@@en-blanc-et-noir LOL someone just enjoying the sound of the chord in context = gorgeous. Someone schooled in music that has heard, played and seen it in countless scores = almost cheesy. Where to go when all the beauty has fermented into cheese? I remember an interview with John Williams where he talked about (paraphrasing) he rarely listens to music, since he is writing all day, but when he does he only hears the musical grammar, not the music. Love the channel and your playing and your knowledge.
@anled.composition :D haha, I think I listened to / watched some of your pieces (among them a pretty Mazurka) while ago and found them to be very solid :D Thanks for subscribing!
Liadov, how you come to Liadov? I think early Scriabin owes him more then he ever would have admitted to... Those guys actually use a a less common inversion of the Ger6+ chord where it "sits" on the 4# which I guess makes it a diminished 6/5 chord.
Sagt Dir eigentlich der "common tone diminished" was? M.W. gibt es für den Begriff im Deutschen keine Entsprechung. Deshalb wird dieser Akkord bzw. dessen Töne in deutschen Analysen gern als "Vorhalt" oder "Nebennote" verunglimpft. Kommt oft in der Romantik vor.
Oh Käptn, mein Käptn :DDD ja sichi kenn ich den Begriff, finde ich auch gut. Wenn ich es recht erinnere hat Diether de la Motte in seiner Harmnoielehre auch ein paar Beispiele, ich weiß aber nicht mehr wie er den nennt... ich denke mal der Klang hat ihm aufgrund seiner eher funktionalen Perspektive Schwierigkeiten gemacht. Vermutlich erklärt er ihn trotzdem als Klang der aus chromatischen Nebennoten resultiert, alles andere ist ja auch Schnulli. Kommt oft vor, logo...
Personally i like using the third inversion ger6+ in deceptive cadences instead of the standard vi. I make the V in the bass drop to IV# then chromaticly to V7/vii and basically a monte from there. I stole this from bach even tho bach didn't use a ger6+ but a VI7
I didn't hear that nocture but i found this type of cadence evasion in bach's bwv 540, bach used a VI7 but it sounded more like a ger6+ to me, there's only one problem both evasion make sense because if you use a ger6 the the bass resolves diatonicly but the it has to go chromaticly to IV, instead if you use the VI7 the bass resolves chromaticly but then it goes diatonicly to IV. In my opinion it's better the first option but still it is a very underrated chord for cadence evasion.
lol I composed those by myself... otherwise I usually put forward the original composer :D if you want to know more about those, check ot my recent video: "how Chopin approaches a harmonic climax"
Only en blanc et noir can unironicaly make a thumbnail that makes me wanna click on a classical music video with this emoji: 😱
LOL my favourite emoji...
😱
That chord at 2:12 was gorgeous
lol it's on the thin line towards cheesy
@@en-blanc-et-noir LOL someone just enjoying the sound of the chord in context = gorgeous. Someone schooled in music that has heard, played and seen it in countless scores = almost cheesy. Where to go when all the beauty has fermented into cheese? I remember an interview with John Williams where he talked about (paraphrasing) he rarely listens to music, since he is writing all day, but when he does he only hears the musical grammar, not the music.
Love the channel and your playing and your knowledge.
Beautiful examples, and amazing channel content, I subscribed !
@anled.composition :D haha, I think I listened to / watched some of your pieces (among them a pretty Mazurka) while ago and found them to be very solid :D Thanks for subscribing!
@@en-blanc-et-noirThanks for your comment, it means a lot !
bravo 🤩
Thanks man! :D
What about the Scriabin augmented sixth chord??? ( also used very well by Anatoly Liadov)
Liadov, how you come to Liadov? I think early Scriabin owes him more then he ever would have admitted to... Those guys actually use a a less common inversion of the Ger6+ chord where it "sits" on the 4# which I guess makes it a diminished 6/5 chord.
Wewewe chi si vede!
Can you do a video on the French Augmented sixth chord? Im currently obsessed with it so im curious how you will use it:)
oh really? dunno if this really lends itself for a whole video…check Prokofiev 1st Sonata, final cadence 😂 if you wanna see a boss example
@@en-blanc-et-noir Oh really hahah will check it out!:)
1:20 and 2:00 are soo good:D Bravo!
THX, Kofi!
Sagt Dir eigentlich der "common tone diminished" was? M.W. gibt es für den Begriff im Deutschen keine Entsprechung. Deshalb wird dieser Akkord bzw. dessen Töne in deutschen Analysen gern als "Vorhalt" oder "Nebennote" verunglimpft.
Kommt oft in der Romantik vor.
Oh Käptn, mein Käptn :DDD ja sichi kenn ich den Begriff, finde ich auch gut. Wenn ich es recht erinnere hat Diether de la Motte in seiner Harmnoielehre auch ein paar Beispiele, ich weiß aber nicht mehr wie er den nennt... ich denke mal der Klang hat ihm aufgrund seiner eher funktionalen Perspektive Schwierigkeiten gemacht. Vermutlich erklärt er ihn trotzdem als Klang der aus chromatischen Nebennoten resultiert, alles andere ist ja auch Schnulli. Kommt oft vor, logo...
@@en-blanc-et-noir 👍
Wenn Du mal ganz viel Langeweile hast, mach doch ein Video mit Anwendungsbeispielen. 😇
z.B. während der Fußball-EM...
Personally i like using the
third inversion ger6+ in deceptive cadences instead of the standard vi.
I make the V in the bass drop to IV# then chromaticly to V7/vii and basically a monte from there.
I stole this from bach even tho bach didn't use a ger6+ but a VI7
yo! Pretty sure I've seen this one, seems Chopinesque to me, I think there is sth. like this happening in the B major Nocturne Op. 32 in the coda...
I didn't hear that nocture but i found this type of cadence evasion in bach's bwv 540, bach used a VI7 but it sounded more like a ger6+ to me, there's only one problem both evasion make sense because if you use a ger6 the the bass resolves diatonicly but the it has to go chromaticly to IV, instead if you use the VI7 the bass resolves chromaticly but then it goes diatonicly to IV.
In my opinion it's better the first option but still it is a very underrated chord for cadence evasion.
Which piece is the second example?
lol I composed those by myself... otherwise I usually put forward the original composer :D if you want to know more about those, check ot my recent video: "how Chopin approaches a harmonic climax"
What's Ger6+ good for? Parallel fifths... 🤣
Only if you’re resolving directly to the dominant in the new key, rather than the cadential 6/4 chord.
Better yet just resolve the whole chord down by a semitone
*slow clap* lol
counterpoint!!! It is all counterpoint!!! 😂
i don't know music theory but ger6+ goes pretty hard idk 🤷♀️
so you got the point :DDD