I love this channel, one of the things stopping me from learning classical theory is that it doesn't have easily accessible theory channels (like 8-bit music theory for video game music and like Charles Cornell for Jazz). But having this has rlly inspired me to learn! Your channel is a gift
This is pure Gold! Even though I am a Patreon supporter of yours, for the price of a cup of coffee or two, I feel you go above and beyond other musicians’ tutorials to give us such riches! This was so well done, easy to follow, great visuals to show the chords and the funny visuals, especially the cat, made me laugh out loud!
I learn a lot from this! Got my nylon guitar out and proceeded. Also you're funny! Chopin is the greatest and like all the greats (pianists) I have a challenge translating it to the guitar so this video helps a lot for me.
I hope you know how illegally wrong it is that you don't have more subscribers. You deliver such good quality, and I am of that believe, that so many people would benefit from your channel
Thanks a lot, appreciated :D I'm actually happy with how it is. With more pupularity comes the snobs and smartasses, I'm not missing them and I already had some encounters of the third kind, you can believe me.
Thank you a lot for this video! Your videos are really just great!!!❤😊 Could you pleasd do a video around the harmonic style of late romantic/impressionist compositions?
I was waiting for that video! This is one of my favorite sounds! I noticed you used that brilliant I -> III chromatic mediant modulation in some of your improvisations a couple videos back, and I had started drafting a blog post on it on the library of sonorities, and this video will be a great addition to it! PS: I have sent you an email about it, not sure if you've received it :)
good boy… I guess how you sound depends mostly on how much labour you put into that. Nobody becomes an improviser/composer just from watching YT videos😂😂
Thank you for the awsome video!😊❤ Could you do a video about the harmonic style of middle (Fantasy Op. 28) and late (Sonatas 7-10) Scrjabin? I would be very grateful. And I think that I would not be the only one intrested in that.
This is awesome Michael 👏 wirklich beeindruckend! I really enjoyed the improv/composition you played twice. I'm gonna steal some figurations. Funnily enough after all those adventurous augmented 6ths, the figuration that jumped out at me was the classic 5-1 at 11:03 which sounded like a little breath of fresh air. But I'm going to force myself to try out some of your German 6 modulations!
So much to say on your video (I'm rewatching). As I'm studying early Romantic, this borrowing of the Augmented 6th chord to cadence in a major key was actually a really common move. Chopin just pushed it one step further by using it as a modulator. I love making these connections between the how things progressively evolved. Ok I'll stop commenting now😅 ☺️😀 thanks again!
Common move! And it was already used as a modulator: check slow mvt. of Beethoven's 5th. It's a variation set and the theme modulates from Ab to C by using an aug6th chord that's resolving into exactly this kind of "grandiose" cadential 6/4 like in the video and if I remember it correctly this move reappears in all of the variations. It's a super cool movement, as always: Beethoven has the upper hand... I'm pretty sure there is more classical examples, let alone examples from the "brilliant style" period...
fascinating concept. im bad at theory so could you please explain these in a little bit more depth :( i would appreciate it!! like what is a german 6th and you have so many concepts within your playing but if you could break it down a little bit more i would so much appreciate it
sehr spannend wir immer! was ich mich schon öfter gefragt habe: hast du mal die Chopin 25/12 Etüde gespielt? seit ich die nämlich selbst mal gespielt hab liegt mir diese figurierung so gut in der hand dass es schwierig ist sie nicht zu oft zu benutzen! und bei dir kommt sie ja auch des öfteren :)
Lob vom Enthusiasten geht runter wie Öl :D Ich hab mich schon ein bisschen mit dieser Etüde beschäftigt, ja. Ich finde auch, dass sie gut liegt und das ist jetzt sozusagen für mich der Hinweis, mit dieser Figur evtl. mal kürzer zu treten. Schade eigentlich haha, man kann damit so schön auf low effort bissle Alarm machen.
there is a set of so called lost works by Chopin, where just small fragments of those pieces have survived. I would love a video where you would try to complete one of them.
Thanks man! That sounds like a cool idea. I wonder where I'd find those. I know similar sketches by Liszt, there are actually quite a lot. One guy digitalized them all an put them on ismlp.
@@en-blanc-et-noir there is a video on RU-vid called „10 lost Chopin works and pieces“, alternatively you can find them in Piano Library if you search for „Incipits of lost works(frederic Chopin)“
yeah haha, it's the font - tbh I'm not so much of a Roman Numerals guy, I find them somewhat superfluous, unnessecary , I do it more like for the crowd lol... anybody watching that vid seeing a VI in a major key context should know it's a minor chord anyway. So: no particular reason, just the font.
@@en-blanc-et-noir yes, in general anyone trying to understand this _should_ know that, that's for sure... I was just wondering because in general when what I see and what I expect to see are not aligned it feels a bit weird :D And for what it's worth, I feel there's function to numerals because (as you know, just for conversations sake) it abstracts away the exact chord, it's voicing and the key and only cares about the relation of that chord. and when you talk about functions for chords, modulation and that stuff, it's very VERY helpful to take away everything that's not actually necessary. It also helps anyone who's not formally trained and might not have such a strong base that you have for theory. And often, just the knowledge that a concept exists, and here's the short compressed version of it, is enough for many to realize they might want to explore and understand it more. :)
Well, sometimes it is actually good and reasonable to abstract to a high degree. Roman Numerals aren't bad at all - but often I witness some sort of "abuse". E.g. when I watch a random youtube analysis of Chopin's E Minor prelude and the whole thing is tagged with weird symbols, I just find this grotesque :DDD sometimes it just doesn't make any sense to apply this device and many people don't seem to reflect that as a fact. But when it's about V-I's - I'm all in hahah
Hättest du eine Buchempfehlung um bisschen in Musiktheorie reinzukommen (vorzugsweise auf deutsch)? Mir fehlen bisschen die Grundlagen um deine Videos 100% zu verstehen; Video ist aber wie immer Mega
Merci! Solide und gründlich: Harmonielehre Wiener Klassik von Wolfgang Budday. Für Barockmusik würde ich mir mal Derek Remes' Compendium der Modellsätze vornehmen, das müsstest du online finden. Das für mich wichtigste Buch war sicher Solfeggi, Bassi e Fughe von Holtmeier/Diergarten/Menke - ist allerdings nicht so richtig was für Greenhorns, das ist zwar als Lehrgang konzipiert aber eher ein Buch das eine Methodik entfaltet bzw. ein ganz bestimmtes Tonalitätskonzept darlegt. Vor allem die Textteile von Holtmeier sind ziemlich anspuchsvoll, da muss man selbst als völlig Eingefleischter manchmal schlucken... aber sicher das Beste und Umfassendste was zum Thema Barockkontrapunkt gegenwärtig zu bekommen ist.
Liszt does this in a less sophisticated manner, he just throws in the chords separated by a third and makes a huge crescendo, obviously with little to no bass voice leading to make it even more radical. I'm thinking of Hungarian rhapsody 12, for example.
good point! Wouldn't say "less sophisticated" though, he surely sometimes is a little more twisted but usually there is "reason" in the voiceleading. Liszt is a little underestimated in comparison to Chopin, I guess the difference is just that he published a lot more / was less self critical towards his own output than Chopin and that's why it may seem like as if there is lesser high quality pieces, but that ain't the case IMO. I think he is just as great. I'm gonna check the Rhapsody, thx!
@@en-blanc-et-noir I hope that my comment didn't come across as hating Liszt! I love his music. The passage I'm referring to in the rhapsody is before the climax ending, where he pairs up mediant chords on the right hand along with a very typical lisztian chromatic octave run in the left. I'm also thinking of the ending of "Les preludes" But, in the case of Chopin, as I'm seeing in your video, he makes the effort of introducing chords between the mediants, such as dominants or augmented 6ths in order for it to make """more sense"""
lol no hate haha, I didn‘t understand it as hate. It is a reasonable observation. Yeah you are right: Liszt does progress through chromatic mediants just for the sheer sound, another good example is the final bars of un sospiro. BUT there is examples where he modulates very elegant through chromatic mediants - ‚with chords in between‘. ✌️
@@xrrainx823 is this your one size fits all book for (I'm guessing) a romantic style of harmony? Please send as many of these on as you know of I've been trying to find books like this for a while now
haha I'd say the basic harmonic procedures described in the video (e.g. reframing a D7 as Ger6+) are pretty much "off the shelf" and you should find it in any theory book that you can order at Temu (lol) ...what's usually missing in all that books is the strategies on how to actually stage an eventful harmonic situation - you probably noticed that it's not entirely "just about the chords". And that's one of the reasons why I do these videos.
@@dyoneffcennedie2939 My main source is my ear, and how much listening and imitating it has done my entire life. Music is a language, and much like a language I believe it must be learned by imitation and ‘mouthing’ its words so to speak. Theory/harmony books just tell me how to use the ‘words’ I already know and what their ‘dictionary’ meanings are. (They are essential though, mouthing words only takes you so far). That being said, there are so many of them. Even Tchaikovsky wrote one! Look for treatises. Back in our favorite composers’ days, treatises were where all that information was. One that Chopin himself read was Cherubini’s treatise on counterpoint and fugue. There is also Fux’s Gradus Ad Parnassum which Mozart himself learned from. There’s very very many of them. However yes, that book contains almost all of Romantic era harmony and harmony in general. I like it because Prout takes the time to explain WHY things are the way they are instead of forcing you to memorize abstract concepts just because he says they’re important. He tells you the significance and lets you cement their importance in your own mind. However, like Mr Koch said in this thread, those books only give you the tools and tell you what they are used for but do not give you the experience of using them. You have to learn how to take them and sculpt a masterpiece on your own!
@@dyoneffcennedie2939 There is also a useful course on Coursera called ‘Write Like Mozart: An Introduction to Classical Music Composition’. The commentary can be a little dry but he explains harmony and etc of classical era composition in a clear manner. Learning classical harmony is essential to learning romantic harmony. Classical harmony is what romantic composers learned and then bent to be ‘romantic’. If you want to sound like them, do the same thing!
LOL I think I got one! Have you ever checked out Valentini's Sonata à 5? 1st mvt. echoes between G minor and B minor. There is at least one recording on YT, you'll find it.
Месяц назад
@@en-blanc-et-noir Haven't heard of it, but after looking it up... That piece is absolutely nuts! I love it! And yes, now it's the first one on my list of chromatic mediants in Baroque. And it's such an early piece, Valentini was Monteverdi's contemporary. Fantastic stuff. Thanks!
And by the way, there is a Corellian practice that reoccurs frequently: half cadence in minor key and after that coming up with the relative major right away (E.g. g minor: D major-Bb major). I guess this is as well - at least a bit - about the sheer color, innit?
Месяц назад
@@en-blanc-et-noirGoing even further, one could say that in Brandenburg Concerto No. 3 between the second movement (which ends with a half cadence on a B major chord) and the third movement (which begins with a G major chord) is an example of a chromatic mediant. But I think that is pushing it a bit. 🤣
