Itd be nice to see baroque era music fuse with modern mainstream music. Really rap and fugues could merge in a way if its done right, you just need to have a vision
I am in awe How can this be possible. I do not understand how someone can just improvise something so complex and contrapuntal. And yet it sounds extremely consonant and beautiful.
y'a quelque années j'écoutais vos vidéos pendent mes poses au travail je comprend pourquoi on se sent tellement vivant avec vous quand on aime le baroque
Hi, fellow improvisor! I've been playing piano for the last 20 years, improvising for the last 14 years. But never have I succeded in improvising a fugue, nor have I ever seen anyone doing it. That's quite impressive! I don't understand how you keep the same theme in mind witgout altering. For me, when I'm improvising, the theme changes every time I reintroduce it. My memory can't keep up with my fingers.
Фуга бесподобна !!!! Полный Респект. Особо хочется отметить, что по стилю сочинения такая Фуга больше похожа на сочиненную "на бумаге" - ОЧЕНЬ длинная тема и совершенно невероятное количество осень красивых стретт . А то что это Утраченное искусство - это верно! об этом говорил ещё сам Ян Адам Рейнкен "Я думал , что эот искусство умерло а оно живо !! " - говорил 99-ти летний Ян Адам Рейнкен юному Баху. Автору Творческих успехов .
Thoroughly impressed! Great work! I love fugues, but I'm not trained enough on the piano to improvise it, but I'll get there. I'm inspired. I've composed about 6, but only finished 2.
The best thing to do is to keep improvising/composing and we'll get there :-).. The cool thing is that the ride is quite enjoyable! By the way if you've finished 2/6 compositions that's already an excellent ration in my opinion ;-)
Holy shit this is really impressive! I was searching for improvised fugues because I though: "Yeah, no way that's possible!" Man was I wrong. Kudos, sir!
believe it or not, anybody learning keyboard for more than a few years in the 18th century was expected to be able to improvise at least simple fugues.
@@Zimzamzoom95 not just a simple fugue, they were expected to be able to improvise pretty much anything on the spot. I don't know why improvisation in classical music has died out so much since then, back then it was thought as something on par, if not more important, than actually composing at home and taking your time
Great counterpoint, but as a baroque music scholar, I challenge you to improvise a fugue with proper exposition (second entry of the theme is transposed a fifth higher or a fourth lower than the first entry and so on)! You certainly have a honourable music talent, so I am looking forward to hear it!
Oh you are very right Daniel, the fugue name is certainly quite the misnomer here ;-) I mainly used it here for the sad reality of optimizing for the search engine :'(, yeah.. the things we do for the algorithmic gods... Indeed your challenge is something i'm working towards each day ;-) and many thanks for your kind words :-)!
je vous assure que ce n'est pas appris ou du moins pas par le papier, avec de l'entrainement de la volonté n'importe quel pianiste peut y arriver il suffit d'écouter beacoup de musique et travailler son doigté et son oreille. je connais memes des pianistes qui parviennent a ceci sans solfege
@@gambe96 vous savez il faut connaitre les bases de la musique par n'improte quel moyen mais après cela quand vous sentez la musique vous n'avez a aucun moment besoin de noter pour faire cela, je vous assure qu'un cerveau suffit mais il faut s'impliquer faut faire alligner les planetes en quelque sorte écouter les bonnes choses pratiquer les bonnes choses au bons moment de la bonne manière c'est de la logistique mentale mais y'a pas vraiment besoin d'apprendre a lire une partition quoi c'est ça que je veux dire
😂😂 Essentially the best way to learn is to do it often (and have fun!). I'll post more tutorial videos soon and try to get more organized material out when I'll have a bit more time! Many thanks for your comment 😉
@@Borogrove I know you are improvising and enjoying yourself and I’m not hating because you are amazing. But don’t teach that the theme shouldn’t be longer than two or three lines and if it goes to four then the next voice should already come in by the third bar.
@@mikolajkrakowiak8365 Thanks for the criticism; you’re absolutely right! It’s a bad habit that come from two things: 1. It’s exciting to add a voice so one tends to do it carelessly, and 2. it’s tough to keep a longer theme in mind. What happens then is that by doing expositions too fast and mini themes you fire up all your shots early on and then you’re left with nothing more.. I should definitely focus on longer lines and less voices, but it’s tough ;-) In general it’s worth saying that none of my impros that I call “fugues” are proper ones; A real fugue has much more precise structure than what I try to (cheaply) simulate while improvising. That said, one could take impros and rework them on paper later to full fugues. The sad reason why I employ “fugue” somewhat abusively is... UA-cam’s search algorithm; one has to use keywords that are searched for... bleh optimization :x In any case thanks again for your comment, and never hesitate pointing out anything you disagree with! 😃🙏
@@Borogrove Yes I know UA-cam’s algorithm is very annoying at times. An interesting thing you can do (certainly more complicated) might be to keep the theme going while the answer already came in at the third bar so that 1. You can make the themes longer 2. You can have the answer intermingle very nicely with the theme. But then again your theme shouldn’t really exceed 4 bars (I believe 8 at most) And remember the only really strict thing about a fugue is the exposition and after that it doesn’t really matter which direction you take, so your improvisation isn’t exactly “not a” fugue. Anyway good luck and keep improvising (it’s a hard art to master)!
Many thanks for the kind words Emmanuel! Keep improvising in your own style and you’ll be much better than me in the music you want to improvise! I’m so happy that my tiny little videos can hopefully get more people to improvise. Cheers!
We would love if you do a tutorial for improvisors for us to understand how we can improvise something this complex and how you're thinking about it+what exercises you might give us to learn and reach this point ❤🙏
Many thanks for your comment, Yes! I'll definitely post more tutorials (soon); Note that this is something that I'm saying for a loong time (since the last tutorial I posted on my channel), but this time I'm getting back into the habit of posting tutorial vids :-) Thank you for watching and the feedback
Very glad you liked it! By the way, I don't know if your username refers to the computer line, but I'm typing this on a T400 haha ;-) Cheers, and thanks for the comment!
Which is not always a quality to be fair haha 😆. Very often such long subjects are because I’m forgetting and messing around myself or hope to confuse people to prevent them from seeing all the hugely approximate imitations ;-)
That's a really great question; I'd like to do a full video on the subject, but the summary is: I don't really think about harmony while improvising, mainly individual lines/melodies/counterpoint. I think harmony has two weaknesses: (1) Hard to compute on the fly. (2) Hard to find interesting ideas from harmony (we tend to be stuck in II -> VI -> V -> I) when improvising. I *do* use harmony when improvising if I want to do something specific (eg. if I want to go to some tonality, I might think V -> I .. okay let's do a cadenza), but when I do it's really simple "degree" harmony (I think about the degrees in the scale, and 3 sound m/M chords). I really think that not worrying too much about harmony when improvising is really helpful in the long run since it forces to listen and focus on melodies/counterpoint. Of course, harmony is a great tool to analyze existing pieces (to steal the cool stuff from them ;-), and It's something I need to use more on existing pieces. When I'll have a bit more time, I'll take something like the Bach inventions, play all of them, and analyze each of them with /my/ personal spin on harmony (everyone has a little different and personal version of harmony ;-) Hope this helps, and thanks for your comment!
Way to go! Hope I can get to improvise a 2 or 3 part fugue one day hehe, nevertheless just like some other comments imply, I believe there could be renaissance on Baroque and Classical musica specially in the style of the mid late 1600’s and pretty much all of the 1700’s , we should have Jams where people come in with their instruments or sit at a piano, Harpsichord even at the organ and improvise, and that leads into new, modern compositions done in this style, before we know it, ill be able to hide my bald head with a wig as long as I can counterpoint on improvisation hehe. Keep the great work, and thanks for sharing! 🙌🏻
Thank -you- a lot for watching! There should for sure be more improvisation, and especially more mixing of "old" genres with new ones, and "old" instruments with new ones :-)
Quite. Some nice shapes, but this is not a fugue. Every entry of the exposition is in the tonic, for starters, and we need to talk about tonal v real answers, and regular v irregular countersubjects.
Wow amazing, congratz! Very beautiful (and long!) subject. I’m even a bit jealous! I’ve tried this many times, but I guess my brain doesn’t work fast enough :P
Hmm, I'm not sure if there is any specific name for it... It's the sort of fun little thing that tends to fall under the fingers! In terms of construction, I would say it's mostly a standard cycle based on fifths (works because we like to hear perfect cadenzas V -> I) but the importance is put on the fourth going up (the left hand does something like I -> IV (up) -> (consider the IV as a V and do a perfect cadenza down) -> repeat [Ex: you can see at 3:41 the lh essentially plays F -> Bb -> E -> A -> D -> G -> ...]
@@TechnoRaabe That's a great question! I never gave much 'formal' thoughts on these progressions that happen to fall under the fingers naturally, but now that you mention it it's definitely worth investigating! I'll do some research on this and try to develop a theory/way to analyse cycles (I'm not sure the purely harmonic approach is the right one for baroque music!) and do a video on them soon. It's actually very useful for improvisation as it allows you to rest for a little bit and just let fingers play. Many thanks for the great idea! 🙏
It is a type of sequence called "descending fifths". There are two more types of sequence which were used in the baroque era: the "monte"-sequence and the Pachelbel-sequence.
I have been making a lot of progress now, I am going to improvise variations of mozart sonata 5 part 1, so I can impress people at guitar center, I think I already am impressing them, they stop their jazz improv when I start quietly playing classical improv, I just play whatever I think of
@@Borogrove they had a billboard in Ohio that said be all you can be with a picture of Mozart, I say that icarus is wise, that's the whole purpose of classical is to surpass the fathers of music
Wow. And I'm scared to learn a written fugue. I love seeing people improvising, and improvising fuges is something that my mind doesn't even understand yet... Is Contrapunctus 1 from Art of the Fugue a good decision for my first fugue, or is that a bad idea?
Many thanks for the comment :-) Generally any Bach piece is a *very* safe choice but the Art of the Fugue is.. just wonderful, so yes! C.1 is great! Keep in mind that working on a fugue is always a *lot* of work compared to amount of notes written on the page; I often have an easier time working on Rachmaninoff than some Fugues! Take it slow and steady, master each voice, listen the the *rhythm* poly"phony" before the melodic one; The cool thing is that you can "steal" sooo much from each Fugue by Bach that any amount of work put into them is repaid a thousand fold! Best wishes for your fugue, sending energy
@@Borogrove thanks so much for the very nice reply ❤️! I was looking at the Cm fugue in WTC yesterday, but now I will go straight to C.1! It is amazing to see you improvise a fugue; my brain doesn’t comprehend how that is done yet 😂. Maybe I will try to start improvising in just 2 voice counterpoint as well!
Might seem like a silly question, but how do you remember your melodies as your improvise them. I always seem to forget which makes things like fugues difficult.
Choose a tone and end the theme on the third or the seventh from this tone (so you can easily start the theme in dominant key). If you start your theme in C, then it should end on E or B, because when the second voice enters in G, you create a third or sixth interval which is consonant and a perfect starter. If the first note is the dominant, the second voice comes in on the tonic. (If you start with G in a key of C, then the second voice comes in on C.)
In addition to the great harmonic justifications by Händel (a good source!) here are 2 tips: (1) A good theme should be easy to recognize. Don't worry about making sound good, try to make it sound recognizable! (2) If a theme you want is taken, just steal it! It's a great exercise to improvise on themes by baroque/non-baroque composers! You can also try to modify a famous theme (major -> minor, goes up -> goes down, etc...) 😉
Thanksyou guys for the tips I will try to make a theme that is satisfying. By the way have guys listened to bwv 899 such a simple theme but a grand fugue by bach. He was indeed a master
Absolutely! Many thanks for pointing that out, I love criticism like this; One of the most helpful things in recording my improvisations is to be able to look *afterwards* at such things since I think it's more important to have more melodies/counterpoint in your mind when improvising and less rules, but It's great to use theory to debug+analyze improvisations! Feel free to keep pointing out dumb stuff I do, I love it :-)
You can tell it’s an improv from the very occasional appearance of parallel octaves. But I don’t think anyone can make fewer mistakes than this guy in an improvisation.
"simple fugue":
The subject: 30 miles wide.
We love counterpoint
For Real, please make some pieces. We need people like you which Improive the classical music. Don't let it die
Itd be nice to see baroque era music fuse with modern mainstream music. Really rap and fugues could merge in a way if its done right, you just need to have a vision
There will be always people like them. We won't let die this whole artwork.
I am in awe
How can this be possible. I do not understand how someone can just improvise something so complex and contrapuntal.
And yet it sounds extremely consonant and beautiful.
Many thanks Johann!
It's just the effect of having played around for a long time :-) all comes with time (and fun too!)
y'a quelque années j'écoutais vos vidéos pendent mes poses au travail je comprend pourquoi on se sent tellement vivant avec vous quand on aime le baroque
This is literally the work of a genius
Fugue is such a defining sound both of beauty and sorrow.
Hi, fellow improvisor!
I've been playing piano for the last 20 years, improvising for the last 14 years. But never have I succeded in improvising a fugue, nor have I ever seen anyone doing it. That's quite impressive!
I don't understand how you keep the same theme in mind witgout altering. For me, when I'm improvising, the theme changes every time I reintroduce it. My memory can't keep up with my fingers.
same. I think he played the theme some times before improvising it to remember it clearly
Фуга бесподобна !!!! Полный Респект. Особо хочется отметить, что по стилю сочинения такая Фуга больше похожа на сочиненную "на бумаге" - ОЧЕНЬ длинная тема и совершенно невероятное количество осень красивых стретт .
А то что это Утраченное искусство - это верно! об этом говорил ещё сам Ян Адам Рейнкен "Я думал , что эот искусство умерло а оно живо !! " - говорил 99-ти летний Ян Адам Рейнкен юному Баху. Автору Творческих успехов .
unironically this is one of the most beautiful fugues I have ever listened to, holy shit.
Just wow. If you had been around in Bach's time, he would have been pleased to have you as a son-in-law!
Thoroughly impressed! Great work! I love fugues, but I'm not trained enough on the piano to improvise it, but I'll get there. I'm inspired. I've composed about 6, but only finished 2.
The best thing to do is to keep improvising/composing and we'll get there :-).. The cool thing is that the ride is quite enjoyable! By the way if you've finished 2/6 compositions that's already an excellent ration in my opinion ;-)
Holy shit this is really impressive! I was searching for improvised fugues because I though: "Yeah, no way that's possible!"
Man was I wrong. Kudos, sir!
believe it or not, anybody learning keyboard for more than a few years in the 18th century was expected to be able to improvise at least simple fugues.
@@Zimzamzoom95 not just a simple fugue, they were expected to be able to improvise pretty much anything on the spot. I don't know why improvisation in classical music has died out so much since then, back then it was thought as something on par, if not more important, than actually composing at home and taking your time
Старина Бах был бы доволен. Это космос!!!
I'll never get tired of listening to this piece, I must have listened to it 10 times already, and it's always a blast :-)
Great counterpoint, but as a baroque music scholar, I challenge you to improvise a fugue with proper exposition (second entry of the theme is transposed a fifth higher or a fourth lower than the first entry and so on)! You certainly have a honourable music talent, so I am looking forward to hear it!
Oh you are very right Daniel, the fugue name is certainly quite the misnomer here ;-)
I mainly used it here for the sad reality of optimizing for the search engine :'(, yeah.. the things we do for the algorithmic gods...
Indeed your challenge is something i'm working towards each day ;-) and many thanks for your kind words :-)!
Whats uo with some baroque fugues having he second entry being a 4th up/5th down? (Like the fugue from Bach's Toccata And Fugue In D Minor)
dont ever think to stop this
man I didnt know the piano have this side of beauty
Magnifique, quel bonheur d'écouter cela ! Difficile de croire que c'est de l'improvisation !
Bravo monsieur
Oui c'est très, très ,très difficile de croire que c'est une improvisation.
@@mauriceam Honnêtement, j'y crois pas trop. Mais ça reste une très jolie fugue même si elle est apprise.
je vous assure que ce n'est pas appris ou du moins pas par le papier, avec de l'entrainement de la volonté n'importe quel pianiste peut y arriver il suffit d'écouter beacoup de musique et travailler son doigté et son oreille.
je connais memes des pianistes qui parviennent a ceci sans solfege
@@Suikevrije La derniére phrase j'en doute sérieusement.
@@gambe96 vous savez il faut connaitre les bases de la musique par n'improte quel moyen mais après cela quand vous sentez la musique vous n'avez a aucun moment besoin de noter pour faire cela, je vous assure qu'un cerveau suffit mais il faut s'impliquer faut faire alligner les planetes en quelque sorte écouter les bonnes choses pratiquer les bonnes choses au bons moment de la bonne manière c'est de la logistique mentale mais y'a pas vraiment besoin d'apprendre a lire une partition quoi c'est ça que je veux dire
1:18-1:45 sounds super good, you could have told me Bach wrote that and I would have believed you
I would'nt.
Omg that is theme looks to hard to improvise on, people usually choose shorter themes while improvising. You made it look easy
Great playing, loved it.
GREAT !!! FANTASTIC !!! You are a wonderfully gifted musician !!! Thank you very much for this nice and instructive video.
You should definitely write this and publish it. I’d love to play this fugue
the longer the theme the harder my peepee
jokes aside, how did you train this? this skill is awesome!
😂😂
Essentially the best way to learn is to do it often (and have fun!). I'll post more tutorial videos soon and try to get more organized material out when I'll have a bit more time! Many thanks for your comment 😉
@@Borogrove I know you are improvising and enjoying yourself and I’m not hating because you are amazing. But don’t teach that the theme shouldn’t be longer than two or three lines and if it goes to four then the next voice should already come in by the third bar.
@@mikolajkrakowiak8365 Thanks for the criticism; you’re absolutely right! It’s a bad habit that come from two things: 1. It’s exciting to add a voice so one tends to do it carelessly, and 2. it’s tough to keep a longer theme in mind. What happens then is that by doing expositions too fast and mini themes you fire up all your shots early on and then you’re left with nothing more.. I should definitely focus on longer lines and less voices, but it’s tough ;-)
In general it’s worth saying that none of my impros that I call “fugues” are proper ones; A real fugue has much more precise structure than what I try to (cheaply) simulate while improvising. That said, one could take impros and rework them on paper later to full fugues.
The sad reason why I employ “fugue” somewhat abusively is... UA-cam’s search algorithm; one has to use keywords that are searched for... bleh optimization :x
In any case thanks again for your comment, and never hesitate pointing out anything you disagree with! 😃🙏
@@Borogrove Yes I know UA-cam’s algorithm is very annoying at times. An interesting thing you can do (certainly more complicated) might be to keep the theme going while the answer already came in at the third bar so that 1. You can make the themes longer 2. You can have the answer intermingle very nicely with the theme. But then again your theme shouldn’t really exceed 4 bars (I believe 8 at most) And remember the only really strict thing about a fugue is the exposition and after that it doesn’t really matter which direction you take, so your improvisation isn’t exactly “not a” fugue. Anyway good luck and keep improvising (it’s a hard art to master)!
Georg that’s pretty sus ngl
Thrilled to discover an active improviser playing at this level. I am revitalized and I hope to catch up to you!!
Many thanks for the kind words Emmanuel!
Keep improvising in your own style and you’ll be much better than me in the music you want to improvise!
I’m so happy that my tiny little videos can hopefully get more people to improvise.
Cheers!
I wish it would never end ❤
We would love if you do a tutorial for improvisors for us to understand how we can improvise something this complex and how you're thinking about it+what exercises you might give us to learn and reach this point ❤🙏
Many thanks for your comment,
Yes! I'll definitely post more tutorials (soon); Note that this is something that I'm saying for a loong time (since the last tutorial I posted on my channel), but this time I'm getting back into the habit of posting tutorial vids :-)
Thank you for watching and the feedback
@@Borogrove you're amazing i can't wait 😍
wow! beautiful, amazing work Sir
The magnificent of this has no words to be described
J'aime bien! Très beau!
Merci beaucoup :-)
Absolutely incredible as always
Many thanks!
This is amazing. Love it! Thanks for the upload!
Very glad you liked it! By the way, I don't know if your username refers to the computer line, but I'm typing this on a T400 haha ;-)
Cheers, and thanks for the comment!
Borogrove I had a thinkpad waaay back in the day back when I made the username lol. They’re good machines! :)
Nice!!
Very nice theme and great improvisation!
that is an insanely long subject
Which is not always a quality to be fair haha 😆. Very often such long subjects are because I’m forgetting and messing around myself or hope to confuse people to prevent them from seeing all the hugely approximate imitations ;-)
wow great work !
Impressing!
Incredible.
True Art
Amazing as always, but I have a question, how much do you think about harmony when improvising? do you just think about the individual lines?
That's a really great question; I'd like to do a full video on the subject, but the summary is:
I don't really think about harmony while improvising, mainly individual lines/melodies/counterpoint. I think harmony has two weaknesses:
(1) Hard to compute on the fly.
(2) Hard to find interesting ideas from harmony (we tend to be stuck in II -> VI -> V -> I) when improvising.
I *do* use harmony when improvising if I want to do something specific (eg. if I want to go to some tonality, I might think V -> I .. okay let's do a cadenza), but when I do it's really simple "degree" harmony (I think about the degrees in the scale, and 3 sound m/M chords).
I really think that not worrying too much about harmony when improvising is really helpful in the long run since it forces to listen and focus on melodies/counterpoint. Of course, harmony is a great tool to analyze existing pieces (to steal the cool stuff from them ;-), and It's something I need to use more on existing pieces. When I'll have a bit more time, I'll take something like the Bach inventions, play all of them, and analyze each of them with /my/ personal spin on harmony (everyone has a little different and personal version of harmony ;-)
Hope this helps, and thanks for your comment!
@@Borogrove buonanotte.. 🤣🤣 .... Troppo bravo a ricordare un soggetto così lungo!!!
nice ! You should make a video of exercises to let people learn how to do this easily!
Way to go! Hope I can get to improvise a 2 or 3 part fugue one day hehe, nevertheless just like some other comments imply, I believe there could be renaissance on Baroque and Classical musica specially in the style of the mid late 1600’s and pretty much all of the 1700’s , we should have Jams where people come in with their instruments or sit at a piano, Harpsichord even at the organ and improvise, and that leads into new, modern compositions done in this style, before we know it, ill be able to hide my bald head with a wig as long as I can counterpoint on improvisation hehe. Keep the great work, and thanks for sharing! 🙌🏻
Thank -you- a lot for watching! There should for sure be more improvisation, and especially more mixing of "old" genres with new ones, and "old" instruments with new ones :-)
This is awesome! Do you have any tips or advice on how to start improvising fugues? I’m curious what you think about when improvising this.
superb! 🥳🎉👍
Thank you 😊
Please improvise a four-voice fugue with strettos and augmentation.
Quite. Some nice shapes, but this is not a fugue. Every entry of the exposition is in the tonic, for starters, and we need to talk about tonal v real answers, and regular v irregular countersubjects.
this is brilliant. thanks for idea
Wow amazing, congratz! Very beautiful (and long!) subject. I’m even a bit jealous! I’ve tried this many times, but I guess my brain doesn’t work fast enough :P
My dream is to write a fugue 😍
3:41 what is this lovely progression called?
Hmm, I'm not sure if there is any specific name for it... It's the sort of fun little thing that tends to fall under the fingers! In terms of construction, I would say it's mostly a standard cycle based on fifths (works because we like to hear perfect cadenzas V -> I) but the importance is put on the fourth going up (the left hand does something like I -> IV (up) -> (consider the IV as a V and do a perfect cadenza down) -> repeat [Ex: you can see at 3:41 the lh essentially plays F -> Bb -> E -> A -> D -> G -> ...]
@@Borogrove Are there more kinds of cycles used in baroque music?
@@TechnoRaabe That's a great question! I never gave much 'formal' thoughts on these progressions that happen to fall under the fingers naturally, but now that you mention it it's definitely worth investigating! I'll do some research on this and try to develop a theory/way to analyse cycles (I'm not sure the purely harmonic approach is the right one for baroque music!) and do a video on them soon. It's actually very useful for improvisation as it allows you to rest for a little bit and just let fingers play. Many thanks for the great idea! 🙏
It is a type of sequence called "descending fifths".
There are two more types of sequence which were used in the baroque era: the "monte"-sequence and the Pachelbel-sequence.
...when Händel asks for your advice... :D
Bach would be impressed
formidable !!!
Merci :-) !!
“Simple”... yeah, right :)
Lmfaooo i know you're probably joking, but you know what simple fugue means, right?:)
No invertible counterpoint or strettos?
If memory serves right i think a simple fugue is a fugue where theres no countersubject!!
Nice fugue! Not easy ti find such a good improv nowadays
Many thanks!
I have been making a lot of progress now, I am going to improvise variations of mozart sonata 5 part 1, so I can impress people at guitar center, I think I already am impressing them, they stop their jazz improv when I start quietly playing classical improv, I just play whatever I think of
I will make a improv video to show where I'm at, I mean to go all the way with music, and step out of beethovens shadow
Go get them Eric!
@@Borogrove they had a billboard in Ohio that said be all you can be with a picture of Mozart, I say that icarus is wise, that's the whole purpose of classical is to surpass the fathers of music
Wow. And I'm scared to learn a written fugue. I love seeing people improvising, and improvising fuges is something that my mind doesn't even understand yet... Is Contrapunctus 1 from Art of the Fugue a good decision for my first fugue, or is that a bad idea?
Many thanks for the comment :-)
Generally any Bach piece is a *very* safe choice but the Art of the Fugue is.. just wonderful, so yes! C.1 is great!
Keep in mind that working on a fugue is always a *lot* of work compared to amount of notes written on the page; I often have an easier time working on Rachmaninoff than some Fugues!
Take it slow and steady, master each voice, listen the the *rhythm* poly"phony" before the melodic one; The cool thing is that you can "steal" sooo much from each Fugue by Bach that any amount of work put into them is repaid a thousand fold!
Best wishes for your fugue, sending energy
@@Borogrove thanks so much for the very nice reply ❤️! I was looking at the Cm fugue in WTC yesterday, but now I will go straight to C.1! It is amazing to see you improvise a fugue; my brain doesn’t comprehend how that is done yet 😂. Maybe I will try to start improvising in just 2 voice counterpoint as well!
@@Borogrove oh, and I just subscribed because I watched your baroque improv video. It was very good, and I saw a lot more videos like that!
@@grungeisdead4455 he is great right
Great :D
Might seem like a silly question, but how do you remember your melodies as your improvise them. I always seem to forget which makes things like fugues difficult.
«Simple» he said🥲
Hello sir I have a question about fugue composition I really have a hard time making the themes because many of the good themes are taken.
Choose a tone and end the theme on the third or the seventh from this tone (so you can easily start the theme in dominant key).
If you start your theme in C, then it should end on E or B, because when the second voice enters in G, you create a third or sixth interval which is consonant and a perfect starter.
If the first note is the dominant, the second voice comes in on the tonic. (If you start with G in a key of C, then the second voice comes in on C.)
In addition to the great harmonic justifications by Händel (a good source!) here are 2 tips:
(1) A good theme should be easy to recognize. Don't worry about making sound good, try to make it sound recognizable!
(2) If a theme you want is taken, just steal it! It's a great exercise to improvise on themes by baroque/non-baroque composers! You can also try to modify a famous theme (major -> minor, goes up -> goes down, etc...) 😉
Thanksyou guys for the tips I will try to make a theme that is satisfying. By the way have guys listened to bwv 899 such a simple theme but a grand fugue by bach. He was indeed a master
You might consider adding a cadence or two now and again...
"Simple".
How is this even possible????
you rule, but the parallel octave right after the statement is admittedly a bit of a black mark... and not the type you'd find on a Bach score
Absolutely! Many thanks for pointing that out, I love criticism like this; One of the most helpful things in recording my improvisations is to be able to look *afterwards* at such things since I think it's more important to have more melodies/counterpoint in your mind when improvising and less rules, but It's great to use theory to debug+analyze improvisations!
Feel free to keep pointing out dumb stuff I do, I love it :-)
Thank you for proving my first statement
転調した…？
How do we know if it is an improvisation?
Improvising???? Really?
Yes, really! :-)
You can tell it’s an improv from the very occasional appearance of parallel octaves. But I don’t think anyone can make fewer mistakes than this guy in an improvisation.
I think I can surpass you
I sincerely wish you do :-) The world needs music!
@@Borogrove it has plenty of music on my channel, I work in vain, and I will surpass you in vain
A quand le retour !!!!!!