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@@arturtestament muito obrigado!

@@twiglet2214 thanks! Follon on Patreon for free www.patreon.com/posts/120918936?

@@luizpaulomagalhaes8727 obrigado!

thanks! Follon on Patreon for free www.patreon.com/posts/120918936?

@@Zarty-Music thanks! Follon Patreon for free www.patreon.com/posts/120918936?

@@henryng0725 thanks, me to ;)

@@alexeykulikov2739 🎹

THanks! pls follow on patreon as well, you dont need to pay www.patreon.com/home On main page of this channel you also find my music channel

We could see the first chord of the victory cadence (AbM) as something like the napolitean degree in tonality : it puts us outside of the scale for an instant, just to get back into it right after.

@@Yattahable well put, it has a similar effect. This is the effect of substituting the subdominant with some non diatonic chord . Thanks for the comment!

do you mean you are going to play the fugue or just analysis?

@@j.p.westwater2334 Basically you only need a good piece to start being motivated to read. But this conclusion you have is already the biggest step others refuse to take… (even P Mcartney lol) Support on patreon for 3€ and i feed you with more solfeggio/eartraining material in the playlist. Thanks for watching!

@LearnCompositionOnline Parsifal is my obsession, I need to dig through the score. A piano transcription might be the motivation I need. Thanks

@@Zarty-Music we have to find out how it became popular and perhaps it confirms my hypothesis: it is good for the TEACHER. You have clear rules, clear sections for the curse etc. Great masters might have studied it, but how decisive was it for their skills? I gonna look into Sechter teaching Bruckner, or Reicha and Liszt. I don’t want to start a war on Fux, but only help: i see students in composition struggling too much with these exercises and even after doing it well we get a result that is still too weak; we have almost no richness of counterpoint in our music today . Gradus ad Parnassum looks indeed to be broad book with other elements beyond this small „system“ that is traded to us Regarding the rules it is ok that the compositions differ: the rules of the exercises are not always the rules of composition because the exercise is didactic . It is hard to relate this book to vocal polyphony, not only Bach. The question is, that de facto these rules stay for so long that the student start to think that music works this way, but then here is the problem: these rules are only for this abstract style. They are similar to reality, but the difference is enough to mislead, principally because if the type of cf. This method is good for a speculative approach to counterpoint. My thing is: people need the BASICS today and get lost to easy on details.

Beethoven learned it as can be seen in hess 233 and 234 published by henle. Mozart also taught it to atwood and I persume he learned it himself aswell. In fact there is good resson to believe it; as alfred mann points out “We know that Martini’s counterpoint lessons provided a decisive impulse for Mozart’s work and that the Padre declared ‘We have no system other than Fux’.” It is also worht noting that whilst the full five-species model for pedagogy is distinctly fuxian it is also true that far older ways of teaching consist of first showing the student of how to compose in simple counterpoint (note against note) against a cantus firmus to then move on to the divided/diminuted/florid forms of counterpoint such as in Morley or Zarlino

@@JT-jt2id Thanks for the info, you are right! It seems what I said applied only to Bach's circle haha (except for his son J.C.Bach who also studied with Martini).

@@JT-jt2id is it an evidence of good pedagogy for US MORONS of the the year 2025 the fact that great composers (by the way with 1. talent above average, 2. with above average solfeggiere and choir experience) learned counterpoint with it? I guess they practiced way more improvised fugatos and canons with harmonic counterpoint

@@mr.wigman yes i need to practice, let‘s do a live ricercare improvisation togheter and record it live. If you found many solutions the video is not for you. Since you are already so good, why are you learning counterpoint 1 to 1 on TH-cam? How can you I help you? The video is about giving a reference for artistic simplicity in terms of very pragmatic craftsmanship .

@@mr.wigmanwhere can I hear your counterpoint and learn with you? And who are you?

@@LearnCompositionOnline I am not a teacher for a living, sorry. I am a composer.

@ I have uploaded a fugue on this channel

@@mr.wigman I mentioned that some men with 17 y.o admire complicated things and start to complicate things themselves there where they should focus on simplicity. The video is about giving a reference for this artistic simplicity in terms of very pragmatic craftsmanship . The complicated stuff you find reading the questions of many students in USA and how others tend to answer them

@@LearnCompositionOnline You mentioned Fux. I think I've read Fux when I was a young lad and its not practical and simply wrong theory. Do they really learn Fux to study counterpoint? Its hillarious. The only way I find is to study well composed scores and compose a lot on piano.

like a terro

@@bubuts-di7wr no conoco

@@Todzuum i gonna read it and answer you. Thx for the question 🙋‍♂️