Nice video dude! I really appreciate the effort you put into these videos and that you share classical music with people who might have not otherwise come across it.
I just found your channel, through your analysis of Bach's Moonlight Sonata 3rd Movement and I have to say that your content is amazing. I am kind of new to all the music theory and your analysis helps me to interpret the complex structures of these classic pieces. By understanding the old masters, I hope to learn what really lies beneath the music and what actually makes us feel emotions when these "simple" sound waves enter our ears. I hope you still plan on doing your interpretation of the musical model! Thank you for doing this Henrik, much appreciated!
Thanks Darkmatter, I'm so pleased to hear that :) It's very much in the pipeline, I started writing some this summer but then I read a book that informed me even more so I need to incorporate that now. But it will happen!
Merci beaucoup. This is out of my pay grade but I'm learning Bach chorales (Level 1 for now) and hope to be able to play these in my future. My Mom also started playing piano at 65 yoa and played for another 22 years at least.
Great thanks a lot! I just started today so the clear view of your hands (and the numbering for the fingers in your score) is very helpful! What are those wigly things called above the notes? (eg bar one, secondlast note, right hand)? I am an old rocker (guitar and voice) who is playing Bach now, who would have thought!!
I know you made this two years ago and maybe don't make Bach analysis anymore but I'd really appreciate if you'd analyze some interesting pieces from the Art of Fugue.
@@SonataSecrets Hi Henrik, it's nice of you to admit the mistake - I came here from another video where the "piano instructor" also got the same C# wrong. I did have to mark it in the score to remind myself, but I've heard so many performances of it, never with a C natural. Another commenter on the other video said he's seen scores where it is marked as a natural, and others where it has a reminder (#). With your understanding of theory, I wonder if you'd comment on which Bach is likely to have intended - I can't find any original autograph.
I think it should be C#, but it's really easy to miss because the Cnat would make musical sense as well, only setting a slightly different tone with the implied harmony. That's probably how some editions also could have overlooked it.
Thank you very much for your analysis, it is very helpful. May I ask if there should be a C# rather than a C for last note right hand of bar 11 in your performance?
@@SonataSecrets my ear caught that also....had to double check if I'd been playing it wrong the whole time *l* - but expected in d minor rising, makes sense. *whew*
but as a side note: love your analysis style - brings so many elements into play. For instance, I completely unaware of the augmented themes used in this invention.
Could anyone explain to me why the trill in bar 6 is started on the main note B and not auxiliary C? I've watched many videos, all start on B, so it seems to be right. But Bach himself has explained the execution of his trills in a table of ornaments, and the trill starts on the auxiliary note, as common in his time (also he notates 3 note changes, but most versions I've heard so far only trill short) This confuses me. How do I know that this trill is different?
Why do you end the ornaments on the beat? They should start there, and take up some of the original note length. Also, trills usally start on the note above, not the note itself. For example, the trill in the first bar can be played as a 32th triplet cbc during the f of the left hand and end on the d of the left hand. Of course we are free in how we play them precisely, but that they start on the beat is not negotiable, I think
Ha jag visste att du var svensk från dialekten. Denna låten är så rörig. Det är som en mygga som surrar runt ens huvud. Tack för att du spelar den långsamt vid 4:44
It's quite profound when you realise how deeply Bach was influenced by the early pokemon OSTs.
Wow I never noticed until now.
Nice video dude! I really appreciate the effort you put into these videos and that you share classical music with people who might have not otherwise come across it.
Thanks, I'm glad you like them :)
I can see your love from Bach by the way you present this piece. I appreciate it, it helps me feel connected to it
This is exactly what I needed! And it is very comprehensibly explained as well! I very much thank you for this sublime video.
Thanks, glad you liked it!
1:28 counterpoint: horizontal lines and vertical axes
3:11 subject Inversion Augmentation
Very, very nice discussion of the nature of contrapuntal music. I like. Playing it first slow is a great idea so one can hear the mordent. Thank you.
Great analysis Thank you
Thank you for this excellent explanation
Fantastic as always! I love the overhead shot you've incorporated.
Thanks! Yes it was time for that :)
I just found your channel, through your analysis of Bach's Moonlight Sonata 3rd Movement and I have to say that your content is amazing. I am kind of new to all the music theory and your analysis helps me to interpret the complex structures of these classic pieces. By understanding the old masters, I hope to learn what really lies beneath the music and what actually makes us feel emotions when these "simple" sound waves enter our ears. I hope you still plan on doing your interpretation of the musical model!
Thank you for doing this Henrik, much appreciated!
Thanks Darkmatter, I'm so pleased to hear that :)
It's very much in the pipeline, I started writing some this summer but then I read a book that informed me even more so I need to incorporate that now. But it will happen!
Bachs moonlight sonata? Wut?
I remembered the Baroque style Church in Ouro Preto. I really appreciate Bach's Music. Excellent video. ♥️👏
Hi Henrik, really enjoyed your video! Lots of helpful info (plus, who doesn’t love Bach’s inventions ;) ). Thanks for sharing!
Merci beaucoup. This is out of my pay grade but I'm learning Bach chorales (Level 1 for now) and hope to be able to play these in my future. My Mom also started playing piano at 65 yoa and played for another 22 years at least.
Love your content dude. Appreciate the time you put into these videos.
❤️
Glad to hear it :)
Mr.Sonata Secrets, can you do an analysis of Bach´s prelude and fugue No.2 in C minor???, I think that piece it´s very interesting
That is high up on the Bach list for the future! I will do some more Inventions first though.
Bach, the father of the classical music
Baroque music
Tack så mycket! Jag älskar Sverige! :D
That was the best explanation of counterpoint.
very informative thank you
Thank you so much. Great video. I am learning this now. Very helpful. : )
Great thanks a lot! I just started today so the clear view of your hands (and the numbering for the fingers in your score) is very helpful!
What are those wigly things called above the notes? (eg bar one, secondlast note, right hand)?
I am an old rocker (guitar and voice) who is playing Bach now, who would have thought!!
Tack för ditt arbete.
Thanks ❤
This one was the first Bach work analized on the analysys class this year
Would you ever be interested in covering Chopin's Ballade no. 1?
I love your content btw!
Thanks! I hope to do ballade no 1 in the future.
Done now: ua-cam.com/video/7kfJvpODcXM/v-deo.html
Jättebra, tack !
I know you made this two years ago and maybe don't make Bach analysis anymore but I'd really appreciate if you'd analyze some interesting pieces from the Art of Fugue.
The last c on bar 11 is a c sharp.
Damn I missed that!
@@SonataSecrets Hi Henrik, it's nice of you to admit the mistake - I came here from another video where the "piano instructor" also got the same C# wrong. I did have to mark it in the score to remind myself, but I've heard so many performances of it, never with a C natural. Another commenter on the other video said he's seen scores where it is marked as a natural, and others where it has a reminder (#). With your understanding of theory, I wonder if you'd comment on which Bach is likely to have intended - I can't find any original autograph.
I think it should be C#, but it's really easy to miss because the Cnat would make musical sense as well, only setting a slightly different tone with the implied harmony. That's probably how some editions also could have overlooked it.
Great!
Thank you very much for your analysis, it is very helpful. May I ask if there should be a C# rather than a C for last note right hand of bar 11 in your performance?
yes it should be a c#...
@@SonataSecrets my ear caught that also....had to double check if I'd been playing it wrong the whole time *l* - but expected in d minor rising, makes sense. *whew*
but as a side note: love your analysis style - brings so many elements into play. For instance, I completely unaware of the augmented themes used in this invention.
One year later and I'm still not playing Inventions. But my teacher is OK for me to learn them hands seperately as finger exercises.
Very good
Could anyone explain to me why the trill in bar 6 is started on the main note B and not auxiliary C? I've watched many videos, all start on B, so it seems to be right. But Bach himself has explained the execution of his trills in a table of ornaments, and the trill starts on the auxiliary note, as common in his time (also he notates 3 note changes, but most versions I've heard so far only trill short)
This confuses me. How do I know that this trill is different?
Can we call the 3 last eighth notes in bar 1 +the first sixteenth note in bar2 ( cbc+d ) in the upper voice the counter subject?
Why do you end the ornaments on the beat? They should start there, and take up some of the original note length. Also, trills usally start on the note above, not the note itself. For example, the trill in the first bar can be played as a 32th triplet cbc during the f of the left hand and end on the d of the left hand. Of course we are free in how we play them precisely, but that they start on the beat is not negotiable, I think
Thats how I was taught too.
You removed the # in C# on the 4th beat of the 11th bar. why is that? I feel very uncomfortable.
I noticed that too. I think henrik misread it somehow. Great video as always. Oh he already admitted it in another comment
Bach is my favourite
Ha jag visste att du var svensk från dialekten. Denna låten är så rörig. Det är som en mygga som surrar runt ens huvud. Tack för att du spelar den långsamt vid 4:44