Thank you for the chord symbols. This analysis is so helpful to me, to play this piece. I already tried to find the chords but I often failed. Now I have them.
My musical education has been rather haphazard and I've never taken the time to do this, and I'm very grateful. I looked at the Tonnetz graphic video on this and got a new perspective, and now this helps in a competely different (and, if I'm clever enough, a complementary) way. It's certainly the way I would have looked at the piece if I'd sat down with the dots, and I know the modes well enough to recognise them as you call them, though I'd just never thought of the piece that way before.
In 0:27 i thought, why it became E dorian? D major and E dorian have the same notes in scale... now i got it, F#m - Bm - Em , it's ii - v - i chords, tonic shifting from D to E.
thank you it was almost exactly what i'm looking for. It would be nice if you had the chord degrees as well ie. I, IV, V etc what I don't understand is how he decides to move to another mode, is there a format for this?
so I found somewhere else a good way of changing modes is I think to just change them and have the melody follow consonantly. for example: two modes could be between Aeolian or Ionian (minor and major) so I did a progression that was----- amin, f#min, dmin, Amaj------ it starts in Aeolian mode with the a min, then moves to Ionian with the f#min (because if the mode didn't change and it stayed in Aeolian then it would have been Fmaj instead of f#min know what I mean?) and then it changes back to Aeolian again when it goes to dmin (because dmin IS in amin, and not Amaj in Amaj it would have been a Dmaj) and then I go from Aeolian back to Ionian by ending the progression on Amaj... know what I mean? feel free to ask me about any questions you may have. all the best to you friend :)
william devonshire it would be late but you guys should check out the rick beato Chanel, specially the "modal mixture" video and the one where he talks about modal modulation.
So how was he modulating to other modes? Is he drawing from relative modes or parallel modes? It looks like he uses triad pairs to establishing modal center.
You can Modulate between scales, usually with the fifths, but i think because his goal was to create dissonance, he just went for the best sounds and i believe you can modulate easier with Modes, than other scales.
I'd say it's in D but not in Dmaj. The modes change a lot but D stays the key center through most of the piece and most importantly the beginning and ending. So D is home, at times we move to different homes for a bit (some of them use the Dmaj scale -> E dorian, Bmin) , but we always return to our original home, it's just not the same as it used to be sometimes (D dorian). Not sure of that makes any sense but I hope it helps!
This is excellent.Why didn't you do it in F major that's the key I usually see it in.Would you upload it in F major also.This would make it very user friendly.Thank you for an excellent analyses.
Though it can be played in other keys (like F Maj), D Maj is the original key. To re-do the analysis in F Maj would be a pretty big chore... In D Maj, you will see that all of the scales/modes either have 2 sharps (F#/C#), 1 sharp (F#) or 0 sharps. If this music were instead in F major, then, all of the scales/modes would either have 1 flat (Bb), 2 flats (Bb/Eb), or 3 flats (Bb/Eb/Ab). This music has many modes (modal centers), but only these key signatures permutations.
Byron Weigel Music Theory Thank you for your reply. I have it in 2 music books in F and thought that was the original key. Your analyses is excellent. This is one of my favorite Impressionist compositions and to have your excellent analyses is really great.Thank you again.
Wonderful. I'm just a music theory novice, but this analysis give me a deeper appreciation for Satie's work. Thanks very much Byron!
This site will become one of the most popular composition sites on youtube world wide.I wish to thank who ever is responsible. This is excellent.
Such beauty in simplicity, absolutely love this piece. Thanks for posting!
This video is amazing
Beautifully played and analyzed. Thank you so much!
Thank you for the chord symbols. This analysis is so helpful to me, to play this piece. I already tried to find the chords but I often failed. Now I have them.
Currently, this is my favorite video from all of TH-cam. Really excellent.
My musical education has been rather haphazard and I've never taken the time to do this, and I'm very grateful. I looked at the Tonnetz graphic video on this and got a new perspective, and now this helps in a competely different (and, if I'm clever enough, a complementary) way. It's certainly the way I would have looked at the piece if I'd sat down with the dots, and I know the modes well enough to recognise them as you call them, though I'd just never thought of the piece that way before.
In 0:27 i thought, why it became E dorian? D major and E dorian have the same notes in scale... now i got it, F#m - Bm - Em , it's ii - v - i chords, tonic shifting from D to E.
Merci pour l'analyse. Vraiment très bien comme tous vos autres videos!
thank you it was almost exactly what i'm looking for. It would be nice if you had the chord degrees as well ie. I, IV, V etc
what I don't understand is how he decides to move to another mode, is there a format for this?
william devonshire I'm wondering the same thing. I'm currently looking for an analysis of thie piece, I'd like to get what drives the modes shifting.
so I found somewhere else a good way of changing modes is I think to just change them and have the melody follow consonantly. for example: two modes could be between Aeolian or Ionian (minor and major) so I did a progression that was----- amin, f#min, dmin, Amaj------ it starts in Aeolian mode with the a min, then moves to Ionian with the f#min (because if the mode didn't change and it stayed in Aeolian then it would have been Fmaj instead of f#min know what I mean?) and then it changes back to Aeolian again when it goes to dmin (because dmin IS in amin, and not Amaj in Amaj it would have been a Dmaj) and then I go from Aeolian back to Ionian by ending the progression on Amaj... know what I mean? feel free to ask me about any questions you may have. all the best to you friend :)
william devonshire it would be late but you guys should check out the rick beato Chanel, specially the "modal mixture" video and the one where he talks about modal modulation.
so helpful! I have to do an analysis, and I am wondering what the tonica is? does anyone know? thank u!
So how was he modulating to other modes?
Is he drawing from relative modes or parallel modes?
It looks like he uses triad pairs to establishing modal center.
I'll try this on guitar, tx👍🌱
what are the scale degrees of the lead voice?!
i tought in order to compse well you should only compose in one scale such as d major but it confused me.can u explain?
+Kaygan Zemin there's no limits to composition. Changing scales is what is called "modulating a scale" and you can perfectly shift between them.
You can Modulate between scales, usually with the fifths, but i think because his goal was to create dissonance, he just went for the best sounds and i believe you can modulate easier with Modes, than other scales.
So it is technically in D major?
I'd say it's in D but not in Dmaj.
The modes change a lot but D stays the key center through most of the piece and most importantly the beginning and ending.
So D is home, at times we move to different homes for a bit (some of them use the Dmaj scale -> E dorian, Bmin) , but we always return to our original home, it's just not the same as it used to be sometimes (D dorian).
Not sure of that makes any sense but I hope it helps!
This is excellent.Why didn't you do it in F major that's the key I usually see it in.Would you upload it in F major also.This would make it very user friendly.Thank you for an excellent analyses.
Though it can be played in other keys (like F Maj), D Maj is the original key.
To re-do the analysis in F Maj would be a pretty big chore...
In D Maj, you will see that all of the scales/modes either have 2 sharps (F#/C#), 1 sharp (F#) or 0 sharps. If this music were instead in F major, then, all of the scales/modes would either have 1 flat (Bb), 2 flats (Bb/Eb), or 3 flats (Bb/Eb/Ab).
This music has many modes (modal centers), but only these key signatures permutations.
Byron Weigel Music Theory Thank you for your reply. I have it in 2 music books in F and thought that was the original key. Your analyses is excellent. This is one of my favorite Impressionist compositions and to have your excellent analyses is really great.Thank you again.
I've never seen or heard it in any other key. What other "Impressionist compositions" do you like?
Debussy..In the afternoon of the faun Leonard Bernstein has a great analysis in his Harvard lectures No 4,I think
Missisippi Grind anyone?
Thank you!