. C#dim7 = C# E G Bb. This is why both of them resolve so strongly to Dm (both contain the leading tone).
@@MaggaraMarine Yes, I think I understand now. Thank you. So, in this case, Bach could use F7 instead of Dm, no?
The answer by @MaggaraMarine could not have been more complete! Both the V7 and the VIIdim can function as dominants because of the presence of the leading tone and the tritone in them.
@@zmba6924 Glad the dominant function of the VIIdim chord makes sense! We will make a video only about dominants soon. To answer the last question, no, an F7 chord can't substitute a Dm. The F7 is a dominant chord and leads to a Bb chord; Dm is just a minor chord that doesn't lead anywhere (like dominants do). Was that the question?
Thank you for providing this excellent analysis of this piece and its harmonies. I am starting to study the work and your video has really improved my understanding of it.
THANKS!
Excellent analysis, but didn't JSB think in terms of Doe Rey Me instead of modern key signatures? And did he compose under the rules of this type of musical theoretical analysis, or did he simply write music which was a matter of pure beauty and genius? I'd appreciate a reply as my question is quite sincere.
Excellent points, let’s start with the first:
1) indeed Bach would not call musical notes A, B, C, but instead Do, Re, Mi. Until today, most countries in the world use that last system. But that does not change the notes, their pitch, or relationships, so any analysis using a different naming system still maintains the same underlying fundamentals.
2) music theory was very different in Bach’s time. They understood music in terms of voice leading, counterpoint, dissonance vs consonance, rather than dominant, subdominant, etc. These terms came around in the 1800s as a new way to understand how chords relate to each other. But still, the fundamental thinking is still the same: in Bach’s musical world, a G7 moving to C translates to the dissonances in the G7 chord (specifically the note B and F) resolving as consonances in the C chord (notes C and E). That resolution is just described in a different way today, when we say, for example, “dominant (G7) resolving in the tonic (C)” instead. But Bach was certainly well aware of the theory behind how music works. Such artist wouldn’t be thinking about theory, but instead was guided by it. His musical genious is better understood as how he was able to combine harmony rules and inspiration in art that is beautiful both in structural form and sound.
Hope that makes sense!
@@PianoLIT I'm very grateful for your reply, and it makes perfect sense. Sincere thanks, Guy
thank you!!!
Thanks.
Thank you
Awesomeness
That was such a trip no kidding
nice job
Thank you for the great video it was really helpful. One question, would bar 12 be a C#dim7 because of the bflat in the bass?
Thank you for the feedback!
Measure 12 has G in the bass (the lowest note is the bass, regardless if it is in the right or left hand). So we have a chord with G-Bb-E-C#.
Now to find the root of this chord we need to order these notes where each note is a skip (also referred to as a 3rd) above the other. As it is, G to Bb is a skip (3rd), but Bb to E isn't, so the G cannot be the root. The only correct order is C#-E-G-Bb.
Now we know the C# is the root, so this is a C# chord. The type (diminished) comes from the intervals each note creates with the bass.
1) the first interval is the minor 3rd C# to E,
2) the second interval is a diminished 5th C# to G,
3) and the last interval is a diminished 7th C# to Bb.
A chord with a minor 3rd and a diminished 5th is called a diminished chord; add the diminished 7th and we have a "fully" diminished chord. So this is a C# fully diminished chord.
@@PianoLIT thank you 👍
@@PianoLIT Fantastic explanation!
Sure you can analyse this prelude harmonically - BUT you first should know that it is composed (technically) using counterpoint of 5 independent voices! For instance in the 2nd bar there is a suspension in the bass (c below d), followed by the solution into b (3 below d). Next bar suspension in the soprano: f is 7 above g, solution is e (6) above g ... and so on similar throughout the whole piece.
Of course Bach "heard" the harmonies, but he had no grade theory nor the function theory, only "Generalbass" which works with intervals above a bass.
Btw: also watch the progression of the bass ( and the melody)
Thanks! Maybe this question has been made, but why there is always the silence symbol marked after the first note of each measure if we are playing the left hand legato?
That is a great question! Bach did not think of this music as a sequence of notes moving from the left hand to right hand, but instead a 5-part choral where each voice is coming in one after the other (that is why we see those rests). It is a subtle difference that highlights the chordal progression of this music, rather than a melodic one.
I love Bach's Prelude in BMW E46
Bro I have a challenge for you: analysis of the chord progression from fantasia bwv 903
Challenge accepted! That is a fantastic piece, will make it for a very interesting analysis.
Ok, you explained us every chord, that G7 is the dominant of C, D7 is the dominat of G, C#dim is a substitute for A7 which is the dominant of dminor, Bdim is a substitute for G7, the dominant of C, C7 is the dominant of F, but you didn't explain us which function the F#dim chord has. Why? You just explained what Gounod did at this part in his compostion but you didn't explain the function of F#dim. I would suggest it's a substitute for the double dominant of C, which would be D7. I think thats why Bach can jump to Ab in the bass after it, which belongs to Bdim, because we can see Bdim as a substitute for G7 ( even with a flat 9) . Would you agree?
Excellent point, and yes: the F#dim is a secondary dominant, pointing to G (which is the dominant of the home key of C), but we move not to G but to Bdim (a substitute of the dominant G).
Just keep in mind that Bach would not be thinking in these terms (dominant, tonic, etc) but in figured bass and counterpoint terms instead. When using the F# in the bass, Bach indicates that the bass should move towards the G. He simply delays that movement by going to the Ab instead. The Ab being the 7th in the Bdim chord would naturally move down to the G, which is why the whole sequence sounds so natural, and we move to G in the next measure.
I would love to understand music like this, please help. I've been learning piano for a couple years now and I can read sheet music, play chords, scales, fingering etc, all at a reasonably "beginner" stage of course. But I would like to understand the "language" of music, I feel it would be much easier to learn a piece, when you know why you're playing what you're playing in terms of the relationship between chord etc.. rather than just playing what you see on the page until you get it through muscle memory. I want to know tonic, dominant, and terms like these so I know what and why I'm playing what I am playing. What do I need to learn?
In Czerny Schirmer Edition ther an extra measure 23. U suggest leaving it out, yes? Thanks.
Absolutely, that measure was added by editors to “fix” the missing measure where the bass moved from an F# to the Ab (which based on the rules of counterpoint is indeed a very strange movement), by adding the measure in the middle with the G in the bass. But Bach’s own manuscript doesn’t have this measure so I would certainly not play it.
Thank you for this! in the bar (21) Fmaj7 functions as I and we are in the key of Fmajor or we are still in the key of C major and functions like IV?
Measure 21 comes two measures after the arrival in the C major key (after we spent a few measures in G major), so this Fmaj7 is the IV in the key of C.
Another hint that this F is not a tonic chord comes from the presence of the 7th in this chord (F-A-C-E, where E is the 7th above the bass F). In this period composers would never play a tonic chord with the major 7th.
@@PianoLIT Thank you very much for your answer! My background is jazz/modern harmony, I didn't knew this fact about 7ths you said, I appreciate it.
👏👏👏👏👏👏
13:04 It should be a Gsus4min7 with the natural F there.
I have been playing both the original and the Gunaud versions since I was a child in the 1950s, and he is correct here. 👍😊
@@conradinhawaii7856 WHO, specifically, is "correct here"? (Bach? Gounod? @PianoLIT?) Thanks.
Hey there! Both are correct.
Bach wrote this prelude without that extra G chord. Although some musicians say the bass moving a dimished third (from F# to Ab) is a very strange move, it is exactly what Bach wrote and intended.
Gounod comes along over 100 years later and uses this prelude as an accompaniment for his Ave Maria. He added the G chord between those measure to better fit his melody.
So if you are playing Gounod’s Ave Maria, you should play it with that extra measure. If you are playing Bach’s prelude, you should not play it.
Excellent, but could you do it again with a good microphone and without pedal, so that we could hear what you are saying? I'd really appreciate. Thank you very much.
I agree: When you speak, your nice explanations should take the foreground and everything else should be a very soft and unobtrusive background. YOU should take the spotlight at center stage ;-)
Absolutely, we are improving our setup and your feedback is incredibly valuable and encouraging, thank you so much!
Why don't you get a mic for your voice so we can understand what your saying over the piano?
Well dang, right here is a good example of Bach using 7th chords...
Absolutely, they are everywhere in his music!
@@PianoLIT Didn't expect you to respond so fast, holy cow 😅
Me being a noob, i though this was going to be easy
This was an eye-opener. So, you could say that the II-V-I Progression, Jazz's most beloved progression, was invented by Bach.
So glad to know that! This progression wasn’t invented by him, it actually around even before.
The one important difference is that a jazz progression will typically add a 7th to all chords, including the tonic at the end, making it a ii7-V7-I7; and Bach would had used ii7-V7-I. He would never end a phrase with a 7th chord, something jazz composers have no problem with.
In Bach’s time composers were very much concerned with balance and stability in harmony. A 7th chord is unstable (due to the dissonance of the 7th), so ending a piece with such chord would had been a very strange thing to do in his time. Such concerns were thrown out the window in the late 1800s, so jazz composers in the 20th century were more concerned with color and pure sound, rather than stability and order.
@@PianoLIT Thanks for the comment: Yes of course, he would have slapped his son, if he had ended a peace with a I maj 7.
For sure he would😅
This is better than sex