Channel members get early access to all our videos. Find out more here: ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Members Content: ua-cam.com/play/UUMO8yI8P7Zi3yYTsypera-IQg.html
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.
Can you please make a video on the beginning of "kyrie eleison" of the mass in b minor of Bach. As a i keep hearing it for thouthands of time and each time i feel the soulful as like the first time. What is the secret of this mysterious melody
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.
Chords: I-IV6-I6 with scale degrees: 1,6, 3 in the bass, and 3,4,5 in the soprano are mentioned in Steven Laitz' book "The Complete Musician" as a tonic expansion using IV6.
Another great video! Maybe I've missed it, but do you have a video with tips for fingerings? I'm trying to work through the Bach Chorales, but I get stuck when I try to add more than two voices and struggle with which fingers to use on the inner voices.
So in the first beat of the second complete bar, you say the Bb minor doesn't turn into a Bb 9, I agree and you mentioned the tenor going up to F part of the chord but if the alto is going to an Ab to prepare for suspension, it has to belong to chord technically so I suppose it's turning into a seventh but the soprano is just a lower auxiliary note. Unless I miss understood what you were saying because to me it sounded like you were saying well the alto is preparing for a suspension which it is but it also sounded like you were saying it wasn't harmonic, do you have anything to make things a bit clearer for me?
Very interesting analysis, although I just can’t help thinking that analysing is in actual fact nothing but “hindsight”. Bach was an amazing natural talent, and to me personally, trying to implement his “thinking pattern” into modern music would be not just sacrilege, but if we try to implement “Bach-ism” into our music, classical music will not move on and always remain “that same old tried and tested”. What I’m getting from this analysis personally is just to Try something Different, Daring, and unexpected…..
Good question! Most of the key relationships are to nearby keys as one would expect in Baroque music and because the inherited Chorale melodies are unadventurous in terms of modulation. The most radical thing Bach does is to begin a new phrase in another key without using a pivot chord.
Ref chorale 80. Measure three, third beat, what is going on. I see a suspension in the tenor resolving to a V7 chord. The “B” in the soprano is a dissonant neighboring tone.
Apologies for the much delayed response. Yes it’s a 4-3 suspension in the tenor with a lower auxiliary note in the soprano all moving to chord V on beat 4. Bach loves those kind of combined moves.
Merci beaucoup. Would it be possible to show your hands playing at least once in these videos? No matter what happens in the car, it's where the rubber meets the road that counts.
You should be able to see all the notes light up on the screen, which is more useful than seeing hands. You can slow down the video speed to see it all unfolding in slow motion.
Interesting how Bach actually probably should've avoided doubling the major third in the first full bar 4th beat. I understand he's coming up a scale movement in the bass, but anyone else does this and you say well, you could've put a Bb in the alto part on that 4th beat and you would've had a rising scale in the alto before dropping down the 4th to the f in the next bar. I am pretty sure you won't have any consecutives with any parts if you did that. Just seemed like an unnecessary reason to double the major third. Watching how you delivered that, I am not sure your convinced about that one. Just pointing that out.
@@MusicMattersGB The problem I have with it is that, there is an alternative to put the Bb in the alto so he didn't need to double the major third and he would've kept both parts using scales. Don't get me wrong, I love Bach but these are the types of things an examiner would point out and say it's not in the Bach style to double that major third when there is an alternative and here's Bach doing that same thing in his chorale. Now he wasn't writing to please an examiner. I just thought interesting there actually is a time he doubled a major third and didn't need to.
Learn Music Online - Check out our courses here!
www.mmcourses.co.uk/courses
Are you planning to have a full course on music harmony alone ? I have enrolled previously in your music counterpoint course.
There is so much we can learn from these old guys! Using 7th (and 9th) as passing tones is a good technique for quitar solos as well.
😀
The chorals always make my heart melt... The harmony is so profoundly presented. Your explanations are stellar quality as always!
Clear analysis. Educational. thanks.
A pleasure. Glad it’s helpful.
Wait, if they video was uploaded yesterday, how is this comment 3 months old.... 🤔
Channel members get early access to all our videos. Find out more here: ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin
Members Content: ua-cam.com/play/UUMO8yI8P7Zi3yYTsypera-IQg.html
What a beautiful one! Thank you so much for your superb inspiring teaching, 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.
Another gem! Thank you for making these
A pleasure
Great lesson. Thanks for playing the choral first. You play beautifully.
That’s most kind
Can you please make a video on the beginning of "kyrie eleison" of the mass in b minor of Bach. As a i keep hearing it for thouthands of time and each time i feel the soulful as like the first time. What is the secret of this mysterious melody
Good idea
Thanks!
Thanks for your support
Thanks a lot; very, very much interesting
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.
Chords: I-IV6-I6 with scale degrees: 1,6, 3 in the bass, and 3,4,5 in the soprano are mentioned in Steven Laitz' book "The Complete Musician" as a tonic expansion using IV6.
A good progression
Another great video! Maybe I've missed it, but do you have a video with tips for fingerings? I'm trying to work through the Bach Chorales, but I get stuck when I try to add more than two voices and struggle with which fingers to use on the inner voices.
Great question. Hope Gareth gets around to answering it!
We could look at that
So in the first beat of the second complete bar, you say the Bb minor doesn't turn into a Bb 9, I agree and you mentioned the tenor going up to F part of the chord but if the alto is going to an Ab to prepare for suspension, it has to belong to chord technically so I suppose it's turning into a seventh but the soprano is just a lower auxiliary note. Unless I miss understood what you were saying because to me it sounded like you were saying well the alto is preparing for a suspension which it is but it also sounded like you were saying it wasn't harmonic, do you have anything to make things a bit clearer for me?
The alto is definitely harmonic and you’re correct about the lower auxiliary in the Soprano.
Very interesting analysis, although I just can’t help thinking that analysing is in actual fact nothing but “hindsight”. Bach was an amazing natural talent, and to me personally, trying to implement his “thinking pattern” into modern music would be not just sacrilege, but if we try to implement “Bach-ism” into our music, classical music will not move on and always remain “that same old tried and tested”. What I’m getting from this analysis personally is just to Try something Different, Daring, and unexpected…..
Go for it!
I suggest you a video about Wagner, it will be very interesting. And thank you for all videos.
Okay
What is the key relationship of the least common modulation in the chorales?
Good question! Most of the key relationships are to nearby keys as one would expect in Baroque music and because the inherited Chorale melodies are unadventurous in terms of modulation. The most radical thing Bach does is to begin a new phrase in another key without using a pivot chord.
Ref chorale 80. Measure three, third beat, what is going on. I see a suspension in the tenor resolving to a V7 chord. The “B” in the soprano is a dissonant neighboring tone.
Apologies for the much delayed response. Yes it’s a 4-3 suspension in the tenor with a lower auxiliary note in the soprano all moving to chord V on beat 4. Bach loves those kind of combined moves.
Merci beaucoup.
Would it be possible to show your hands playing at least once in these videos?
No matter what happens in the car, it's where the rubber meets the road that counts.
You should be able to see all the notes light up on the screen, which is more useful than seeing hands. You can slow down the video speed to see it all unfolding in slow motion.
Passing notes in the first beat of the ultimate bar forms Ic chord, which leads to 6 4 cadence. Kindly correct me if i m wrong
Those inessential notes create a temporary Ic but it’s more coincidental than functional.
@@MusicMattersGB Thanks fr ur reply
See www.mmcourses.co.uk for much more
K sir
Enjoy
Just a silly question, Is it ''acceptable'' to go to II, from V.
I thought V goes to I or VI
V goes to I or to VI in a cadence. Elsewhere it can go wherever it sounds good.
❤️
😀
Without seeing the score, I hear the piece as starting on beat 1. Does it start on beat 4 so the cadences are on beat 3?
Yes. This one begins on beat 4.
figaro ending 😀
😀
Interesting how Bach actually probably should've avoided doubling the major third in the first full bar 4th beat. I understand he's coming up a scale movement in the bass, but anyone else does this and you say well, you could've put a Bb in the alto part on that 4th beat and you would've had a rising scale in the alto before dropping down the 4th to the f in the next bar. I am pretty sure you won't have any consecutives with any parts if you did that. Just seemed like an unnecessary reason to double the major third. Watching how you delivered that, I am not sure your convinced about that one. Just pointing that out.
It’s interesting how often Bach doubles major 3rds to preserve scale lines, especially in the bass.
@@MusicMattersGB The problem I have with it is that, there is an alternative to put the Bb in the alto so he didn't need to double the major third and he would've kept both parts using scales. Don't get me wrong, I love Bach but these are the types of things an examiner would point out and say it's not in the Bach style to double that major third when there is an alternative and here's Bach doing that same thing in his chorale. Now he wasn't writing to please an examiner. I just thought interesting there actually is a time he doubled a major third and didn't need to.
@isaacshaw1596 Indeed!
Do you have a free course about fugue writing?
We have a recorded webinar on Fugue writing. www.mmcourses.co.uk/p/music-matters-webinar-how-to-write-a-fugue
@@MusicMattersGB Thank you. :)
A pleasure
It's BACH!!! Not "Bark"!!!
Absolutely. English pronunciation