EN BLANC ET NOIR is about piano improvisation and composition in BAROQUE, CLASSICAL and ROMANTIC styles and especially on PARTIMENTO practice and methods. On my channel you’ll find a mixture of TUTORIALS, VIDEO ESSAYS and PERFORMANCES related to those topics. My name is Michael Koch and I’m a music theory and eartraining/listening lecturer at Musikhochschule Detmold, Germany. I do as well private lessons in GERMAN and ENGLISH in time zones all over the world. I provide a professional training based on up-to-date-scholarship, inovative methodolgy and reflected, sensitive pedagogical considerations. My teaching includes a constant supply of instructive materials, exercises and Partimenti.
You can reach me out on: Michaelkoch1@hotmail.de
My page on academia.edu folkwang-hochschule.academia.edu/MichaelKoch
Ich hätte da noch eine Käpt'nsquestion zum Refrain von "Wir sind die Champignons": ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-tTYJryNgLH8.html auf dem letzten Ton von "on and on..." des Prechorus wird die Domina um einen Ganzton nach oben verschoben und die Tonart damit "aufgefrischt". Refrain dann einen Ganzton höher als die Strophe. Kennst Du dafür Vorbilder aus der Klassik? Freddy hat sich ja gern bedient...
haha, nene das strictly pop... ich meine: so ein Move ergibt ja eigentlich nur Sinn, wenn's einen Refrain gibt auf den hin man man eine bestimmte harmonische Erwartung hat, die dann hintenraus übertroffen werden soll, oder? In klassischer Musik gibts eig wenig Musik mit Refrains... folglich keinen Ganztonshift....
@@en-blanc-et-noir Ja, dachte ich auch schon. Romantisches Lied vielleicht... Aber auch im Pop ist mir keine Parallelstelle bekannt. Nur die Rückung am Ende, wenn sich der Krempel ständig wiederholt. Aber das ist was ganz anderes. Finde die Stelle schon ziemlich genial. 😇
Hey great video, I want to subscribe to your patreon but it says "per werk", does this mean that I will be automatically billed for every new video ? Do i have access to previous content ? Thank you for your work
Hello and thanks, I guess you'll have access to previous content. Usually I post one monetized post per month, so it basically works like a monthly subscription... I post not just video-related materials but other stuff every now and then...
haha how's that derived from the dies irae? That bass line 3 down / 2 up is a common thing to go for, actually one of the most significant sequential basses of them all. So to answer is: no, it doesn't need the dies irae. It is actually not even derived from sth, it's just a common default kind of thing
They say first impressions count and it's soooo true. This is the first I've seen of your channel and I'm excited. Subscribed and exploring. Thank you.
I found this channel just a few days ago - I'm absolutely hooked! It's a great gift to all young musicians who, like me, know the basics and want to start composing and improvising at a more complex level. Thank you again and again, and please don't ever stop posting! ❤
lol I composed those by myself... otherwise I usually put forward the original composer :D if you want to know more about those, check ot my recent video: "how Chopin approaches a harmonic climax"
Sagt Dir eigentlich der "common tone diminished" was? M.W. gibt es für den Begriff im Deutschen keine Entsprechung. Deshalb wird dieser Akkord bzw. dessen Töne in deutschen Analysen gern als "Vorhalt" oder "Nebennote" verunglimpft. Kommt oft in der Romantik vor.
Oh Käptn, mein Käptn :DDD ja sichi kenn ich den Begriff, finde ich auch gut. Wenn ich es recht erinnere hat Diether de la Motte in seiner Harmnoielehre auch ein paar Beispiele, ich weiß aber nicht mehr wie er den nennt... ich denke mal der Klang hat ihm aufgrund seiner eher funktionalen Perspektive Schwierigkeiten gemacht. Vermutlich erklärt er ihn trotzdem als Klang der aus chromatischen Nebennoten resultiert, alles andere ist ja auch Schnulli. Kommt oft vor, logo...
now that you pointed it out, i see it. i never really noticed how strange and even dissonant bach's music is compared to his contemporaries. i thought i liked baroque but maybe i just like bach. i like him even more now.
Actually that's why I provided the figured bass line.. If you realize it in 4 voices you have all you need. Just in case you're asking for a Roman Numerals analyisis: IMO it makes no sense to lable a sequence with Roman Numerals because the mechanism is pretty much described through the bass line in combination with the given intervalls above. Isn't it?
Liadov, how you come to Liadov? I think early Scriabin owes him more then he ever would have admitted to... Those guys actually use a a less common inversion of the Ger6+ chord where it "sits" on the 4# which I guess makes it a diminished 6/5 chord.
I just love your video and analysis, the baroque era was far more selfless and into the science of music. Your grasp of this skill acquired by observation is incredible, very beautiful improvised fugues, sincere congratulations.
@anled.composition :D haha, I think I listened to / watched some of your pieces (among them a pretty Mazurka) while ago and found them to be very solid :D Thanks for subscribing!
