@@FodorPupil I guess it’s all of my up bringing. I always listen to Bach every day no matter what my mood is. It gives me a inner peace that I can only describe as musical sustained intensity and perfection !
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I've always associated suspensions like this with words like condolence, bereaved, signatory, profound and, for some odd reason, state and military funerary processions instantly pop into my mind. It's a evocative composition tool that can lend a specified amount of authority or melancholy. In jazz and contemporary music, especially R&B, pianists with a good grasp on including suspensions, as opposed to chord progression tricks like passing diminished chords for/aft a III7, it's a big indicator of their ability to impart nuance or lack thereof. Very good walk through of the concept. Wish there were a Bravo button beside the thumbs up. Also, I wish more writers today were aware of just how powerful things like this really are - and that's what your channel is helping with!
Thanks for your positive comments on our channel content. Your point is well made because this is much to do with the origin of suspensions and chromatic chords. They are there to evoke an emotional response and often to paint particular words or sentiment.
What a timely video. I'm trying to study CPE Bach and his exercises on cadences, and I was confused with suspensions, double and evasive cadences. So I started over and saw his discussions of tenor clausula, discant clausula and eventually the bass and alto clausula. It's all starting to make sense. And I saw that my keyboard skills need some improvement, and you pointed out the areas where I need work. I hope you don't get tired of people telling you that this channel is the absolute best for music theory. Merci beaucoup.
Glorious. This really highlights how Bach's genius shines through in even the smallest moments. You have really good pitch too. Thanks for the lesson Gareth.
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You are great when your teaching is spoken, become superb when you sing it. Genius! Next time you should sing a whole chorale with the words to explain it!
I tried to play this using your technique, but there are two tenths involved. You should have advice for people that have smaller hands. BTW I worked on the suspensions like you demonstrated and it's getting easier. Thanks very much.
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I think it should be noted that such a sustained suspension won't necessarily sound any softer than repeating the note when actually sung by a choir, since their voices don't fade out like a piano note does, at least not for such relatively short notes.
Hi Gareth 👋 Thank you for another great video. My question is about the last suspension. I was curious why the alto line jumped down an octave and crossed with the tenor. I imagine that it’s so the tenor line can resolve by step. On the keyboard it doesn’t matter how it’s written to produce the suspension sound, however, would the same effect of the suspension occur vocally if the alto part sung the ‘C’ and tenors the ‘G’? Would the resolution made by a different voice nullify the effect of the suspension in terms of the sound of it - and would it still be classed as a suspension if another voice jumps in to steal the resolution?! I hope that all makes sense and thanks again 👏
Good to hear from you. The leaping alto crossing the tenor is something Bach does. N this case the leaping alto is not the suspension- that takes place a notch earlier in the bar. The alto leap belongs to the harmony. Hope that makes sense.
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I can see the 2d and 3rd suspensions easily, because a note is PSR, you see note-repeat-lower. However I don't see a repetition in that first group. Is it because the dotted note is sustained and is both P and S?
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Last bar - two voices are crossing -> the C in the bass clef (tenor) and the G in the treble clef (alto) . That’s unBachian :-) I wonder if there is a transcription mistake. My music teacher would penalise me! ;-)
@@MusicMattersGB I mean may be someone played a wrong note or out of sync. Bach found that it was interesting and therefore applied them in his works.
Did Bach really need to cross parts in that last bar between the tenor and alto. I understand the suspension but you really don't need to drop the alto that horrid distance only to leap back up again for the final chord. For me it's a poor choice to do that in terms of not only the rules but for the part writing. You already have the third in the bass, they are sharing the 5th and the tonic is in the tenor. Don't agree with it at all. Unnecessary for me and I think if a student wrote that I'd think you would question it.
@@MusicMattersGB I understand that but do you see my point about the G already being covered and with the tenor moving on that half beat, all i am saying is, was totally necessary to break the rule there? because apart from that suspension taking the c, it could just stay on the G with the soprano and not break the rule and probably sound just as good. You aren’t losing anything. I also think, I’m not saying you are, but we as a group of musicians say that the places that are so call unusual in the pieces aren’t misjudgements or so called mistakes but it would be called out on an exam. I’m just wonder if you get where I am standing with it?
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Nothing like J.S.Bach to bring me back to reality
in this insane world !
You can never say that enough. Thank you. ❤
@@FodorPupil I guess it’s all of my up bringing. I always listen to Bach every day no matter what my mood is. It gives me a inner peace that I can only describe as musical sustained intensity and perfection !
@@bobcosmic I completely understand. I've performed the Chaconne more than any other piece. Thank you for sharing!
Absolutely wonderful music.
I love playing sus4 chords as a transition. It definitely begs for resolution in a pleasing way.
Absolutely
Such a clear explanation and with beautiful illustrations, thank you!
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 th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I've always associated suspensions like this with words like condolence, bereaved, signatory, profound and, for some odd reason, state and military funerary processions instantly pop into my mind. It's a evocative composition tool that can lend a specified amount of authority or melancholy. In jazz and contemporary music, especially R&B, pianists with a good grasp on including suspensions, as opposed to chord progression tricks like passing diminished chords for/aft a III7, it's a big indicator of their ability to impart nuance or lack thereof. Very good walk through of the concept. Wish there were a Bravo button beside the thumbs up. Also, I wish more writers today were aware of just how powerful things like this really are - and that's what your channel is helping with!
Thanks for your positive comments on our channel content. Your point is well made because this is much to do with the origin of suspensions and chromatic chords. They are there to evoke an emotional response and often to paint particular words or sentiment.
Great examples. I am glad Bach can live for another generation.
Absolutely
What a timely video. I'm trying to study CPE Bach and his exercises on cadences, and I was confused with suspensions, double and evasive cadences. So I started over and saw his discussions of tenor clausula, discant clausula and eventually the bass and alto clausula. It's all starting to make sense. And I saw that my keyboard skills need some improvement, and you pointed out the areas where I need work. I hope you don't get tired of people telling you that this channel is the absolute best for music theory.
Merci beaucoup.
I’m so pleased it’s useful
Glorious. This really highlights how Bach's genius shines through in even the smallest moments. You have really good pitch too. Thanks for the lesson Gareth.
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 th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Please, keep doing this series, I love it
Very cool, thank you. I tested my music notation and chord theory to figure out what was happening before it was explained. Everything made sense.
Brilliant
You are great when your teaching is spoken, become superb when you sing it. Genius! Next time you should sing a whole chorale with the words to explain it!
Your ostinato-note singing at 12.30 approximately is so much Phantom of the Opera...
You’re too kind.
I tried to play this using your technique, but there are two tenths involved. You should have advice for people that have smaller hands.
BTW I worked on the suspensions like you demonstrated and it's getting easier. Thanks very much.
Fair comment. Glad the suspensions are going well.
I do love these inside the mind vids... infact i may have to go Bach and watch a few again :D
Great presentation! Thank you very much!
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Thank you
Thanks for your support
I think it should be noted that such a sustained suspension won't necessarily sound any softer than repeating the note when actually sung by a choir, since their voices don't fade out like a piano note does, at least not for such relatively short notes.
Fair point. Neither does it have a fresh attack which would make the emphasis greater.
Hi Gareth 👋
Thank you for another great video.
My question is about the last suspension. I was curious why the alto line jumped down an octave and crossed with the tenor. I imagine that it’s so the tenor line can resolve by step. On the keyboard it doesn’t matter how it’s written to produce the suspension sound, however, would the same effect of the suspension occur vocally if the alto part sung the ‘C’ and tenors the ‘G’? Would the resolution made by a different voice nullify the effect of the suspension in terms of the sound of it - and would it still be classed as a suspension if another voice jumps in to steal the resolution?! I hope that all makes sense and thanks again 👏
Good to hear from you. The leaping alto crossing the tenor is something Bach does. N this case the leaping alto is not the suspension- that takes place a notch earlier in the bar. The alto leap belongs to the harmony. Hope that makes sense.
@@MusicMattersGB Thank You 😊
So gorgeous
Absolutely
Loved this lesson! Can you do us guitar players (who don't read or do it well) a favor? Can you say or have each chord visible? ie. C . Just to help
Ok. Will try to include more videos with guitar chords written in.
thank you very much :)
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00:45 8:08
😀
I can see the 2d and 3rd suspensions easily, because a note is PSR, you see note-repeat-lower. However I don't see a repetition in that first group. Is it because the dotted note is sustained and is both P and S?
Absolutely. S can be a repetition of P or P can be sustained into S
Wao
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7:30
😀
Last bar - two voices are crossing -> the C in the bass clef (tenor) and the G in the treble clef (alto) . That’s unBachian :-) I wonder if there is a transcription mistake. My music teacher would penalise me! ;-)
It’s unusual but not entirely uncommon in Bach Chorales.
Sir the first bar doesn't end with a cadence?.why?
We don’t need to end each bar with a cadence just the end of each phrase
@@MusicMattersGB ok sir, Thank you!
@YasmeenKauserZiaudeen 😀
These inventions were simply mistakes usually.
Not really!
@@MusicMattersGB I mean may be someone played a wrong note or out of sync. Bach found that it was interesting and therefore applied them in his works.
Did Bach really need to cross parts in that last bar between the tenor and alto. I understand the suspension but you really don't need to drop the alto that horrid distance only to leap back up again for the final chord. For me it's a poor choice to do that in terms of not only the rules but for the part writing. You already have the third in the bass, they are sharing the 5th and the tonic is in the tenor. Don't agree with it at all. Unnecessary for me and I think if a student wrote that I'd think you would question it.
It’s unusual but comes about as a result of the 7-6 suspension in the tenor part.
@@MusicMattersGB I understand that but do you see my point about the G already being covered and with the tenor moving on that half beat, all i am saying is, was totally necessary to break the rule there? because apart from that suspension taking the c, it could just stay on the G with the soprano and not break the rule and probably sound just as good. You aren’t losing anything. I also think, I’m not saying you are, but we as a group of musicians say that the places that are so call unusual in the pieces aren’t misjudgements or so called mistakes but it would be called out on an exam. I’m just wonder if you get where I am standing with it?
@isaacshaw1596 Absolutely