I love how Bach sounds so good, no matter what instrument, and with no dynamics as in the harpsichord, and even played by an ameature like myself. The notes themselves actually talk.
@@oklahomahank2378 Yep, and even listening to pieces by Bach when poorly performed, you can still often understand how it was "supposed" to sound, even not having heard the piece before. The notes certainly talk through/beyond/above whatever the performance/instrument/setting/performer etc is, etc etc. I've experienced this many, many times with Bach performances.
I also feel it when playing. Like the combinations of keys resonate stronger under your fingers. Nearly all great compositions do this but Bach has a unique unrelenting consistency with it.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
He certainly was. A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Such an excellent resource for musicians and composers and everyone else really. You are doing an important and wonderful thing, sir. Thank you so much.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I believe that a lot of times when people think of “basic” chord progressions, they tend to have a mindset of creating this huge chords and use different modes, and extensions, while, that can be a nice way of composing, it is not as impressive to me withoutmelodic movement and how one links each chord to the next, or how they prolong a chords or resolution, which Bach and other composers mastered, One can have a very basic progression but the way the composer uses it is the most important aspect, I would reccomend anyone who is serious about composing to start learning Bach and Beethoven to see how true mastery is done, and not just start using extended chords aall the while having a very monotonous rythm and so on
I recommend those who are interested in counterpoint to study figured bass and partimento. It’s an immensely useful and fun tool for learning counterpoint!
In the times of Bach the notion of "Harmonic Progression" in the sense it's used now days did not exist. There were no functions assigned to chords and inversions were just starting to be recognized after the notorious work of Rameau. Bachs didn't like that idea and didn't buy it according to C.P.E. Classic "Bach school" composition techniques were based on the Italian school in which the basis of the composition was built on the bass movement alone. As it's correctly mentioned above the "chords" and melody are heavily interrelated in that period music and while there were different textures used as it was appropriate for specific composition forms composition was never a harmonization of the melodic movement unless it concerns special cases like Bach's corales. Counterpoint still predominated in those times and it's better to approach harmonic movements with that texture in mind even for explicitly homophonic forms like Violin and recorder sonatas of the period. Those were a good example of bass based compositions. Often those melodies are quite not what one expects the melody to be in the "catchy" sense. They are motivic development lines that often call for acquired taste. In some sense they are quite similar to mature Jazz improvisation lines like of Clifford Brown, for instance.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Brillante démonstration, très claire et précise. Merci Monsieur. Au final, mieux comprendre pourquoi cette musique est si sublime est un grand bonheur.
Un plaisir. Beaucoup plus sur www.mmcourses.co.uk, y compris les détails de nos cours en ligne et de notre passionnant programme Maestros. Si vous appréciez cette chaîne et souhaitez nous aider à continuer à partager et à développer le contenu, veuillez envisager de nous soutenir en tant que Maestro de niveau 1 en cliquant ici ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Sinon, vous pouvez exprimez votre soutien à la chaîne en cliquant sur le bouton Super Merci sous l'une de nos vidéos. Merci.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Dewr Gareth, I enjoy very much your passionate Analysis of Bach's divine music. It enriches my understanding and appreciation of his unreachable art very much. Thanks a lot!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Great. Enjoy playing it. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I listen to a reasonable amount of all types of classical music but Bach is the one that makes me tingle the most and often just by moving one note in an arpeggio from one bar to the next sometimes.
Absolutely! Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Hi Gareth please could you possibly do a Composer Insights on Bach's 2 part invention no.8 in F major? I am studying how this piece was written. Many thanks Dominic
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
you doing a wonderful job, but it would be even greater if you can find the way "to highlight the section, segment or even the bar" that you are doing the harmonic analisys, for us to follow much better. thank you so much for all you.
We have now introduced that possibility for videos in the future. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
You should make a video where you sit down and you write a piece in Bach's style from top to bottom. Like pick a chord progression or something and start expanding it while explaining what you are doing and why. This would be very nice
I would also like to see you tackle the fugues of Bach; perhaps something from the Well-Tempered Clavier would not be too difficult for us beginner/amateurs.
Thank you for this amazing video, as usual. I would like to ask for a clarification, if possible. The chord progression in bars 9 and 10 is not clear to me. I understand that the chord in bar 9 is a C7 inversion (or a diminished Bb as the C note is not played), followed by an F, but I don't understand what the following chord is. F# played together with Eb is such a weird combination to me. In your "basic chord scheme" section you harmonize this as F#-A-C-Eb, which looks to me as a diminished F# +Eb or as a diminished A/F#, but I have no idea what kind of chord this is, especially because the following one is just a C.
Remember that diminished chords can have sevenths as well. F# A C Eb is an F#o7 chord. Bar 9 is functionally like a rootless C7 voicing, but you would call it Eo instead of Bbo if you were to use the other possible name (Because of spelling/the actual pitches used). In this case, the “C” chord to which the F#o7 resolves is in second inversion, so it resolves right to G (And then back to C) which would be the expected resolution for a secondary diminished chord in this time period.
Amazing, thank you so much! Another doubt. Is it correct to use a sharp note and a flat one in the same chord/key context? As I understand that the F#o7 chord can be built in the Em key, wouldn't it be correct to call that note D# rather than Eb?
Harpsichord is a sound we do not hear enough of these days. O to be omniscient of all the keyboard works of Bach!; and then to be able to build and repair the instruments! would be such progress.
Also in Bar 2 when the bass moved you said it went from chord 6 to 1 in second inversion which is unusual. wouldn't it be more likely that you have that E and D as passing notes to go to 1 in first inversion? You can see it both ways just a thought.
The slight difficulty with that is that the E in the bass on beat 2 is a harmony note rather than a passing note so it’s a very clear I in second inversion. An unusual progression that then employs a passing note to move on to I in first inversion.
I only disagree with one thing; the chord progression, by itself, is wonderfully expressive. This at a time when chord progression wasnt a "thing" - that was really made a thing by Rameau, later. What made Bach great was his wonderfully expressive chords, which other composers in his day and certainly not in the classical period, did not use. Somewhere on youtube there is a nice comparison by Albert Rosen between Handel and Bach, both very similar pieces - sarabandes closing an opera and the Matthew passion. The themes and the overall effects are similar, but Handel sticks with basic chords whereas Bach has a much wider range - like your CDEF chord above. Wonderfully expressive. I used to have friends that said that Bach was an emotionless composer -which is odd, because one was a cellist and one of the few composers who wrote for solo Cello was Bach. Regardless, this piece, just these few bars proves she couldnt be further wrong. Thanks again Gareth.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
In bar 2 Bach doubles the major 3rd. Now I am not a person who thinks you should abide by the rules totally if what you write achieves a better musical result, however I did want to ask why Bach would double the major third in 4 parts in chord 6 in bar 2 ? Couldn't he have just put the alto up to an F then make the tenor a C or is there a problem with that.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Sure Bach has been admired for centuries but… What has he done lately? And I think the old fashioned idea of creating music for expression, emotion or communication should be replaced by making people want to watch you do something simple instead for money
Insightful video - but it would do you far more credit to have all of your musical examples perform’d on a double manuall’d harpsichord or even a clavichord tun’d to Bach’s own A=432Hz- playing the great Sebastian Bach’s music on a modern piano (set at A= 440) is like trying to play Mozart’s Don Giovanni on a Jews’ Harp…
Bach will never cease to amaze me, this is just too beautiful. He will truly stay the greatest composer ever.
Yes. Amazing
Agreed!
That's an opinion...
😀
I don't agree with your statement.
Its also impossible to argue against it:) Bach he was just that good!
I love how Bach sounds so good, no matter what instrument, and with no dynamics as in the harpsichord, and even played by an ameature like myself.
The notes themselves actually talk.
They certainly do.
I agree, you hear pieces for violin played on harpsichord, or cello played on synthesizer, and it still works.
True
@@oklahomahank2378 Yep, and even listening to pieces by Bach when poorly performed, you can still often understand how it was "supposed" to sound, even not having heard the piece before. The notes certainly talk through/beyond/above whatever the performance/instrument/setting/performer etc is, etc etc. I've experienced this many, many times with Bach performances.
I also feel it when playing. Like the combinations of keys resonate stronger under your fingers. Nearly all
great compositions do this but Bach has a unique unrelenting consistency with it.
I can just sit and listen to Bach for hours and hours without a break. His genius was, is, and always will be without equal.
Absolutely!
Just the chord progression by itself, though simple and common, in this Sarabande it sounds extraordinary.
It’s wonderful
Once again, beautifully explained. I never used to understand why Bach was so revered. But thanks to you, I have a much greater appreciation.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Brilliant! Bach was a true genius. Thank you for the excellent work, Gareth!
He certainly was. A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Such an excellent resource for musicians and composers and everyone else really. You are doing an important and wonderful thing, sir. Thank you so much.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
His music is timeless & always inspiring...
Absolutely
Thanks for taking this piece as a subject for analysis. One of my absolute favourites.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Thank you. Tension and release seems to be best used by Bach more than any other composer
Bach is absolutely brilliant at dealing with it.
This is better than candy or a movie blockbuster, much thanks!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I believe that a lot of times when people think of “basic” chord progressions, they tend to have a mindset of creating this huge chords and use different modes, and extensions, while, that can be a nice way of composing, it is not as impressive to me withoutmelodic movement and how one links each chord to the next, or how they prolong a chords or resolution, which Bach and other composers mastered, One can have a very basic progression but the way the composer uses it is the most important aspect, I would reccomend anyone who is serious about composing to start learning Bach and Beethoven to see how true mastery is done, and not just start using extended chords aall the while having a very monotonous rythm and so on
Of course melodic and harmonic movement are intensely related.
I recommend those who are interested in counterpoint to study figured bass and partimento. It’s an immensely useful and fun tool for learning counterpoint!
Agreed
In the times of Bach the notion of "Harmonic Progression" in the sense it's used now days did not exist. There were no functions assigned to chords and inversions were just starting to be recognized after the notorious work of Rameau. Bachs didn't like that idea and didn't buy it according to C.P.E. Classic "Bach school" composition techniques were based on the Italian school in which the basis of the composition was built on the bass movement alone. As it's correctly mentioned above the "chords" and melody are heavily interrelated in that period music and while there were different textures used as it was appropriate for specific composition forms composition was never a harmonization of the melodic movement unless it concerns special cases like Bach's corales. Counterpoint still predominated in those times and it's better to approach harmonic movements with that texture in mind even for explicitly homophonic forms like Violin and recorder sonatas of the period. Those were a good example of bass based compositions. Often those melodies are quite not what one expects the melody to be in the "catchy" sense. They are motivic development lines that often call for acquired taste. In some sense they are quite similar to mature Jazz improvisation lines like of Clifford Brown, for instance.
Plenty of truth in that. The Figured Bass system was behind Baroque harmonic thinking. There’s real benefit in analysing what’s going on.
Sublime! Both the lesson and the piece. Thank you Gareth!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Brillante démonstration, très claire et précise. Merci Monsieur. Au final, mieux comprendre pourquoi cette musique est si sublime est un grand bonheur.
Un plaisir. Beaucoup plus sur www.mmcourses.co.uk, y compris les détails de nos cours en ligne et de notre passionnant programme Maestros. Si vous appréciez cette chaîne et souhaitez nous aider à continuer à partager et à développer le contenu, veuillez envisager de nous soutenir en tant que Maestro de niveau 1 en cliquant ici ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Sinon, vous pouvez exprimez votre soutien à la chaîne en cliquant sur le bouton Super Merci sous l'une de nos vidéos. Merci.
Wonderful insights and harmonic analysis. Remarkable music. Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
What a wonderful example of the specialness of Bach those few bars are - the world is so lucky to have his music. Thanks for this
It’s truly sublime
@@MusicMattersGB Absolutely
😀
Excellent work as always Gareth. Beautifully done.
Most kind. Hope you’re well.
Thank you so much for this insight which illuminates the genius of Bach.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Thank you Gareth, it is such a beautiful piece.
It certainly is
Thank-you Sir, for showing me insights into the creative Harmonic Mind of the forever Greatest Herr Johann Sebastian Bach!!!! My Hero and My God!!!!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Dewr Gareth, I enjoy very much your passionate Analysis of Bach's divine music. It enriches my understanding and appreciation of his unreachable art very much. Thanks a lot!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Very well organized and easy to follow. Will share with my students as well.
That’s great.
Excelente explicación y análisis. Gracias maestro.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I arranged this for guitar!! geat analysis!
Great. Enjoy playing it. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I listen to a reasonable amount of all types of classical music but Bach is the one that makes me tingle the most and often just by moving one note in an arpeggio from one bar to the next sometimes.
His music is absolutely sublime.
Ahhh Bach. The best!
Absolutely! Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Very nicely done - many thanks!
A pleasure. Much more at www.mmcourses.co.uk
Thank you very much, this is so clever and poetic
Lovely music
Well done, it is a good idea to take less known pieces for people to explore .
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Thank you, greetings from Argentina!
Thanks for your support
Hi Gareth please could you possibly do a Composer Insights on Bach's 2 part invention no.8 in F major? I am studying how this piece was written. Many thanks Dominic
We could do that
Wonderful, thanks.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
You play in a beautiful, non-robotic way
That’s kind.
Thanks a lot for the video, it's so helpful and inspiring!! I'd love it if you could analyze the Allemande of the French Suite No. 1 or 2 🙏🏻
Will put it on the list
@@MusicMattersGB Thank you 💖
😀
Thank you very much.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Interesting analysis. Subscribed.
Welcome to the channel. Much more at www.mmcourses.co.uk
you doing a wonderful job, but it would be even greater if you can find the way "to highlight the section, segment or even the bar" that you are doing the harmonic analisys, for us to follow much better. thank you so much for all you.
We have now introduced that possibility for videos in the future. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Very Good Tutorial
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
@@MusicMattersGB Ok
😀
Oh, please continue! 🙏
😀
with no hesitation at all I will say that Bach is the greatest architect of music ever.
I agree!
You should make a video where you sit down and you write a piece in Bach's style from top to bottom. Like pick a chord progression or something and start expanding it while explaining what you are doing and why. This would be very nice
We have something similar to that coming soon.
I would also like to see you tackle the fugues of Bach; perhaps something from the Well-Tempered Clavier would not be too difficult for us beginner/amateurs.
Have a look at our analysis of the F# minor Prelude and Fugue from WTC 1 at www.mmcourses.co.uk
@@MusicMattersGB Do you know of a historical book analyzing the WTC that has stood that test of time and can accompany your analysis of the WTC?
Donald Tovey did a thorough job on this
Thank you for this amazing video, as usual. I would like to ask for a clarification, if possible. The chord progression in bars 9 and 10 is not clear to me. I understand that the chord in bar 9 is a C7 inversion (or a diminished Bb as the C note is not played), followed by an F, but I don't understand what the following chord is. F# played together with Eb is such a weird combination to me. In your "basic chord scheme" section you harmonize this as F#-A-C-Eb, which looks to me as a diminished F# +Eb or as a diminished A/F#, but I have no idea what kind of chord this is, especially because the following one is just a C.
Remember that diminished chords can have sevenths as well. F# A C Eb is an F#o7 chord. Bar 9 is functionally like a rootless C7 voicing, but you would call it Eo instead of Bbo if you were to use the other possible name (Because of spelling/the actual pitches used).
In this case, the “C” chord to which the F#o7 resolves is in second inversion, so it resolves right to G (And then back to C) which would be the expected resolution for a secondary diminished chord in this time period.
That’s a diminished 7th chord resolving on to a C chord. This often happens in the following context:-
Dim 7th Ic V.
Oh, I see, thank you. In this case, what key does it theoretically belong to?
The diminished 7th in that example belongs to the key of G. G is then used as the dominant of C
Amazing, thank you so much! Another doubt. Is it correct to use a sharp note and a flat one in the same chord/key context? As I understand that the F#o7 chord can be built in the Em key, wouldn't it be correct to call that note D# rather than Eb?
I really enjoyed your explanation
That’s great.
Achingly beautiful
Absolutely
Harpsichord is a sound we do not hear enough of these days. O to be omniscient of all the keyboard works of Bach!; and then to be able to build and repair the instruments! would be such progress.
Absolutely
Until I heard this, I never thought of jazz pianists as trying to imitate the sound of Bach when they improvised on or composed ballads.
It’s amazing how close are Bach and jazz
Also in Bar 2 when the bass moved you said it went from chord 6 to 1 in second inversion which is unusual. wouldn't it be more likely that you have that E and D as passing notes to go to 1 in first inversion? You can see it both ways just a thought.
The slight difficulty with that is that the E in the bass on beat 2 is a harmony note rather than a passing note so it’s a very clear I in second inversion. An unusual progression that then employs a passing note to move on to I in first inversion.
@@MusicMattersGB That makes sense. Really unusual progression that.
😀
Does anybody know which edition this Sarabande is from? @MusicMatters
Sorry. Not sure
When you say a “2B” chord is that an inversion of the 2 chord?
Yes
a is root position
b is first inversion
c is second inversion
2:55
😀
I only disagree with one thing; the chord progression, by itself, is wonderfully expressive. This at a time when chord progression wasnt a "thing" - that was really made a thing by Rameau, later. What made Bach great was his wonderfully expressive chords, which other composers in his day and certainly not in the classical period, did not use. Somewhere on youtube there is a nice comparison by Albert Rosen between Handel and Bach, both very similar pieces - sarabandes closing an opera and the Matthew passion. The themes and the overall effects are similar, but Handel sticks with basic chords whereas Bach has a much wider range - like your CDEF chord above. Wonderfully expressive. I used to have friends that said that Bach was an emotionless composer -which is odd, because one was a cellist and one of the few composers who wrote for solo Cello was Bach. Regardless, this piece, just these few bars proves she couldnt be further wrong. Thanks again Gareth.
Here is the comparison /watch?v=rmDb4Nt4RJY
😀
Better than anything I could write
It’s fabulous writing
OMG🌪🔥 this🌈
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
In bar 2 Bach doubles the major 3rd. Now I am not a person who thinks you should abide by the rules totally if what you write achieves a better musical result, however I did want to ask why Bach would double the major third in 4 parts in chord 6 in bar 2 ? Couldn't he have just put the alto up to an F then make the tenor a C or is there a problem with that.
There are certainly other possibilities there. Bach quite often doubles the major 3rd, particularly in the context of preserving scale movement.
🙏🤟👌👍🥰
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
what you expect from god of music
😀
*It would be far more dramatic to hear the music with a period temperament like Werkmeister.*
Absolutely. It’s great when one has authentic instruments to hand.
Sure Bach has been admired for centuries but…
What has he done lately?
And I think the old fashioned idea of creating music for expression, emotion or communication should be replaced by making people want to watch you do something simple instead for money
That’s certainly one view.
Insightful video - but it would do you far more credit to have all of your musical examples perform’d on a double manuall’d harpsichord or even a clavichord tun’d to Bach’s own A=432Hz- playing the great Sebastian Bach’s music on a modern piano (set at A= 440) is like trying to play Mozart’s Don Giovanni on a Jews’ Harp…
It would be great to have such resources available!