00:00 Intro: "Page 1" and "Exordiale Minimalkadenz" :D 01:14 on textures 02:21 "Page 1" - Exercises: + cadence(s), + sequence, + primary modulation 03:51 on pedalpoints 04:39 how to flex with a #4 05:47 pedalpoint: "Quiescenza" 06:20 imitation pair above pedalpoint 07:03 I-V-pendulum as opener 07:53 aplying that pattern to the "Monte Romanesca" 08:42 "Romanesca" with suspensions put to the left hand 09:14 1-3-2-5-1-opener 10:19 "Galant Romanesca" + "Prinner" 11:24 complete stepwise "Romanesca" 11:40 on the ascending 5-6-chain 12:51 applying 9-8/7-6-suspensions to that basic pattern 13:37 same on the descending sequence 14:29
A really great video which is wonderfully thorough…! Excellent playing! I call that 1-3-2-5 cadence a kind of decorated tenor cadence, since it is essentially 3-2-1, which the tenor does in the “fundamental cadence”. All of your videos are hilarious and playful and I love it.
Well, well the Master is visiting :D Thanks so much for appreciation and praise! Means a lot to me when it comes from you as I love your music and keyboard style!
Watching videos like this just makes me realize how much more I have to learn. Currently I'm on "ahh yes, I know some of these words" level. Maybe in 10 more years.
I really like Your compositions, and playing, the video is beautifully laid out, with the beautiful sounding piano, and easy to see, nice hand positions! What I do not understand is Your termanology which doesn't follow the figured bass terminology I learned.
This is yet another incredible video, and a great compilation of good tricks and openers for preluding. Your realization of these "simple" scaffoldings sounds so good and natural. I hope you will do a video on how you can achieve this level of decoration (use of parallel 3rds/6ths melodies? memorized embellishments of classic cadences? rule of thumbs for ornamentation? etc.).
Thanks for watching and your sweet comment! I think I already explained a lot on diminution and -strategies :D so this time I just wanted to jam a little.
@@en-blanc-et-noir I love the way you jam but like Julien Despois hoped, I also hope and would like to ask for more videos that are broken down with simpler examples for less experienced musicians. My guess is that your knowledge and expertise is way above most of us who want to learn from you.
hey Angela, it‘s actually pretty hard to please everybody‘s desires. There will be videos on more basic stuff of course, but I don‘t want to devote exclusively to that…
@@en-blanc-et-noir Yes, of course and I just realized you do have a playlist with more basic aspects of partimento that I need to study… Keep producing stuff on ideas that spark your interest and everyone else will be inspired, even if some of us are slightly mystified!😁
Erst einmal ein dickes Lob an deine Werke (Kanal und deine Videos). Solche Kanäle wie dieser, wo Musiktheorie im Detail erklärt wird, gibt es wahrlich sehr wenige. Die allermeisten Musiktheorie Tutorial langweilen mich mittlerweile, weil sie kaum über die Basics hinausgehen. Du deckst gerade das ab, was ich genauer verstehen und lernen will. Ich danke dir dafür. Außerdem ist die visuelle Aufarbeitung sensationell. Die kleinen Memes zwischendurch sind originell und treffen den Nagel auf den Kopf. Wunderbare Struktur und Graphik.
HA danke, danke. Du würdest dich wundern mit welchem Dilettantismus diese Videos erstellt werden und wie viel ich da schon verbockt hab! Wenn du gute Impro-Tutorials sehen willst, dann check mal den Kanal "Parallel fifths"... der macht es richtig gründlich
@@en-blanc-et-noir :-). Haha ... Dilettantismus hin oder her ... jedenfalls das Ergebnis stimmt und darauf kommt es ja an. Vielen Dank für den Tipp mit Parallelfifths. Ich kann garnicht glauben, dass er nur 812 Abonnenten hat. Ich bin jedenfalls begeistert.
@@en-blanc-et-noir Oh ja, den hatte ich schon gefunden durch dich. Eben durch dein Video "Prélude - Hommage à Borogrove". Stimmt, sehr genialer Mensch und toller Kanal. Dieses besagte Video "Prélude - Hommage à Borogrove" studiere ich übrigens gerade, damit ich es in allen Tonarten spielen kann. Mit der Rechten allein kann ich es schon. Eine wunderschöne kurze Übung.
Hey, I just discovered your channel and had to leave a comment real quick. Amazing work on these videos! Subscribed, and looking forward to delving into your content. I'm an organist studying at a conservatory in Scandinavia, so I study classical improvisation, and your material is just so comprehensive and accessible. Keep up the good work!
Hi Michael, a friend recommended your channel and it's fantastic. As a 30 year Classical and Jazz pianist who attended Uni for piano performance, I have recently been self-studying Composition for the last year or so, as it is a lost art in piano pedagogy today, at least here in the United States. I cannot believe Partimenti and Counterpoint is not really taught today. I will be emailing you soon about lessons. I was just curious, what do you use for the slides part of the videos/slide presentation software? Cheers!
Great content as always! If there's one simple thing I've learned from studying Bach is that in the "strictest" preludes(by strict I mean essentially comprised by only the single figuration with little modification) the harmonic tempo is often initially half of the "rate of figuration", put differently, two figurations occur between each harmony. If the entire prelude is not "strict," typically the opening is during the initial pedal point, where this applies. This is not always the case, of course. It seems this happens when the figure is on the shorter side(fraction of a measure); without the duplication such pieces might feel rushed. Also, this might be used to achieve a slower harmonic rhythm in the beginning to properly introduce the home key, allowing for the harmonic tempo to later increase. See BWVs: 846, 847, 855, 926 , 927, 999.
Hey Franz, thanks for watching! Ney, I don't... if you're interested in something that you see on the channel just let me know, for some music I actually do have scores.
Extraordinary. I learned some new things from this video. The double suspension with 5-6 chain is my favorite. My life changed once when I learned about seventh chords, and it changed again when I learned about ninths. I also enjoy your humor! I didn't know you could #4, that caught me way off guard. Could you view the "Kuhnau" as a modified version of the Bergamasca, with 1-3-5-1 instead of 1-4-5-1? I appreciate your hard work.
Hey thanks so much, especially for appreciation of the 5-6-chain-suspensions! ... "The Kuhnau" is actually just a joke :DD I do have an ambivalent view on these labels... it's of course just - as all openers - a certain sort of cadence.
The prelude of Bach's g major cello suite is a page 1 opener with a pedal g. So famous you'd think more cellists would know this but I've never heard it talked about
@@en-blanc-et-noir I'm very interested in how this practice left the mainstream and what's keeping it from coming back. I've had professors go on tirades against "historical practice" as a whole at just the mention of partimento. It was shocking to me the first time it happened
@@aidanmays7825 I believe that as music became more complex the roles of the composer and the performer (who was supposed to know how to improvise) drifted apart from the mainstream. Also the standardization of music education and the rise of recording technology contributed to the fading away of classical improvisation.
This is really great! I wonder what you think of "learning by listening and repeating". I try to play more and more what I am hearing instead of what I am seeing and I find your examples helpfull in a very good manner. They are pedagogocal and very musical at the same time. Thanks a lot!
Wonderful improvisations - but all seem to be in Allemande rhythm . It would be great to hear improvisations in other time signatures and dance styles!
You mean like on improvisation? The only books I can recommend are unfortuantely in German: This one : www.amazon.de/Compendium-Improvisation-Fantasieren-historischen-Jahrhunderts/dp/379653709X And this one: www.amazon.de/Solfeggi-Bassi-Fughe-Friedrich-Satzlehre/dp/B015M82PRA/ref=sr_1_1?__mk_de_DE=%C3%85M%C3%85%C5%BD%C3%95%C3%91&crid=3OPWCHTZBNV8V&keywords=H%C3%A4ndel+bassi+fughe&qid=1662018288&s=books&sprefix=h%C3%A4ndel+bassi+fughe%2Cstripbooks%2C76&sr=1-1 The first one is devoted to baroque style improvisation on all kinds of genres and is put together very thoroughly with a lot of instructive practical exercieses. There is no other comparable publication to that. It's by the Basel gang with different contributions by big names such as Nicoleta Parachivescu, Rudolf Lutz, Johannes Menke and their students. The other one is a deeeeeeep dive into 18th century compositional theory with the best Partimento realizations on the market (by Holtmeier and Menke). This book was an absolute revelation for me and I just can recommend it to everybody. It contains a lot of demanding text with a very indivudual note as it is a wild mashup of eclectic french, italian and german terminology that's typicall for Holtmeier's style. But there is no other writer like him I'd say. The Partimento realizations of Händel's exercises by Menke and Holtmeier make just great models to learn from. Besides those books I highly recommend the channel's by Nicola Canzano and the youtuber Borogrove: watch this guys jamming and you'll learn a lot!
2 роки тому
That was a great video, thank you! Regarding the "Page 1", I think that name was prof. Mortensen's invention. I call it a "soprano compound cadence", or "cadenza composta with the clausula cantizans in the bass", or just "suspended cantizans" for short (in the context of thorough bass).
Hey Kresimir, "Page 1": there is a thread on this further down. And I get your point: well, your terms are more historical accurate and formalized but you can't deny the fact that these kind of pragmatic labels ("C5", "Romanesca", "Cascade", "Prinner" etc.) are one of the main reasons why historical informed theory is reaching a wider audience. I know there's scholars that have an ambivalent view on it and already 10 years ago Felix Diergarten expressed this opinion in his article "Historische Satzlehre, ein Zeitalter wird besichtigt" So this is more or less an unending discussion - I myself question terms like Monte-Romanesca (as it doesn't really show features of both) but in the end I just surrendered to their popularity and adopted to that fact. Every new student that comes to me seems to know already a bunch of this terms and connects a certain structural contrapuntal phenomenon, or chord progression or whatsoever with them - why should I enforce a new terminology when there is already something that works for them? And doesn't this proof that there is a certain good quality about it? The "Kuhnau" was of course a joke anyway! :D My proposal: let's just all chill about this!
Wow! Ein klasse Video! Was ich immer (und besonders hier) so beeindruckend finde, ist mit welcher Leichtigkeit du Figurationen findest, die Abwechslungsreich und eben nicht nach einfacher Dreiklangsbrechung á la Page One klingen. Die Art wie du Durchgangs- und Nebennoten einbindest etc. einfach cool! Wie lerne und übe ich sowas? Teach me Sensei! :D
Merci, Luis... Durchgangs- und Nebennoten: naja, also es sind schon alles immer ähnliche Situationen und letztendlich alles Diminutionsstandards, im Unterricht nenn ich das manchmal "micro-schema". Das schöne ist, dass wenn man sie einmal für eine bestimmte Situation gelernt hat, dass sie sich dann ganz von alleine auch woanders einschleichen.. Fingergedächtnis, nennt man das dann wohl.
lol, can't agree... "B-List composer", although there's differences in artistic qualities of composer's outputs I wouldn't think in categories like this, it's just elitist's scam without much foundation behind it apart from "masterworks ideology". If you think a composer would have done this because he was simply "lacking craft" and just couldn't do better you have a distorted view of the era. No offence though :D I can see your point, bruh! Thanks for commenting! Cheers
00:00 Intro: "Page 1" and "Exordiale Minimalkadenz" :D
01:14 on textures
02:21 "Page 1" - Exercises: + cadence(s), + sequence, + primary modulation
03:51 on pedalpoints
04:39 how to flex with a #4
05:47 pedalpoint: "Quiescenza"
06:20 imitation pair above pedalpoint
07:03 I-V-pendulum as opener
07:53 aplying that pattern to the "Monte Romanesca"
08:42 "Romanesca" with suspensions put to the left hand
09:14 1-3-2-5-1-opener
10:19 "Galant Romanesca" + "Prinner"
11:24 complete stepwise "Romanesca"
11:40 on the ascending 5-6-chain
12:51 applying 9-8/7-6-suspensions to that basic pattern
13:37 same on the descending sequence
14:29
The improvisation in the end of the video from 2017 is absolutely phenomenal!
Although I can't say the same for the quality lol
LOL thank you, I actually was hesitant to come forward with it. I myself don't find it really enjoyable anymore :DD
@@en-blanc-et-noir Bit late but us there any way I can get the sheet music
haha noooo... this is an improvisation
@@en-blanc-et-noir I know haha but it just sounds so cool
A really great video which is wonderfully thorough…! Excellent playing! I call that 1-3-2-5 cadence a kind of decorated tenor cadence, since it is essentially 3-2-1, which the tenor does in the “fundamental cadence”. All of your videos are hilarious and playful and I love it.
Well, well the Master is visiting :D Thanks so much for appreciation and praise! Means a lot to me when it comes from you as I love your music and keyboard style!
Watching videos like this just makes me realize how much more I have to learn. Currently I'm on "ahh yes, I know some of these words" level. Maybe in 10 more years.
chill :DDD
I really like Your compositions, and playing, the video is beautifully laid out, with the beautiful sounding piano, and easy to see, nice hand positions! What I do not understand is Your termanology which doesn't follow the figured bass terminology I learned.
Amazing, so many preludes examples sound so complete, smooth and Bachian. I love this style of music.
Amazing content as usual! Plenty of material to keep us mortals entertained for a while!
mortals... :DDD what the?
By Christ, you are clever......comparing to so many people out there ignorant of such wonderous musical beauty?
This is yet another incredible video, and a great compilation of good tricks and openers for preluding. Your realization of these "simple" scaffoldings sounds so good and natural. I hope you will do a video on how you can achieve this level of decoration (use of parallel 3rds/6ths melodies? memorized embellishments of classic cadences? rule of thumbs for ornamentation? etc.).
Thanks for watching and your sweet comment! I think I already explained a lot on diminution and -strategies :D so this time I just wanted to jam a little.
@@en-blanc-et-noir I love the way you jam but like Julien Despois hoped, I also hope and would like to ask for more videos that are broken down with simpler examples for less experienced musicians. My guess is that your knowledge and expertise is way above most of us who want to learn from you.
hey Angela, it‘s actually pretty hard to please everybody‘s desires. There will be videos on more basic stuff of course, but I don‘t want to devote exclusively to that…
@@en-blanc-et-noir Yes, of course and I just realized you do have a playlist with more basic aspects of partimento that I need to study…
Keep producing stuff on ideas that spark your interest and everyone else will be inspired, even if some of us are slightly mystified!😁
Great catalogue of textures and harmonic ideas, Michael. So useful! I loved your "Exordiale Minimalkadenz" moment too 😂
Hey Claire, thanks for passing by and commenting! :D Thank you!
Brilliant and funny. And inspiring. I must find time to work through the many ideas in your videos.
I'm just amazed of your improvisations! And what a clear way to explain! So happy that I found your channel. Thanks a lot for sharing!!!
Appreciated!
After this I dont wanna hear about any music school/academy. Thank you for sharing your simply amazing knowledge!
Erst einmal ein dickes Lob an deine Werke (Kanal und deine Videos). Solche Kanäle wie dieser, wo Musiktheorie im Detail erklärt wird, gibt es wahrlich sehr wenige. Die allermeisten Musiktheorie Tutorial langweilen mich mittlerweile, weil sie kaum über die Basics hinausgehen. Du deckst gerade das ab, was ich genauer verstehen und lernen will. Ich danke dir dafür. Außerdem ist die visuelle Aufarbeitung sensationell. Die kleinen Memes zwischendurch sind originell und treffen den Nagel auf den Kopf. Wunderbare Struktur und Graphik.
HA danke, danke. Du würdest dich wundern mit welchem Dilettantismus diese Videos erstellt werden und wie viel ich da schon verbockt hab!
Wenn du gute Impro-Tutorials sehen willst, dann check mal den Kanal "Parallel fifths"... der macht es richtig gründlich
@@en-blanc-et-noir :-). Haha ... Dilettantismus hin oder her ... jedenfalls das Ergebnis stimmt und darauf kommt es ja an. Vielen Dank für den Tipp mit Parallelfifths. Ich kann garnicht glauben, dass er nur 812 Abonnenten hat. Ich bin jedenfalls begeistert.
und natürlich den Kanal "Borogrove" nicht zu vergessen, richtige Legend ist das!
@@en-blanc-et-noir Oh ja, den hatte ich schon gefunden durch dich. Eben durch dein Video "Prélude - Hommage à Borogrove". Stimmt, sehr genialer Mensch und toller Kanal.
Dieses besagte Video "Prélude - Hommage à Borogrove" studiere ich übrigens gerade, damit ich es in allen Tonarten spielen kann. Mit der Rechten allein kann ich es schon. Eine wunderschöne kurze Übung.
Your videos are incredible. Thank you for your Work!!
Thanks! Ya welcome!
Thank you for sharing your knowledge and insight.
Hey you're welcome!
Exquisite! Thanks from Berlin!
Dann sag ich mal: Grüße in die Hauptstadt gehen raus!!!
Cheers
@@en-blanc-et-noir hahahah....wunderbar! herzlich empfangen!
Hey, I just discovered your channel and had to leave a comment real quick. Amazing work on these videos! Subscribed, and looking forward to delving into your content. I'm an organist studying at a conservatory in Scandinavia, so I study classical improvisation, and your material is just so comprehensive and accessible. Keep up the good work!
Thank you!
I was waiting this kind of video!! Lets improvise! 🎹
Hi Michael, a friend recommended your channel and it's fantastic. As a 30 year Classical and Jazz pianist who attended Uni for piano performance, I have recently been self-studying Composition for the last year or so, as it is a lost art in piano pedagogy today, at least here in the United States. I cannot believe Partimenti and Counterpoint is not really taught today. I will be emailing you soon about lessons. I was just curious, what do you use for the slides part of the videos/slide presentation software? Cheers!
Super!
Great content as always! If there's one simple thing I've learned from studying Bach is that in the "strictest" preludes(by strict I mean essentially comprised by only the single figuration with little modification) the harmonic tempo is often initially half of the "rate of figuration", put differently, two figurations occur between each harmony. If the entire prelude is not "strict," typically the opening is during the initial pedal point, where this applies. This is not always the case, of course.
It seems this happens when the figure is on the shorter side(fraction of a measure); without the duplication such pieces might feel rushed. Also, this might be used to achieve a slower harmonic rhythm in the beginning to properly introduce the home key, allowing for the harmonic tempo to later increase.
See BWVs: 846, 847, 855, 926 , 927, 999.
Thanks you Mr.! I can relate to your comment a lot, this is a clever observation!
Great video as always, do you have any published compositions?
Hey Franz, thanks for watching! Ney, I don't... if you're interested in something that you see on the channel just let me know, for some music I actually do have scores.
Extraordinary. I learned some new things from this video. The double suspension with 5-6 chain is my favorite. My life changed once when I learned about seventh chords, and it changed again when I learned about ninths. I also enjoy your humor! I didn't know you could #4, that caught me way off guard. Could you view the "Kuhnau" as a modified version of the Bergamasca, with 1-3-5-1 instead of 1-4-5-1? I appreciate your hard work.
Hey thanks so much, especially for appreciation of the 5-6-chain-suspensions! ... "The Kuhnau" is actually just a joke :DD I do have an ambivalent view on these labels... it's of course just - as all openers - a certain sort of cadence.
@@en-blanc-et-noir in Paris they call it the Royale with cheese
@@JazzGuitarScrapbook In Amsterdam you mean :DDD haha
Really great video
🥳thx Ehsan, wir sehen uns in Salzburg!
I keep coming back to listen to 0:40 :)
:DDD
The prelude of Bach's g major cello suite is a page 1 opener with a pedal g. So famous you'd think more cellists would know this but I've never heard it talked about
Classic example! The D minor chaconne's theme as well... I'm sure this approach will never enter the mainstream for several reasons
@@en-blanc-et-noir I'm very interested in how this practice left the mainstream and what's keeping it from coming back. I've had professors go on tirades against "historical practice" as a whole at just the mention of partimento. It was shocking to me the first time it happened
@@aidanmays7825 I believe that as music became more complex the roles of the composer and the performer (who was supposed to know how to improvise) drifted apart from the mainstream. Also the standardization of music education and the rise of recording technology contributed to the fading away of classical improvisation.
This is really great!
I wonder what you think of "learning by listening and repeating". I try to play more and more what I am hearing instead of what I am seeing and I find your examples helpfull in a very good manner.
They are pedagogocal and very musical at the same time.
Thanks a lot!
Thank you, Manuel.. I agree on listening and repeating!
Wonderful improvisations - but all seem to be in Allemande rhythm . It would be great to hear improvisations in other time signatures and dance styles!
Thanks Thomas, you're of course right!
are there any books you recommend to look at
You mean like on improvisation? The only books I can recommend are unfortuantely in German:
This one : www.amazon.de/Compendium-Improvisation-Fantasieren-historischen-Jahrhunderts/dp/379653709X
And this one: www.amazon.de/Solfeggi-Bassi-Fughe-Friedrich-Satzlehre/dp/B015M82PRA/ref=sr_1_1?__mk_de_DE=%C3%85M%C3%85%C5%BD%C3%95%C3%91&crid=3OPWCHTZBNV8V&keywords=H%C3%A4ndel+bassi+fughe&qid=1662018288&s=books&sprefix=h%C3%A4ndel+bassi+fughe%2Cstripbooks%2C76&sr=1-1
The first one is devoted to baroque style improvisation on all kinds of genres and is put together very thoroughly with a lot of instructive practical exercieses. There is no other comparable publication to that. It's by the Basel gang with different contributions by big names such as Nicoleta Parachivescu, Rudolf Lutz, Johannes Menke and their students.
The other one is a deeeeeeep dive into 18th century compositional theory with the best Partimento realizations on the market (by Holtmeier and Menke). This book was an absolute revelation for me and I just can recommend it to everybody. It contains a lot of demanding text with a very indivudual note as it is a wild mashup of eclectic french, italian and german terminology that's typicall for Holtmeier's style. But there is no other writer like him I'd say. The Partimento realizations of Händel's exercises by Menke and Holtmeier make just great models to learn from.
Besides those books I highly recommend the channel's by Nicola Canzano and the youtuber Borogrove: watch this guys jamming and you'll learn a lot!
That was a great video, thank you!
Regarding the "Page 1", I think that name was prof. Mortensen's invention. I call it a "soprano compound cadence", or "cadenza composta with the clausula cantizans in the bass", or just "suspended cantizans" for short (in the context of thorough bass).
Hey Kresimir, "Page 1": there is a thread on this further down. And I get your point: well, your terms are more historical accurate and formalized but you can't deny the fact that these kind of pragmatic labels ("C5", "Romanesca", "Cascade", "Prinner" etc.) are one of the main reasons why historical informed theory is reaching a wider audience. I know there's scholars that have an ambivalent view on it and already 10 years ago Felix Diergarten expressed this opinion in his article "Historische Satzlehre, ein Zeitalter wird besichtigt" So this is more or less an unending discussion - I myself question terms like Monte-Romanesca (as it doesn't really show features of both) but in the end I just surrendered to their popularity and adopted to that fact. Every new student that comes to me seems to know already a bunch of this terms and connects a certain structural contrapuntal phenomenon, or chord progression or whatsoever with them - why should I enforce a new terminology when there is already something that works for them? And doesn't this proof that there is a certain good quality about it?
The "Kuhnau" was of course a joke anyway! :D
My proposal: let's just all chill about this!
The only thing more beautiful than a suspension is a double suspension
That's what I'm talking about!
Have any example of this tipe of preluding and improvisation on instruments that have only one line of melody, such as a saxophone ?
there are! check out the channel ‚the scroll ensemble‘, the host is pretty much into that exact topic
Wie immer ein ganz tolles Video 😺 und der Schnipsel am Schluss ist doch super! 🦙
Wow, what domain of the subjet !!
If I wanted to find a textbook on all of this, what topic area would I search for?
The only one that I can sincerely recommend is unfortunately in German: "Compendium Improvisation" by Schwenkreis et al.
@@en-blanc-et-noir Thank you so much.
I thought Page 1 was the term John Mortensen came up with and was exclusive to him.
I know right. Isn't it?
It's a Mortensenism, as far as I know, yep. Michael did credit John for the label in this earlier video: ua-cam.com/video/rtvgATavhRQ/v-deo.htmlm3s
Exactly! But don't you think it's been well established through the recent years?
Wow! Ein klasse Video! Was ich immer (und besonders hier) so beeindruckend finde, ist mit welcher Leichtigkeit du Figurationen findest, die Abwechslungsreich und eben nicht nach einfacher Dreiklangsbrechung á la Page One klingen. Die Art wie du Durchgangs- und Nebennoten einbindest etc. einfach cool! Wie lerne und übe ich sowas? Teach me Sensei! :D
Merci, Luis... Durchgangs- und Nebennoten: naja, also es sind schon alles immer ähnliche Situationen und letztendlich alles Diminutionsstandards, im Unterricht nenn ich das manchmal "micro-schema". Das schöne ist, dass wenn man sie einmal für eine bestimmte Situation gelernt hat, dass sie sich dann ganz von alleine auch woanders einschleichen.. Fingergedächtnis, nennt man das dann wohl.
I love the implication that John J Mortensen is James Dean.
...and me being Hans Landa or what? :DDD
I do mind the parallels honestly. It's not egregious but *does* make me go "Hmmm must have been a B-list composer in the day"
lol, can't agree... "B-List composer", although there's differences in artistic qualities of composer's outputs I wouldn't think in categories like this, it's just elitist's scam without much foundation behind it apart from "masterworks ideology".
If you think a composer would have done this because he was simply "lacking craft" and just couldn't do better you have a distorted view of the era. No offence though :D I can see your point, bruh! Thanks for commenting! Cheers
I assume you improvised that section. Doesn’t baroque music just flow so easily in improvisation
scarlatti sonata in g minor k35
👏👏👏