Understanding the BACH Motif || Imitative Counterpoint 4

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In this video we look at the B-A-C-H motif that J.S. Bach and other used as a musical representation of his name, and specifically the way that the motif is used as a fugue subject. As a fugue subject, the BACH motif is irregular. It does not always begin on the tonic or dominant scale degrees, and it is not obvious how best to interpret its chromaticism. This video shows how the motif has been harmonized in several different keys and how irregular fugue subjects in general can be handled by composers. At the end of the video, we also look briefly at a fugue subject derived from the notes of Franz Schubert's name.
Intro 0:00
Irregular Fugue Subjects 2:00
Bach BWV anh 108 (C major) 6:33
Bach BWV 898 (B-flat major) 8:16
Bach Art of Fugue (D minor) 10:01
Albrechtsberger op 3 (G minor) 11:02
Sechter's Fugue in Memorium of Schubert 12:24
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#musictheory #composition #JSBach

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3 авг 2024

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Комментарии : 47

@BigParadox 2 года назад

This idea, that any short sequence of random notes can sound good if you set them into a certain context, is something I have been convinced of and fascinated by since I was young.

@Momo-vl7ly 2 года назад

They are not really random then are they?

@BigParadox 2 года назад

@@Momo-vl7ly Not sure I understand how you mean. Let's say that we with a random method (dice for example) generate four notes within one octave. My claim would then be that it is always possible to create a context for them so that it sounds good. Are you saying that this is not always possible? Or are you saying that it is possible but that once you have managed to do that, then those four notes are not random anymore? Please let me know more in detail how you mean.

@Joseh-le4yl 2 года назад

@@BigParadox Well, there are different amounts of randomness. Like you could choose notes out of multiple octaves, or every note could be a sixteenth note. Limiting it to 4 notes in one octave is nitpicking. I agree with your original comment though.

@BigParadox 2 года назад

@@Joseh-le4yl I don't think "limiting it to 4 notes in one octave" is nitpicking here. I originally said "short sequence of random notes" and I think 4 is a good example of a short sequence. And the context of my claim, namely the video itself, deals with such short squences. Even 5 would be ok here, I am sure. Also, in the examples of the video the notes are limited to one octave, and that is typical when you deal with experiments like this.

@Joseh-le4yl 2 года назад

@@BigParadox Ah, I wasn’t paying attention. Nevermind then. I was referring to randomness in general when I made that claim, not selective randomness. But if you were to limit general randomness to 4 notes in a bar using one octave then it would only be selective randomness.

@mr.va77ey63 2 года назад

Bach also uses this motive in some canons of “Vom Himmel hoch da komm ich her” (BWV 769a)! For example at the end of the canon “alla seconda” and at the end of the “Canon per augmentationem”.

@Tylervrooman 2 года назад

Theses are great videos...been listening to Emerson String Quartet play Art of fugue. So good.

@BernardGreenberg 2 года назад

Another way of dealing with irregular entry notes is to supply an independent bass, happens all over the Cantatas, the B Minor mass, etc, (even though those subjects are largely "regular").

@JacobGran 2 года назад

Yes indeed!

@BernardGreenberg 2 года назад

@@JacobGran I suspect you might like my channel....

@JacobGran 2 года назад

@@BernardGreenberg I"ve just subscribed! Hats off, truly. You're compositions sound like they could be genuine 18th century forgeries (in a good way).

@BernardGreenberg 2 года назад

@@JacobGran Thanks. I want them to sound like genuine "me", though....there are tutorials/writings too, on my linked site.

@OfficialDanieleGottardo 2 года назад

What a great lesson!!!

@JacobGran 2 года назад

Thank you!

@ShredmasterScott 2 года назад

this video was lit 🔥

@christophemarois5423 2 года назад

Fascinating!!!

@JacobGran 2 года назад

Glad you like it!

@nicolasfrancotango 2 года назад

Gracias por poner subtítulos en español!!!🙏❤️ Sería genial si se pudiera hacer con los otros vídeos que no tienen! Gracias!🙏

@ApplestreamRuben 2 года назад

I'd harmonize the Bach motive in C minor, treating the A as part of F major, creating this dorian sound, and making the "H" part of the G Major dominant chord

@JacobGran 2 года назад

That sounds like a perfect plan. I will have to check, but I think that is exactly what Bach does in BWV anh 110!

@ApplestreamRuben 2 года назад

@@JacobGran I gave it a listen, it seems you remember correctly!

@msw1174 2 года назад

Lovely

@user-fu7zf4ck9z 2 года назад

Don't forget that the C-Sharp Minor fugue from the WTC 1 has the same BACH subject (with different tones of course because of the key)

@Photologistic 2 года назад

Jacob, these are really interesting, but I’m a bit lost in some parts. Sounds like the playlists are the way to go, but which should I start with? Thank you.

@JacobGran 2 года назад

Great question. I would start at the beginning of the Tonal Voice Leading playlist, which covers counterpoint and keyboard harmony, and then move on to this playlist on Imitative Counterpoint.

@treypoling 2 года назад

Where did you find information on Simon Sechter's memorial? I really want to listen to the full version but I can't find anything about it on the internet other that old books saying that it exists.

@JacobGran 2 года назад

I found it published in an appendix to Alfred Mann's The Great Composer as Teacher and Student. I really wish more of Sechter's music was published and recorded, I like what little of it I have come across on imslp, etc.

@DanielSilva-gc4xz 2 года назад

13:09 anywhere I can hear this complete? I haven’t found it on RU-vid

@JacobGran 2 года назад

I don’t know of any recording, unfortunately. True of most of Sechter’s music.

@DanielSilva-gc4xz 2 года назад

@@JacobGran do you have the full score though? It sounded so good.

@JacobGran 2 года назад

@@DanielSilva-gc4xz If you have access to a library you may be able to get it through inter library loan. I found it published in an appendix of a book by Alfred Mann called The Great Composer as Student and Teacher

@bigprovola 12 дней назад

May I argue that the syllables Fa and Mi show that this subject is not actually chromatic? In chromaticism, where a minor third transmutes into a major third, there is no change of syllable, so what is H and sung Mi in the subject would instead be B# and sung Fa.

@maurilio1294 Год назад

2:38

@chessematics 4 месяца назад

Bruh my name has only an S and H that can be used as a musical note....my papa gave me a tritone.

@a.f.4248 2 года назад

The supposed « Bach motif fa mi soft/fa mi hard » is erroneous. There are absolutely no mi or fa or soft or hard or F or G in the Bach motif. There is only ONE Bach motif : English : B flat / A / C / B - French : si bémol / la / do / si. - German : B / A / C / H

@juliocanche7822 2 года назад

Fa - mi is used in the context of hexachords, where "fa - mi" notes mean notes that resolve downwards. In this case, the fa - mi notes are B and A in the subdominant hexachord, and because the space between notes is a step, the resolution isn't as strong, and that's why the first two notes are called "fa - mi soft"; next there's a chromatic alteration to this, because in the third and fourth notes, the hexachord used to build them is the dominant hexachord. Because the distance between those two notes is shortened thanks to the alteration, there's a stronger feeling of resolution, and that's why he calls that subset of notes a "fa - mi hard" motif.

@igeeklabs 2 года назад

Y desde cuándo el si natural es representado por la letra H? 😼😼😼😂😋😋😋😋 El comienzo si lo creo, B - A - C, pero de dónde sale la ¿H?

@juliocanche7822 2 года назад

En el vídeo explica que si natural y si bemol ambos aparecen en los hexacordios de tónica, dominante y subdominante, así que los músicos alemanes que le dieron nombre a las letras del motivo BACH llamaron H al si natural y B al si bemol