Thank you so much fot the video! I'm a teacher as well, and I've started learning to play the piano by myself some 5 or 6 months ago just for fun. Understanding the structure of a piece is the key to developing ones skills. So beautiful and simple is the way you're explaining the relation between elements inside this work. Visualising music is another way to get fallen in love with it. Wonderful lesson for beginners.
Fantastic, very syimulating and useful video to help us grasp the underlying structure of Bach inventions (and his "design" process, otherwise known as compisition). Thanks a lot!
Thank you so much for this, John. I am studying this piece just for my playing and also have decided to study it at school for a Baroque Period study-piece homework, so this is really helpful!
I relearned this piece in another key as an exercise, and I discovered that each of the sixteenth-note motifs can be fingered in similar and contrasting ways: the 'I go up and down' can start with the thumb, and the 'I go down and up' can start with the fourth finger. The same with the other hand. This works in every key, as long as you allow the thumb to play a black note.
I am learning this tune on a 5 string banjo. Your analysis has been super helpful! I am using your lyrics all the time now when I play it! "I go up and down, AND play my trumpet!!" Awesome!
I might look at recording Inv#13 today. In the meantime I have a version of Maple Leaf Rag on UA-cam that is 95% perfect if you're curious. the Bach stuff may seem weird to a pianist because I can only play one part at a time! no Left hand! I was wondering if you'd had any experience with Sibelius? I need some help! I find the community blogs and Sibelius Help not very helpful! Also, because I have been practicing the #14 at my local cafe, the staff now sing "I go up and down, And play my trumpet!"
I appreciated your analysis though I don't sense a trumpet motif in this particular Invention. Some of the secondary dominants create an emotional shift especially that which applies to the modulation to G minor. i.e. Measure 9 to 10. Bach's harmonic rhythm is a springboard to creating these emotional responses. (Harmonic analysis is always helpful) In addition, falling sequences where both hands plays sets of 32nds in common rhythm suggest a diminuendo. (not of course trying to emulate a harpsichord but availing of the rich dynamic palette of the pianoforte) Bach emphasized the legato cantabile in his prologue to the two-part inventions. I think of this one as more in the universe of singing legato, though I respect those who have a different sense of phrasing, groupings, articulation.
The energetic leaps are what inspired my brassy reaction. I don't think they are a cantbile figure; have you tried singing this piece? Legato is certainly possible though not necessarily natural in this pitch sequence. I cut my musical teeth as a harpsichordist. This instrument requires a lot of imagination to render expressive performances. Your idea of the implied diminuendo is correct I think, and requires a subtle increase in connection between the notes to achieve this effect. I appreciate your challenge to my ideas, as well as thank you for emphasizing the emotional effect of harmony and for bringing up Bach's admonition about cantbile. But I don't believe this blocks any variety in articulation or interpretation. Thanks again for your knowledgeable words.
Thank you so much for the video! I am preparing this song for my RCM exam. Always have trouble understanding this piece. Your analysis is very easy to understand. Now, this piece sounds a lot more playful and poetic to me! Wish I could come across this video earlier! May I suggest adding " BWV 785" to the video title? It may help other students to find this video as well! And it took me a few time to spot the black blur was your cat around 1:57!
0:16 THEME IN TWO PARTS This whole piece is built upon this one theme which is in two parts. There's this first part, sort of like "we go up and down" and then this next part is sort of a trumpet call "and I play the trumpet". The entire piece is built upon that using different techniques of contrapuntal writing such as inversion and canon and imitation. 0:56 INVERSION At the beginning Bach takes that theme and inverts it so instead of "I go up and down" and "and play my trumpet" he turns it and goes "I go down and up" and "and play my trombone". What was up and down is now down and up. 1:21 THEME REPEATS IN DIFFERENT PITCH LEVEL Then he's changed to a different pitch level and he repeats that "I go up and down" and "and play my trumpet" "I go down and up" "and play my trombone" 1:31 ORIGINAL THEME REPEATS TWICE IN THE ORIGINAL ORIENTATION Now he plays the original theme twice in the original orientation "I go up and down" and "play my trumpet" and that's the end of the opening 2:39 CALL AND RESPONSE Now we have a call and response section where the left hand leads the right hand follows the left hand plays "up and down" the right hand plays "down and up" and they play together they're down and up 3:08 FLIPOVER Now, at measure six, he flips all that over and the left hand now plays that entire melody with "up and down" and "and play my trumpet" then "I go down" and "play my trombone" where the right hand now plays that dolly sort of brassy accompaniment to this 3:50 COMPRESSION At measure 9 what happens is that this idea of flipping back and forth gets compressed so in each measure the roles are reversed. In measure 9, the left hand is now playing the eighth note bouncy accompaniment and then the next measure, the right hand takes the bouncy accompaniment and the left hand plays that melody, and then they switch again for the next measure 4:30 STRAIGHT CANON Now a straight cannon. So the left hand starting in measure 12 plays just a sequence we call a sequence of that motif played over and over. The right-hand plays exactly the same thing only two octaves higher 5:04 PARALLEL THIRDS Now, at measure 14 they come together and play together in what we call parallel thirds and so there's very much a togetherness happening now. They've had their back and forth but now they've come together 5:35 CANON AGAIN So then, Bach says, well let's do that cannon again, that was kind of fun, we'll do it again, so the left and the right-hand do exactly the same thing, only an octave higher 6:01 FREE COUNTERPOINT At the very end, Bach does what we call a free counterpoint
Halluci, I agree that a harmonic analysis would complete the picture. However, this video was made for a dance class where I don't cover harmony in any depth at all. My focus, obviously, is on the thematic material.
@@JohnToenjes No you wouldn't 😉 Trombone design doesn't allow the same agility as the fingers... The tempo is then much s.l.o.w.e.r. One of the reason my teacher picked up this score is to improve my speed. And also to have some fun playing the right hand part while I play the left...
***** So then you advocate a dry, detached sort of touch? BTW, I play harpsichord a lot, and you can definitely execute staccato, though you are correct about legato (which you can't truly get on a piano, either).
I met your video incidentally after MINE OWN. You do an EXCELLENT job at making "classical" music seem incredibly STUPID. Those pasty wigged ^*$(#&$ERS need some knocking down. But dang, some beautiful music...Anyway, I've got to remember this. +2
I am sorry to completely disagree with you. There is one syllable per note. I will let others weigh in on whether my words fit the rhythm. And English is indeed my first language. Please be kind to others.
Thank you so much fot the video! I'm a teacher as well, and I've started learning to play the piano by myself some 5 or 6 months ago just for fun. Understanding the structure of a piece is the key to developing ones skills. So beautiful and simple is the way you're explaining the relation between elements inside this work. Visualising music is another way to get fallen in love with it. Wonderful lesson for beginners.
Thank you for the kind words. Glad this helps you!
We’re learning this piece. Thanks for your insightful lecture. Very informative and helpful! Hope you can post more lectures like this. Merci!
Fantastic, very syimulating and useful video to help us grasp the underlying structure of Bach inventions (and his "design" process, otherwise known as compisition). Thanks a lot!
Thank you so much for this, John. I am studying this piece just for my playing and also have decided to study it at school for a Baroque Period study-piece homework, so this is really helpful!
I’m glad this is helpful to you!
Great video! It made me appreciate the piece so much more!
That's great, Gregory. Thanks for the comment.
Divine piece of art! Every note has its firm meaning and insubstitutable place.
Ja! Das ist Bach!
@@joecarr2224 Jaja, wie Beethoven einmal gesagt hat - "nicht Bach, sondern Mehr sollte er heissen" und er war absolut richtig! ;-)
El análisis lo aprendí con el trancu4ri del tiempo ,,tuve un maestro maravilloso e inolvidable ,que creyó en mi. ♥️
This is very helpful because I am playing this for a piano concert so i can remember this from you!!!!!!!! :)
+Mia Park Torchinsky I'm glad. I hope you have a successful and enjoyable performance.
I relearned this piece in another key as an exercise, and I discovered that each of the sixteenth-note motifs can be fingered in similar and contrasting ways: the 'I go up and down' can start with the thumb, and the 'I go down and up' can start with the fourth finger. The same with the other hand. This works in every key, as long as you allow the thumb to play a black note.
I am learning this tune on a 5 string banjo. Your analysis has been super helpful! I am using your lyrics all the time now when I play it! "I go up and down, AND play my trumpet!!" Awesome!
This makes my day! When you are ready you should post your banjo version!
John Toenjes
Not just yet! But I do have #13 down and I could post that.
Murrangurk2 Make sure to post the link here!
I might look at recording Inv#13 today. In the meantime I have a version of Maple Leaf Rag on UA-cam that is 95% perfect if you're curious.
the Bach stuff may seem weird to a pianist because I can only play one part at a time! no Left hand!
I was wondering if you'd had any experience with Sibelius? I need some help! I find the community blogs and Sibelius Help not very helpful!
Also, because I have been practicing the #14 at my local cafe, the staff now sing "I go up and down, And play my trumpet!"
Very inspiring. Thank you!
You are so welcome!
Thank you. I am a grand mother working on this. You analysis is helpful.
I'm glad this is of some help to you.
Te felicito por el análisis 😃
Nice video! Loved it!
Thanks, Stephanie!
Thank you for this interpretation.
Great explanation, thank you!
Thank you, LB! I'm glad you enjoyed it.
Watching this in 2021. Thank you for posting!
Thank you, William.
Thank you so much I needed this!
You are welcome! Glad it could be of some help to you.
Gracias!! Me ayudó mucho con mi tarea!!
Thanks for this!
Thanks for this analysis :)
Javier Videla You are welcome!
I appreciated your analysis though I don't sense a trumpet motif in this particular Invention. Some of the secondary dominants create an emotional shift especially that which applies to the modulation to G minor. i.e. Measure 9 to 10. Bach's harmonic rhythm is a springboard to creating these emotional responses. (Harmonic analysis is always helpful) In addition, falling sequences where both hands plays sets of 32nds in common rhythm suggest a diminuendo. (not of course trying to emulate a harpsichord but availing of the rich dynamic palette of the pianoforte) Bach emphasized the legato cantabile in his prologue to the two-part inventions. I think of this one as more in the universe of singing legato, though I respect those who have a different sense of phrasing, groupings, articulation.
The energetic leaps are what inspired my brassy reaction. I don't think they are a cantbile figure; have you tried singing this piece? Legato is certainly possible though not necessarily natural in this pitch sequence. I cut my musical teeth as a harpsichordist. This instrument requires a lot of imagination to render expressive performances. Your idea of the implied diminuendo is correct I think, and requires a subtle increase in connection between the notes to achieve this effect. I appreciate your challenge to my ideas, as well as thank you for emphasizing the emotional effect of harmony and for bringing up Bach's admonition about cantbile. But I don't believe this blocks any variety in articulation or interpretation. Thanks again for your knowledgeable words.
I'm late to the discussion, but just want to thank you for this analysis. It will really help my students to understand what they are doing!
Thank you so much for the video! I am preparing this song for my RCM exam. Always have trouble understanding this piece. Your analysis is very easy to understand. Now, this piece sounds a lot more playful and poetic to me! Wish I could come across this video earlier! May I suggest adding " BWV 785" to the video title? It may help other students to find this video as well!
And it took me a few time to spot the black blur was your cat around 1:57!
Me too! What are your other pieces?
Thank you !!
Serah Strandberg You are welcome!
I like it thank you☺️👌🏼🎹
thankyou ! means a lot to me :) subscribed !
Thank you!
REALLY THANKYOU
Marina Piniés You are welcome!
Enjoyed it. How about discussion of scale degrees? Tnx.
0:16 THEME IN TWO PARTS
This whole piece is built upon this one theme which is in two parts. There's this first part, sort of like "we go up and down" and then this next part is sort of a trumpet call "and I play the trumpet". The entire piece is built upon that using different techniques of contrapuntal writing such as inversion and canon and imitation.
0:56 INVERSION
At the beginning Bach takes that theme and inverts it so instead of "I go up and down" and "and play my trumpet" he turns it and goes "I go down and up" and "and play my trombone". What was up and down is now down and up.
1:21 THEME REPEATS IN DIFFERENT PITCH LEVEL
Then he's changed to a different pitch level and he repeats that "I go up and down" and "and play my trumpet" "I go down and up" "and play my trombone"
1:31 ORIGINAL THEME REPEATS TWICE IN THE ORIGINAL ORIENTATION
Now he plays the original theme twice in the original orientation "I go up and down" and "play my trumpet" and that's the end of the opening
2:39 CALL AND RESPONSE
Now we have a call and response section where the left hand leads the right hand follows the left hand plays "up and down" the right hand plays "down and up" and they play together they're down and up
3:08 FLIPOVER
Now, at measure six, he flips all that over and the left hand now plays that entire melody with "up and down" and "and play my trumpet" then "I go down" and "play my trombone" where the right hand now plays that dolly sort of brassy accompaniment to this
3:50 COMPRESSION
At measure 9 what happens is that this idea of flipping back and forth gets compressed so in each measure the roles are reversed. In measure 9, the left hand is now playing the eighth note bouncy accompaniment and then the next measure, the right hand takes the bouncy accompaniment and the left hand plays that melody, and then they switch again for the next measure
4:30 STRAIGHT CANON
Now a straight cannon. So the left hand starting in measure 12 plays just a sequence we call a sequence of that motif played over and over. The right-hand plays exactly the same thing only two octaves higher
5:04 PARALLEL THIRDS
Now, at measure 14 they come together and play together in what we call parallel thirds and so there's very much a togetherness happening now. They've had their back and forth but now they've come together
5:35 CANON AGAIN
So then, Bach says, well let's do that cannon again, that was kind of fun, we'll do it again, so the left and the right-hand do exactly the same thing, only an octave higher
6:01 FREE COUNTERPOINT
At the very end, Bach does what we call a free counterpoint
Lovely
Good job, man.
👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻
Brilliance ecnaillirB please do another one eno rehtona od esaelp peace B Cool looC B ecaep.
You dont explain the theory behind the chords. Which is a true analysis. You just pointed out the easy to spot compositional forms
Halluci, I agree that a harmonic analysis would complete the picture. However, this video was made for a dance class where I don't cover harmony in any depth at all. My focus, obviously, is on the thematic material.
Laughing about the trombone: I'm currently practicing the left hand on my trombone
I'd love to hear that!
@@JohnToenjes No you wouldn't 😉 Trombone design doesn't allow the same agility as the fingers... The tempo is then much s.l.o.w.e.r. One of the reason my teacher picked up this score is to improve my speed. And also to have some fun playing the right hand part while I play the left...
Why can't you play staccato in Bach??
***** So then you advocate a dry, detached sort of touch? BTW, I play harpsichord a lot, and you can definitely execute staccato, though you are correct about legato (which you can't truly get on a piano, either).
I met your video incidentally after MINE OWN. You do an EXCELLENT job at making "classical" music seem incredibly STUPID. Those pasty wigged ^*$(#&$ERS need some knocking down. But dang, some beautiful music...Anyway, I've got to remember this. +2
+jabbapop hmm...
> This should be creative commons, not youtube standard license.
[it is now]
*edit* thank you. downvote reversed
I didn't think of this...I changed it at your suggestion.
I go up and down and play my trumpet. Or; mask goes on and off and protects nothing.
Sorry but those words do not fit the rhythm! I'm guessing English isn't your first language which explains that.
I am sorry to completely disagree with you. There is one syllable per note. I will let others weigh in on whether my words fit the rhythm.
And English is indeed my first language. Please be kind to others.