These videos are so impressive and helpful. I personally believe this style of pedagogy and teaching based on partimenti, thorough bass, faux-bourdon etc is the closest teaching now to those from conservatories 200+ years ago. This material is invaluable
Among other reasons, like the educational and entertainment value, and general usefulness, irredeemable nerdism is a very important component that makes these videos so great.
This was awesome! I love all your insights especially your reasoning for using 9ths on weak beats. This is not 18th century music after all! I've always loved what Schumann did with those 9ths. Bravo on your incredible skill and insights!
Thanks, Angela. Your so kind! Yeah, that dissonances: I was like going nuts about this topic just recently and checked a lot of baroque examples and found out - and it was actually kinda surprising - that it happens very seldomly, up to never, that in a piece that's in 2/4 or 4/4 the standard suspensions 2, 4, 7, 9 fall on a weak part of the bar - even not when the overall rhythmic shape is a stream of 16ths and the 8th positions become "relative strong beats". I was really checking this kinda systematically and found just very few examples that derive from that: the 7ths I found where in nearly all cases dominant 7ths, not supended 7ths, so that's obviously a different case then. And I'm talking about 18th century music, not romantic... I'd say that it's typicall to find stuff like that in Schumann and I bet one wouldn't find sth like this in a Chopin piece as he was more thoroghly trained in basic counterpoint and especially young Schumann just came up with... what he liked - be it based on theoretical foundations or not :DD love this guy!
Great video, as always! I think in the Schumann piece the way he uses that sequence perfectly expresses the drowsy moment when you’re falling asleep. You can really imagine this happening in the Schumann household: the father is the tenor, and he makes the child sing canonic imitation until they suddenly fall asleep (I think that’s why it ends like that)
Your videos are amazing. I love the added video editing/humour. I translate this over to guitar as best I can, mostly with 2-3 simultaneous notes in total. Having a structure to improvise over is very helpful, especially the bass notes, a given chord progression and then adding a melody to improvise. The only thing I'd ask for is some notated examples (possibly in the video as it is played) of various short performances that combine various models for different approaches/styles/time sigs.
Awesome! Just discovered your channel. I have an MA in Jazz from the Royal Welsh College of Music and Drama and have been an improvising musician all my career but only discovered Partimento a year ago. I was looking for ways to take that knowledge of the Galant schemata and apply it to other styles and here you are with just what I was looking for! Thank you so much 🎹😀
I will second those comments, if you put many of the things you did and know together to create like an exercise book for creative inspiration to create pieces from models and practice improvising, it would be well worth buying
I love your work!! It's really helped with my journey to learning to improvise in a romantic manner. I started learning the Schumann piece you featured because of the lament bass that follows in the opener in the first section and I never realised the ending was the circle of fifths. Again love your work and will definitely practice preluding using your advice thank you !!
Forgot to say, check the Schumann Morning Songs #1 for some parts that sound like that level 3 sequence with the added 9ths you did. In his case he has 2nds move in parallel. I don't have any time to compare similarity rn but it sounds like there's something similar about it.
Epic piece😱 Already a few years ago I pinned it above my desk. Defo among my top 5 single pagers. Yeah, that sequence is spectacularly crunchy and especially that parallel seconds. I‘d say this is some sort of staggered circle of fiths as well…
@En blanc et noir yes it is such a beautiful and satisfying piece I can't even be sure why, but it is as if much more is contained within such a short span. I should probably learn it and analyze the structure and then why he voiced things as they are. Schumann has such a good balance of strict and loose ideas it's fun.
If I subscribe on Patreon, will I get billed for everything (or the first n items per month) that you publish, whether I want those or not? I am happy to pay for items that interest me, but not for random things as they appear. Is that what happens?
I’m afraid I have to register my biggest complaint about this channel. Nowhere near enough videos, and way too long between them. Seriously, if you were to offer/supply pdfs of the musical examples straight from the video I’d wager you would get quite a few people giving you five bucks a month as patrons. And you have already created those for the videos…. Your videos are always looked forward to, thanks very much!
These videos are so impressive and helpful. I personally believe this style of pedagogy and teaching based on partimenti, thorough bass, faux-bourdon etc is the closest teaching now to those from conservatories 200+ years ago. This material is invaluable
Thank you, Richard! I appreciate that!
Among other reasons, like the educational and entertainment value, and general usefulness, irredeemable nerdism is a very important component that makes these videos so great.
haha, yo thanks Kresimir!
This was awesome! I love all your insights especially your reasoning for using 9ths on weak beats. This is not 18th century music after all! I've always loved what Schumann did with those 9ths. Bravo on your incredible skill and insights!
Thanks, Angela. Your so kind! Yeah, that dissonances: I was like going nuts about this topic just recently and checked a lot of baroque examples and found out - and it was actually kinda surprising - that it happens very seldomly, up to never, that in a piece that's in 2/4 or 4/4 the standard suspensions 2, 4, 7, 9 fall on a weak part of the bar - even not when the overall rhythmic shape is a stream of 16ths and the 8th positions become "relative strong beats". I was really checking this kinda systematically and found just very few examples that derive from that: the 7ths I found where in nearly all cases dominant 7ths, not supended 7ths, so that's obviously a different case then. And I'm talking about 18th century music, not romantic... I'd say that it's typicall to find stuff like that in Schumann and I bet one wouldn't find sth like this in a Chopin piece as he was more thoroghly trained in basic counterpoint and especially young Schumann just came up with... what he liked - be it based on theoretical foundations or not :DD love this guy!
Thank you, Angela! :D
Great video, as always! I think in the Schumann piece the way he uses that sequence perfectly expresses the drowsy moment when you’re falling asleep. You can really imagine this happening in the Schumann household: the father is the tenor, and he makes the child sing canonic imitation until they suddenly fall asleep (I think that’s why it ends like that)
@@McKayJustin 100 percent agree!
@@McKayJustin That's a wonderful image Justin!
You have such a good channel, it's such a shame that you are not know!! You deserve more than this!!!! Vraiment, BRAVO!!
This channel is gold ⚜️
Your videos are amazing. I love the added video editing/humour. I translate this over to guitar as best I can, mostly with 2-3 simultaneous notes in total. Having a structure to improvise over is very helpful, especially the bass notes, a given chord progression and then adding a melody to improvise. The only thing I'd ask for is some notated examples (possibly in the video as it is played) of various short performances that combine various models for different approaches/styles/time sigs.
Awesome! Just discovered your channel. I have an MA in Jazz from the Royal Welsh College of Music and Drama and have been an improvising musician all my career but only discovered Partimento a year ago. I was looking for ways to take that knowledge of the Galant schemata and apply it to other styles and here you are with just what I was looking for! Thank you so much 🎹😀
You should write down an improvisation book!😎
lol, not a fan of improv books, although there is actually one that is quite good: "Compendium Improvisation" by Schwenkreis (Hg.).
@@en-blanc-et-noir OK, I will check it out! Thanks. 😎
@@en-blanc-et-noir do you recommend any English improvisation books 😮?
Amazing video, again - and funny! 🥰
Thanks, Borna! Love ya channel, too!
a very underrated vid
Wow it’s so interesting to watch!! If you ever do a series on the fundamentals for noobs, I’ll gladly take the pop corn out!!
this is absolutely mind blowing.
Proper compositional technique is a new world when you're used to the garbage you get from modern conservatories hey
even more so when i have never had any conservatory training and didn't even realize people can do things like this on the fly haha @@Zimzamzoom95
Very nice!
thank you, Ivar!
I will second those comments, if you put many of the things you did and know together to create like an exercise book for creative inspiration to create pieces from models and practice improvising, it would be well worth buying
Indeed that is an amazing idea, I know I would buy it!
I love your work!! It's really helped with my journey to learning to improvise in a romantic manner. I started learning the Schumann piece you featured because of the lament bass that follows in the opener in the first section and I never realised the ending was the circle of fifths. Again love your work and will definitely practice preluding using your advice thank you !!
:DD
Awesome videos.
Forgot to say, check the Schumann Morning Songs #1 for some parts that sound like that level 3 sequence with the added 9ths you did. In his case he has 2nds move in parallel. I don't have any time to compare similarity rn but it sounds like there's something similar about it.
Epic piece😱 Already a few years ago I pinned it above my desk. Defo among my top 5 single pagers. Yeah, that sequence is spectacularly crunchy and especially that parallel seconds. I‘d say this is some sort of staggered circle of fiths as well…
@En blanc et noir yes it is such a beautiful and satisfying piece I can't even be sure why, but it is as if much more is contained within such a short span. I should probably learn it and analyze the structure and then why he voiced things as they are. Schumann has such a good balance of strict and loose ideas it's fun.
Please do some stuff on the style of Prokofiev’s piano sonata’s
Please make a a Patreon so I can throw money at this 🎉
I need more
😂 ok then
Michael do you have a course on theory and composition? If you have id buy it.
apart from what‘s available on my patreon I do private lessons…
If I subscribe on Patreon, will I get billed for everything (or the first n items per month) that you publish, whether I want those or not? I am happy to pay for items that interest me, but not for random things as they appear. Is that what happens?
❤❤
Wow
I’m afraid I have to register my biggest complaint about this channel.
Nowhere near enough videos, and way too long between them.
Seriously, if you were to offer/supply pdfs of the musical examples straight from the video I’d wager you would get quite a few people giving you five bucks a month as patrons. And you have already created those for the videos….
Your videos are always looked forward to, thanks very much!
Yes, I will be a patron!
Got it on the list!
I’ve watched a couple of your videos, and I love them already. However, after watching them, I hate the idea of me going back to the piano myself. :/
Sounds like brahms with a hint of chopin
How romantic😉