Excelent video, Maestro... just explain me about that exemple of hermaphrodite fonte on 5:30.... the second part just changes A for Ab, while the E remains the same; i.e. only the second tetrachord of the scale is minor (alteration in the 6th degree), but the most important part (the 3rd degree) remains unchanged... could i turn the E into Eb in order to close in a real minor mode?
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Heinichen calls this "Verwechselung der Auflösung" (such a nice, easy to remember name :D ). The dissonance is not unresolved, it is resolved, but the note of resolution is in another voice, here in the soprano. It would have been a mistake if there was no A anywhere following this dissonance, but since it is such a prominent note in the soprano, it is satisfactory as a dissonance resolution. So now, the voice with the dissonance (tenor here) is liberated to jump to some other consonance (the third, here). Outer voices are stronger than inner voices, so this "Verwechselung der Auflösung" more often happens when the dissonance is in an inner voice, and the note of resolution in an outer voice, but all combinations are okay.
Read Fuchs, do lots of exercises, develop a repertoire of ways to deal with the common problems in writing counterpoint, repeat till mastery. simple as.
So, if you want a simple answer, you can listen to our friend @axeman2638 who says the truth but without considering many aspects. 1) Questions about the past: - What is your starting point? - Have you ever studied harmony? If so, what? - Have you ever done counterpoint? If so, what? 2) Questions about the future: - What do you want to achieve? - Do you want to understand the Baroque compositional style that you can then apply to compose various forms and pieces? - Or do you want to focus only on the fugue for a period? - Or are you interested in learning how to write a Suite? P.S.: If you want to learn how to compose a suite or a fugue, it's clear that you must already know the Baroque language (therefore partimento, harmony, and counterpoint). 3) Questions about the present: - How much time do you have to study each day? - Do you want to achieve a result in a few months by studying 5 hours a day? - Do you want to achieve a result in a few years by studying only 1 hour a day? Only when you have done an analysis of this type is it possible to map out a sensible path. Otherwise, you risk embarking on a path (even TPM) that is not the one you need based on your past, present, and what you want to achieve!
You are a good exemple to how classical musician also can use marketing, to produce good content and to sell your work honestly in the internet! Congrats! Its a shame that the most classical musicians live in the caves yet, compared to the others musical niches.
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Weather seems to be hot in Italy right now! What do you think about the idea that when there is a "da capo", the second time you play a thing should be more ornamented (if that is a word) ? Also it seems that back in the baroque period people were prone to use ornaments more generously than we dare today… Some composers were actually complaining about it! (I think François Couperin for one)
Hi Francois! Yeah! It's very very very hot! Never say the same thing twice the same way! The second time say something different! The second time say something different! or better... The second time say something different! The second time say something more interesting! :-)
Thanks Richardus. A great influence on Bach, this man. You're moving in a very important direction. I was thinking last night of the revolutionary stuff that was going on within Byrd's mind as his music was finding that the modal universe was limiting his music. You have been, are being, a great influence on me as together, it seems we are on the voyage of getting into that late Renaissance mind. Its a fascinating area. Always I am learning now, largely thanks to your help. Sometimes I don't agree with you, but I always learn from you. In the past month my hearing has, as you know learnt to focus on the importance of contrary motion, but even this morning, listening to Handel, I began to think horizontal, & in one particular piece was able to isolate all the leaps of a 7th that are so easy to miss. Thank you Richardus. Sean
Yes, David, I have precise and educational musical subjects through which I teach how to improvise fugues by studying the way a melody has its precise and specific harmonic implications. This study, combined with the study of composition using The Partimento Method, is very powerful because it allows you to develop neural connections between what you read (the melody of the subject), what you play (muscle memory), and what you imagine (the inner ear, what you visualize). If you want to learn some of these techniques, you can choose some training sessions from the Baroque course, which includes an entire area dedicated to the fugue! Just check here: www.bit.ly/mus-app
Have been learning music, I found descending melodic minor with a major 6th in this piece (in the fourth measure). Am I right about it? and cound you explain a bit about it?
thank you, I compose a couple fugues already and I was thinking about how to do 4 voice fugue instead of only 3. This will be very helpful, thank you Richardus!
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Beautiful videos ! I love them! concise and to the point! Bravo maestro! I don't understand why pronounce the german notes (ABCDEFG) together with the latin notes (ut, re, mi, fa, sol, la, si derived from the "Hymnus in Ioannem"). I also don't understand why you use for the higher tetrachord german letters (G, A, B, C) but repeat the latin letters (ut, re, la, mi). Is this a solfeggio technique? Grazie molto maestro!!!
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Hi Richardus!! Thank you for all the videos you do. I have a question regarding articulation and phrasing: do you believe that overlegato is an articulation that existed in ancient music? I read some treatises that say that if you have a slur over an arpegio you can do it. But... Is "correct" to do that between dissonant notes like ut, re, mi, fa all slurred? Maybe it was common practice to maintain ressonance but nobody tells something like that, and even Rameau says that the techniques he teaches in a treatise about playing harpsichord are valid also for organ (and I do not think that playing overlegato in organ is correct in dissonant voices). What do you think? I play harpsichord, but there are many opinions about that. It is right that it is like pedalling in piano and sounds more compact and resonating. Thank you and have a nice day. God bless you!
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