When Bach "pulled out all the stops", he ended up with the opening of the St. Matthew Passion, in which he had 2 duelling choirs singing different melodies entirely, and then brings in this chorale melody "O Lamm Gottes Unschuldig" on top of the writhing sea of counterpoint, using a further choir, of boy's voices, singing clearly out over the top. And yes, a lot of rhythmic interest in that one also.
Thank you for continuing this series, I think there are not many things we can do as musicians which are as valuable as studying Bach. The amazing thing about this piece is the opening couple of bars are practically Twinkle Twinkle Little Star, but as you point out he takes this incredibly basic given melody and transforms it into stunningly beautiful music without compromising the original melody at all.
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Just saw this video and how you can so clearly and memorably show us what happens in the mus8c to create the sound. I think the first time I really felt the power of the multiple suspensions was in hearing Bach's Passacaglia and fugue in c Minor- near the end of the fugue when the soprano and alto descend a kind of ladder of suspensions. I was about 12 at the time and I just had to ind out how he nade that sound happen. Thank you for dredging up that memory with your forbidden dietary aside. I'm still smiling.
I've been practicing your sequences you highlighted iin a recent video, and noticed with the Jupiter there is a V7 4/2. I'm learning the voice leading, and would like to thank you for helping all of your students. You are a masterful teacher, even without the chocolate.
I really enjoyed and just finished and good chocolate bite when you mentioned it😆much thanks! It's a great lesson! I always love learning music! Cheers ✨🕊️🎻
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Thanks again Gareth for this whole series. I've been a huge JS Bach fan since childhood, but only recently have developed enough music theory to follow your analysis. It really illuminates the things that I've always loved about Bach, and it's amazingly fulfilling to finally understand them.
I love this series mining the riches of Bach. It's a deliberate and painstaking effort for me to find ways of creating harmonic and rhythmic interest in rather plain melodies, but for Bach it seems to be part of his way of musical thinking. Of course, having to crank out massive amounts of music each week probably helped him internalize approaches and techniques at which tyros like me can only wonder.
Gorgeous. Some of those harmonies are very modern sounding. In the fourth bar, for example, the D serves as both a passing note to the C and an extension in the resulting chord. In other words a C add 9
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Once again, a delightful dessert at the end of a chilly day. Bach, in a paltry four measures, shows us (mere mortals) how a master can take a block of stone and carve it into a pieta.
I'm allergic to chocolate, but I still enjoyed your analogy. :) Another wonderful analysis, thank you. You've given me a much greater appreciation for Bach's genius.
1always played predominately modal (irish & english) music, but LONGED for that bach flavoring which i perceived as endless modulation. my ear never developed to those brilliant tensions and subtleties that you manage to spell out for me. maybe next life i'll work on those. thanks!
Thank you for this series. I've gotten into the habit, with thanks to you, of playing Bach's 4 Part Chorales as the first musical thing I do on my piano each day. I use the newer Charles Sanford Terry edition for the larger print. Which do you use?
Sir, I have been following your lessons for a couple of months. The way you explain music theory is so beautiful. Please take care of your health, I've noticed a sudden drop in your body fat percentage. I'm a little worried. Love from India
Thank you so much for all the work you put into your videos! I wonder if you got all your knowledge mainly from books, a friend/teacher or your own analysis.
Your videos are all incredibly helpful! Would you be interested in making a video in either this or the composers insight series regarding the way that Bach composed solo violin/cello suites? (I'd love to see your insight on some of the chamber music by Shostakovich too, but I get the impression that his music is not your cup of tea!)
There's a 9-8 suspension in the first bar, isn't there? In the tenor, C to B-flat, resolving at the same moment as the 4-3 suspension in the alto. Right?
Another wonderful lesson. I am an intermediate level pianist and have not played Bach chorales before. I suppose it is ok to play a tenor note with the thumb of the right hand when there is a large gap between the bass and tenor like in the cadence at the end of the second phrase?
You didn't mention that the E flat-D suspension in the alto of the first full bar is accompanied by a C-B flat suspension in the tenor, giving a double suspension.
@@MusicMattersGB I'd love to understand why you think that 🤔. They aren't immortalised ear-worms and the rules are so constraining, you wind up with hymns and Christmas Songs that sound almost identical, which is why I think composers evolved.
They are absolutely beautiful pieces of work with rich harmony making highly skilled use of inessential notes and suspensions offering a basis on which so much future writing evolved.
I used to sing alto, now soprano… I miss singing alto especially when we sing Bach because it is just so intricate and beautiful. It brings me joy even (or especially) when it is so difficult and I hear all the other parts moving around me. Thank you for this. I wish I could play the piano.
