You have literally saved an entire 20th Century Music class studying at the Australian Institute of Music from failing a harmonic analysis assignment. Bless, and thankyou. Thankyou so very much.
but... assignments are for studying... if you just copy that you won't learn anything... I pity you if you live like that. anyway this video is great for correcting yourself or adding to your knowledge but if it makes you stop learning, thats sad
I've always loved this prelude. Knowing the harmonic guts in no way diminishes its greatness. A Frank Sinatra anecdote is relevant. Johnny Carson remarked during an interview with him that many people put on Sinatra recordings to set a romantic mood at home. Carson asked Sinatra, "What music do *you* listen to in these moments?" After a brief set of laughter from the audience died down, Sinatra replied, "The Sunken Cathedral, Daphnes et Chloe... stuff like that." it's true!
I have a question for the bass C's on m.28 onward: Should you play those coll'ottava (in octaves)? I have been playing like that for months but my piano teacher says to just play the bass C.
"A divergence from the German school - the German school emphasises form and structure and is rooted in diatonic harmony" - And yet what we have here is a very German School analysis!!!
David, Debussy, Ravel, Erik Satie and many other composers from Impressionist era in classical music gave 95% of harmonies, theories and musical forms that are use in popular music today especially in jazz.
^^^ This may not be politically correct, but it's quite true -- French impressionism laid the groundwork for jazz, to the extent that what we call "jazz harmonies" are overwhelmingly adapted from impressionist (and late romantic) practice.
@@PhilipDaniel That's not quite so simple, as those composers were themselves influenced by early jazz. Debussy incorporated ragtime influences in some of his pieces such as Golliwogg's cakewalk.
0:52 by bar 5 he establishes two tonal centers E and G, via a Em7, but the quality is different from a minor chord, because the harmonics of each of E and G are voiced distinctly and separately, unlike in a minor chord where only E gets its fifth, or even the implied but in itself too ambiguous Em7 (any note could be a tonal center there). The trick here is he separates the harmonics by distancing them in bass and treble. 2:30 m.23, the 4th and 6th chord are interesting: in both he establishes two tonal centers a fifth apart, F and C, which would usually be heard as one root, C. At first he does it by putting an octave C in the bass, too strong and far away from the F major chord in the melody not to be distinct. Then he muddies it by adding a third tonal center, D, on that massive chord, but at the same time emphasizes C and F in the bass giving each their fifth. Ravel and Debussy are giving us dual tonal centers in intervals that we never heard as dual centers before (major third, fourth/fifth, fully dual minor chord), by engineering distinction with supporting fifths and bass/treble separation.
Helpful analysis, but this performance is based on a faulty edition - although the fault lies with Debussy. The tempo should be twice as fast in two places: bars 7-12 (1:12-1:36 in this performance) and bars 22-83 (2:16-5:53). Debussy forgot to notate this, and we only know of the blunder because he made a piano roll with the correct proportions. All early recordings have the correct proportions, but as pianists who had heard Debussy died out, the (faulty) notation began to predominate. The correct proportions make a big difference. The piece should sound like it's taking off in bar 22, not stepping into molasses.
Mark Armest - Thank you! I went to hear the piano roll Debussy made and that's true. Also in this performance the player plays the final three measures with ritardando (which I'll grant as artistic license), but then it feels as if the final note is arriving on the downbeat of the following measure instead of being the third beat within it's own measure. I prefer the way Debussy's piano roll sounds.
The section described as using parallel chords from c major to me very much suggests d dorian. To me it seems the parallel movement tends to draw the ear to modality more so than tonality.
+Seth Rabin Diatonic nevertheless. However, I am confused by your sense of how D dorian was suggested as C was always the bass note. Diatonic parallel planing of triads can be manipulated into a mode, but as soon as it hits that 7th chord being a half diminished it begs tonality. Debussy purposely avoids it by instead playing the parallel triads through a pentatonic pattern. I still am arguing about myself about modality and tonality. It seems that modality can create some sort of tension wanting to lead back to tonality such as the classic debate of if it's iim7-V7 (a ii V that never resolves) or im7-IV7 (a progression in dorian) like in songs of Oye Como Va, Chameleon, or etc. I personally hear this tension wanting to lead back to tonality, but is acceptable since it repeats, builds up, grooves, creating excitement, begs to continue since it never resolves and such. As some purely hear it as without any tension, and I don't know how they hear it so. It creates a lot of debate in me wanting to search out for the answers that can truly satisfy me. Anyway to each their own I suppose. I still argue it as a repeating iim7 going to V7 unresolving. I suppose one can even write it as Vm7 going to I7 in Mixolydian, but then I find that complicates everything for no reason. I have reasons to dislike the way how people view modes as this modality that can be applied anywhere ignoring that these changes actually derive from tonality. The only chord progression that confirms the mode of dorian is how Miles Davis did it, from iiim7 to iim7 in parallel form. Mixolydian can be a bit confusing since the I7 can actually be the I with flatened 7th in the major key as that's how the blues work. I7 > IV7 and V7 to I7. Still as tonal as ever, but one does need to or can play mixolydian scale (or various alternatives), but it just doesn't confirm it as being in the mode of mixolydian. I strongly feel modal music needs few (2 or 3) to none chord changes (that changing the bass note) to be called modal music, and that as well depends on the changes themselves. I'm saying that if there is a drone, or the same note being pedaled throughout the piece, then it's automatically modal. If there's one note being pedaled for various measures to modulate or move diatonically to another note that'll get pedaled for various measures, then that's modal. If the pedaled note stays the same, but the modes change over the pedaled note, then that's modal. If there are chord changes with the bass note altering, in my opinion, it's automatically tonal; however, one can add some modal flavors harmonically in a tonal piece by entering measures with a pedaled note, but overall tonality naturally dominates making it a tonal piece with modal qualities. I'm rambling mostly to myself btw. Trying to make things clear to myself, for I am still questioning my views. Feel free to criticize.
+LinkBulletBill That was very informative. Thanks for the reply. To be honest, I did not pay attention to the C bass note when I made this comment (I know, I'm learning lol). What I was mostly going off of was the unique sound that did not, to me, sound like C Major. As you said, the presence of a drone implies modality. Perhaps what I am hearing is actually a break into the Ionian mode? The pedaled C note coupled with the parallel changes certainly creates a different feeling from the typical C Major. Maybe what I am hearing falls under the category of the pedaled note staying the same, but the modes changing. The specific moment that sounds dorian to me is the V,IV,iii,ii phrase. So could this be considered a dorian change over the Ionian mode? Thanks for laying it out! You explained your thinking very clearly. I am very interested in the Ionian mode actually, as I think it is somewhat overlooked relatively often, as it tends to be labeled as Tonal C Major.
1:12 It looks to me more that the two part writing are shared between the repeating E, and a melody in C sharp minor (or even better C sharp kumoi pentatonic scale) than repeating E and E major scale.
Also I think it would be better to say that from 1:49 the music is mainly pentatonic, first in B and after in E flat, than "B major or E flat major" (there are no D sharps or E in the "B major section", and A flats or D in the "E flat major" section)
This work penetrates God,s territory . The overwhelming terribleness of the performance of the start of this work is great . After all Debussy is a genius . 🍎
Very interesting for trying to compose my own organ music... hard to be original... it’s funny that Debussy writes almost all in whole notes and half notes and he just randomly uses planing 😂 lol
You have literally saved an entire 20th Century Music class studying at the Australian Institute of Music from failing a harmonic analysis assignment.
Bless, and thankyou. Thankyou so very much.
Ha ha! It is my pleasure!
Ah...cheating...it never ends, no matter the generation.
@@HelloooThere it's called studying
@@chadchan1316 studying how to cheat ;-)
but... assignments are for studying... if you just copy that you won't learn anything... I pity you if you live like that.
anyway this video is great for correcting yourself or adding to your knowledge but if it makes you stop learning, thats sad
I've always loved this prelude. Knowing the harmonic guts in no way diminishes its greatness.
A Frank Sinatra anecdote is relevant. Johnny Carson remarked during an interview with him that many people put on Sinatra recordings to set a romantic mood at home. Carson asked Sinatra, "What music do *you* listen to in these moments?"
After a brief set of laughter from the audience died down, Sinatra replied, "The Sunken Cathedral, Daphnes et Chloe... stuff like that."
it's true!
I have watched this at least 4 times now (and taken notes), and I’m sure that number will continue to grow. A million thanks!
This was really REALLY helpful, me and aaaall students of armony of the 20th century thanks to you!!!!!!!
I am glad I have found this. The combination of score and explanations is an excellent way of explaining harmonic structures. Thanks!
Thanks! Love seeing the nuts and bolts of how it all works.
More of these PLEASE!! Love these~
seems so simple with your superb and concise explanations. extremely helpful.
This is very well put together! Wonderful recording.
Please do more of these there brilliant.
Wonderful - seems so simple with your superb and concise explanations. Thank you so much!
This is excellent.Please do more.Thank you.
Magnificent video and analysis. Thank you very much for this!
Thank-you very much to this excellent and profound performance from effulgent Tokyo in profound Japan 🍎
Would just like to say thanks this really helped me get through a uni assignment!
Great video and chord analysis.
I wish I would have known about this specific video when I was at music school studying this in theory class.
Thank you!!! It is a very helpful teaching tool.
Fantastic! I cannot wait for more!
Most helpful. At last those diminished 7ths have some logic to them!
Thank you for great analysation!! I'm a student of K.Arts and this saved my homework!! :)
XD
thank you!! this really helped me with my assignment
I have a question for the bass C's on m.28 onward: Should you play those coll'ottava (in octaves)? I have been playing like that for months but my piano teacher says to just play the bass C.
"A divergence from the German school - the German school emphasises form and structure and is rooted in diatonic harmony" - And yet what we have here is a very German School analysis!!!
"German school?" You mean "common practice?"
Is there a chance of you doing more videos like this? These are extremely helpful, intuitive and easy to understand.
What we can say of this piece in terms of form? It follows any of the traditional systems? Thanks!
By the way what a great channel!
David, Debussy, Ravel, Erik Satie and many other composers from Impressionist era in classical music gave 95% of harmonies, theories and musical forms that are use in popular music today especially in jazz.
True... popular/jazz also saw (sees) a lil' seeping in of music from the Romantic era as well
^^^ This may not be politically correct, but it's quite true -- French impressionism laid the groundwork for jazz, to the extent that what we call "jazz harmonies" are overwhelmingly adapted from impressionist (and late romantic) practice.
@@PhilipDaniel That's not quite so simple, as those composers were themselves influenced by early jazz. Debussy incorporated ragtime influences in some of his pieces such as Golliwogg's cakewalk.
VERY cool video!
0:52 by bar 5 he establishes two tonal centers E and G, via a Em7, but the quality is different from a minor chord, because the harmonics of each of E and G are voiced distinctly and separately, unlike in a minor chord where only E gets its fifth, or even the implied but in itself too ambiguous Em7 (any note could be a tonal center there). The trick here is he separates the harmonics by distancing them in bass and treble.
2:30 m.23, the 4th and 6th chord are interesting: in both he establishes two tonal centers a fifth apart, F and C, which would usually be heard as one root, C. At first he does it by putting an octave C in the bass, too strong and far away from the F major chord in the melody not to be distinct. Then he muddies it by adding a third tonal center, D, on that massive chord, but at the same time emphasizes C and F in the bass giving each their fifth.
Ravel and Debussy are giving us dual tonal centers in intervals that we never heard as dual centers before (major third, fourth/fifth, fully dual minor chord), by engineering distinction with supporting fifths and bass/treble separation.
This is awesome. Thank you!!
I think I hear some Tony Banks's work in this piece....those parallel chords.... Ballad Of Big from And Then There Were Three perhaps?
Thank you very much! Very helpful!
Helpful analysis, but this performance is based on a faulty edition - although the fault lies with Debussy. The tempo should be twice as fast in two places: bars 7-12 (1:12-1:36 in this performance) and bars 22-83 (2:16-5:53). Debussy forgot to notate this, and we only know of the blunder because he made a piano roll with the correct proportions. All early recordings have the correct proportions, but as pianists who had heard Debussy died out, the (faulty) notation began to predominate. The correct proportions make a big difference. The piece should sound like it's taking off in bar 22, not stepping into molasses.
That's very interesting!
Mark Armest - Thank you! I went to hear the piano roll Debussy made and that's true.
Also in this performance the player plays the final three measures with ritardando (which I'll grant as artistic license), but then it feels as if the final note is arriving on the downbeat of the following measure instead of being the third beat within it's own measure. I prefer the way Debussy's piano roll sounds.
Wow. This is really helpful!
This is GOLD. Thank you!
The section described as using parallel chords from c major to me very much suggests d dorian. To me it seems the parallel movement tends to draw the ear to modality more so than tonality.
+Seth Rabin Diatonic nevertheless. However, I am confused by your sense of how D dorian was suggested as C was always the bass note. Diatonic parallel planing of triads can be manipulated into a mode, but as soon as it hits that 7th chord being a half diminished it begs tonality. Debussy purposely avoids it by instead playing the parallel triads through a pentatonic pattern. I still am arguing about myself about modality and tonality. It seems that modality can create some sort of tension wanting to lead back to tonality such as the classic debate of if it's iim7-V7 (a ii V that never resolves) or im7-IV7 (a progression in dorian) like in songs of Oye Como Va, Chameleon, or etc. I personally hear this tension wanting to lead back to tonality, but is acceptable since it repeats, builds up, grooves, creating excitement, begs to continue since it never resolves and such. As some purely hear it as without any tension, and I don't know how they hear it so. It creates a lot of debate in me wanting to search out for the answers that can truly satisfy me. Anyway to each their own I suppose. I still argue it as a repeating iim7 going to V7 unresolving.
I suppose one can even write it as Vm7 going to I7 in Mixolydian, but then I find that complicates everything for no reason. I have reasons to dislike the way how people view modes as this modality that can be applied anywhere ignoring that these changes actually derive from tonality. The only chord progression that confirms the mode of dorian is how Miles Davis did it, from iiim7 to iim7 in parallel form. Mixolydian can be a bit confusing since the I7 can actually be the I with flatened 7th in the major key as that's how the blues work. I7 > IV7 and V7 to I7. Still as tonal as ever, but one does need to or can play mixolydian scale (or various alternatives), but it just doesn't confirm it as being in the mode of mixolydian.
I strongly feel modal music needs few (2 or 3) to none chord changes (that changing the bass note) to be called modal music, and that as well depends on the changes themselves. I'm saying that if there is a drone, or the same note being pedaled throughout the piece, then it's automatically modal. If there's one note being pedaled for various measures to modulate or move diatonically to another note that'll get pedaled for various measures, then that's modal. If the pedaled note stays the same, but the modes change over the pedaled note, then that's modal. If there are chord changes with the bass note altering, in my opinion, it's automatically tonal; however, one can add some modal flavors harmonically in a tonal piece by entering measures with a pedaled note, but overall tonality naturally dominates making it a tonal piece with modal qualities.
I'm rambling mostly to myself btw. Trying to make things clear to myself, for I am still questioning my views. Feel free to criticize.
+LinkBulletBill That was very informative. Thanks for the reply. To be honest, I did not pay attention to the C bass note when I made this comment (I know, I'm learning lol). What I was mostly going off of was the unique sound that did not, to me, sound like C Major. As you said, the presence of a drone implies modality. Perhaps what I am hearing is actually a break into the Ionian mode? The pedaled C note coupled with the parallel changes certainly creates a different feeling from the typical C Major. Maybe what I am hearing falls under the category of the pedaled note staying the same, but the modes changing. The specific moment that sounds dorian to me is the V,IV,iii,ii phrase. So could this be considered a dorian change over the Ionian mode? Thanks for laying it out! You explained your thinking very clearly. I am very interested in the Ionian mode actually, as I think it is somewhat overlooked relatively often, as it tends to be labeled as Tonal C Major.
Thank you so much for this! ^^
Cual sería el objetivo de poner un F en el bajo del 3er compas?
Fa en el bajo + acordes de Sol pentatónica = Sonido Fa lidio (enfatizas el Si, la 4ta aumentada de Fa)
1:12 It looks to me more that the two part writing are shared between the repeating E, and a melody in C sharp minor (or even better C sharp kumoi pentatonic scale) than repeating E and E major scale.
Also I think it would be better to say that from 1:49 the music is mainly pentatonic, first in B and after in E flat, than "B major or E flat major" (there are no D sharps or E in the "B major section", and A flats or D in the "E flat major" section)
extremely helpful!
Thank you greatly!
thank you!
Sweet Claude Debussy!
Thanks!!!
Awesome
GREAT!
Thanks!
thanks
Suena como el maikcra
Do you have any plans to do an analysis of the remaining works from Book 1 as well?
really helpful thanks :)
How many notes are in this piece?
This work penetrates God,s territory .
The overwhelming terribleness of the performance of the start of this work is great .
After all Debussy is a genius . 🍎
Buena!
y en español?
Very interesting for trying to compose my own organ music... hard to be original... it’s funny that Debussy writes almost all in whole notes and half notes and he just randomly uses planing 😂 lol
0:35
Debussy arrives...
😁🙏🏻
Thank you!