I was convinced it was Beethoven who really pioneered this kind of harmonic tomfoolery, but he was using Mozart as a launching off point once again. Fascinating stuff.
Absolutely. I just recalled the very famous Austrian conductor Karl Böhm viewing Mozart as a truly revolutionary composer, and he was fascinated with and even conducting Mozart's music all his life. Now I can see his point. It is the really revolutionary techniques used here make Mozart special and stand out.
Thanks so much for this! As a guitarist, (mostly Rock and Bluesy stuff, dabbling in Classical and Spanish styles), I really enjoyed adapting this lesson to the fretboard to expand my knowledge. I noticed immediately that a number of Pop Rock tunes were heavily inspired by this piece, (and probably many other pieces which were inspired by this piece).
Thank you so much! Just found your channel and I'm so delighted by your insights in this music as they go quite deep and, doing so, help out advanced students in musical analysis rather than giving just a few basic first steps. Thank you!
Nice to get these detailed insights from the masters. I think this would make a good series waking through a score focusing on a different compositional element for each composer (development/continuity Beethoven, harmony Bach, economy or form Mozart, Chromaticism Wagner etc). I liked your ‘inside the mind of Bach’ video on the subject too. Thank you.
We will do. 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.
@@MusicMattersGB yes hope you are well too. A music library will release my first album cinematic guitar, so all being well, will find its way on television in the future.
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.
It’s worth mentioning, I feel, that the diminished chord acts as a rootless dominant 7, or in the case of the diminished 7, a rootless dominant 7b9. So what is really happening here in the introduction is a secondary dominant of V.
Maestro, can I ask you something. I know this is kinda off topic, but I've noticed something about you, that you become skinny in this video, I'm kinda concerned with your body has drasticly change. I know its too farfetch to ask, are you ok Maestro? You inspired a lot of musician...I've always watched about bach chorales and ornamentation. You're the best maestro in the world. Especially on Youtibe.
This peice toegether with the a minor rondo is Mozart's two best solo peices for piano by far. The adagio is truely perfect and the rondo is even more expressive and personal and contains some rather complicated harmonic modulations that I would love to have a look at one day. It s of the same high expressive and technical (formal) quality as Beethoven's famous rondo in his sonata phatique.
if you deal intensively with Mozart, you will very quickly find that the intrinsic value of his compositions is at least on a par with Beethoven's works and is often even superior to them.The only question that remains is how the intrinsic value is defined?
I've always felt Mozart was a more natural composer. There is a lightness and ease to his mastery. He was like a song bird. Ludwig on the other hand, was known to spend years crafting a melody. No question, he has a heavier and more dramatic style that seemed an inevitable evolution from the generation that preceded him. But his work is just as beautifully crafted. That said, I love them both. The value, for me is how each contributed to the evolution of the craft. And of course, the pleasure they give the listener.
Every great composer embraces and masters dissonance. Navigating perfect diatonic harmony is the easy part. I mean, who really wants to hear nursery rhymes? What is life or any other art form without tension?
Good job! Appliable to all forms of music. Thank you for your style of of teaching, it really helped me to understand the use of this device. Waiting for more!
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
At 15 minutes… maybe Mozart wasn’t so sure of what to classify it as either 😉 .. Very thoughtful video. Packed with drama.. 😎. I still can’t believe you guys actually might have to say “hemidemisemiquaver” instead of “a sixty-fourth note” 🤣
Well, I don't think Mozart analyzed his peices like this while composing. Composing was a craftmanship which was learned as an apprentice. This I think applies to most of the composers most of the time. I would argue that all musical composition requires some kind of calculation on some level; Mozart was famous for playing the billiards which certainly requires calculation and many of his compositions have a remarkable inner balance. But I think this is due to trained intuation most of the time. Of course, if you are going to write a complicated contrapunctal passage that may require a more deliberate analysis while you plan your peice, but even a more analyical compoer like Bach probably was more about experience, imagination, whims and pure intuation than is often contributed to him. I say "whilms" because his chorals, for instance, sometimes contains progressions that don't make much sense when you analyze. I guess a certain amount of "irrationality" or unpredictability is a part of his artistry. I compose myself, by tha way and I rarely do much analysis while composing - I do the analysis afterwards. ... unless I need to plan my harmonic scheme on a large scale, for instance. It's more about relying on mdels that you know work due to previous experience.
I agree that Mozart or most other composers didn’t analyse like this in order to compose but analysis helps us to understand what a composer was doing and that’s essential to gaining insight.
The second chord is actually II chromatic dim 7, V of V . This is an incomplete minor 9th commonly used in the classical period. It is built like this. In C Major the II chord is D Minor, II chromatic is D Major, II chromatic 7th is D7. II chromatic minor 9th is D7 flat 9 the notes of this chord are 1,3,5, flat 7. flat 9 or D, F sharp, A, C, E flat. To create II chromatic dim 7 we take this dominant flat 9 chord and remove the root. Thus F sharp, A, C, E flat. The same chord II chromatic dim 7 in B minor is thus E sharp, G sharp, B, D remember create a dominant flat 9 chord from the root (C sharp) and then remove the root. The next dim 7 chord is V dim 7. Built the same way as the last example. V flat 9 with root removed (F Sharp), A sharp, C sharp, E, G. These chords function as dominants therefore the normal voice leading applies 3rd raises to tonic A sharp - B, 7th falls to 3rd E - D, Minor 9th falls to 5th G - F sharp.
Of course with training in jazz harmony , put a root on a diminished chord and you have a dominant chord with a flat 9, so: B min , C#7(b9) - Bm 6/4 , A# dim with F# in bass = F#7(b9) back to the tonic Xyz Walter Piston admits of flat nines in dominant chords in a later chapter of his harmony book , although their resolution is I don’t what :-)
Appreciate a lot your lessons. Just suggest you make an approach on polytonality through Turandot for instance. How and why choose 2 keys together and not 2 others. Nobody explains these complex chords. Your analysis would be fully appreciated
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.
I didn't expect such complicated harmony in mozart. I'm used to hearing those harmonies after mozart, like Beethoven onwards. If mozart lived long enough he would've spearheaded the romantic era. So sad that he died so early
But era’s, epochs, ages, don’t start or stop at exact dates, they didn’t ring a bell and say “Middle Ages ends tonight, Renaissance starts tomorrow.” History is a process and crossovers, both ways are frequent. A lot of Mozart’s music imho is very portentous of what is seen as ‘Romantic.’
Mozart appreciated Bach's works. Many of Mozart's music have polyphony elements. So maybe he could influence the next era to adspting fugues not necessarily as a individual composition but a combination. (Of course not polyphony in every work just different style). Even Mozart's last work (Kyrie eleison of Requiem K 626) is nothing compared to the romantic era. Mozart loved fugues after all.
Really nice presentation. I think if people learn partimento and the rule of the octave would help elucidate analysis of this music. Speaking the language that they spoke allows analysis of this music without many problems. Would be interesting to note that form bar 3 Mozart is implementing a modulating prinner.
Fascinating! I'd never heard the idea that you find the "correct" diminished 7th name by stacking it into true minor thirds (according to the spelling) and seeing what the root is. Of course, this would only work if the composer is careful about spelling his notes and thereby signaling harmonic function. I'm afraid I'm very careless about diminished 7th spellings, as it has no effect on the sound. But I'll try to think about this in the future! Another great video!
It would be interesting if you could find an approach to compare a piece from each member of the first Viennese school with the others. Perhaps, you could use this piece from Mozart as one of the pieces.
Diminished 7th chords [there are only three of them] being symmetrical chords do not have inversions in the conventional sense. They are also easily resolvable in any of four keys, rather than 'existing within a key'. As here, they are frequently used in Baroque and Classical music as tension building devices, often resolving towards the prevailing tonality of the piece or section.
Yes they are great tension builders. Because all of the intervals are minor 3rds or the enharmonic equivalent they all sound the same but many people use incorrect enharmonics in relation to the key of resolution and this is when it’s really helpful to understand the function properly by relating to VII and to how the inversions work in relation to Vll.
@@MusicMattersGB I suppose the ear can be tricked into hearing a secondary dominant implied or a derivative of V b9. Perhaps the important thing to note is that diminished 7th chords offer two notes in any major tonality with one encompassing a third enharmonic pitch. For example in C major: C Eb Gb A [C&A] , C# E G Bb [E&G] and D F Ab Cb [D F & enharmonic B] thus giving them a potential role in attenuating prevailing tonalities. {Given seven pitches in the octave you might expect this.) A role somewhat outside the concrete dominant to tonic relationship.
Interesting stuff, especially for a bod like me who (courtesy of jazz guitar lessons) has only recently been able to get his head around theory and thus understand what you are talking about. Which brings me to my question: I've always assumed Beethoven, Mozart, Schumann etc would start by getting a few ideas by improvising, noting what they were doing, then writing it down and 'editing' it in the process to achieve what they wanted to achieve. Would this, broadly, be true?
Many composers kept notebooks of ideas that they then worked into pieces when they were ready to do so. Some composers improvise to find ideas; others improvise ideas in their heads; others write their way into a piece.
You say a diminished 7 chord can be in a major or minor key, but doesn’t it strictly speaking have to be the minor key, because the 7th of the diminished chord is not present in the major key? In this case the seventh being D, while the notes of F# major are F# G# A# B C# D# E#?
I’m confused about how we can call chords (such as the chord at the end of bar 3) vb when it has an A# and there’s not an A# in the minor.. although there is in the descending melodic minor. Does this mean that we can interchange them?
@@MusicMattersGB Aah. I see. You looked very different in your latest video from 3 weeks ago. It made me wonder if something bad happened to you. Glad to hear you are doing ok. Love your Channel, Sir ! One of the Best out there ! EXTREMELY Rigorous !!! 😎🙂 Thanks a LOT !!! 😄
Personally, I find a path of lesser resistance to interpret that E# Diminushed as derived from the harmonic minor of F# minor, but since it hits the F# dominant, it's functioning like a secondary dominant. Very similar to a C# dominant in 1st inversion with a "flat nine" tension, which would be a V/V in Bm. The E# dim7 is functioning almost the same way. I think in minor harmonic tonality, the "harnonic minor seven diminsued of the five" can be used like an inverted V/V. That's how I like to make sense of it anyway! Is anyone like me in this respect?
I agree that it has a similar function to a secondary dominant. Of course the Diminished 7th is the same as a V9 without a root but that’s what distinguishes a V9 from a Diminished 7th. Also a Diminished 7th is common to both its tonic minor and tonic major. In this case it progresses to the tonic major.
This might be, with the possible exception of the Requiem, the saddest piece of music Mozart ever composed. It was written during a difficult time in Mozart's life in 1788, a year after his father, Leopold died. Mozart was also experiencing some serious financial hardships. Due to the Austro-Turkish War, both the general level of prosperity and the ability of the aristocracy to support music had declined. As a result, Mozart was playing in fewer concerts and had to borrow money from friends to make ends meet. 😢
@@MusicMattersGB I didn't write about him as the father of the classical period but the Baroque period in so much as if you note that he was preceding Jozeph Hydan chronologically. But I think the real predicament for him not having been cited as the founder of the Baroque period in music must be his " Turkish march" he had composed on the event of the turkish siege of Vienna. Turks in, Mozart out, ain't it ?
