I'm a composer who knows most of these things already, yet I still watch and support all of your videos because such concise and qualitative musical content is so rare on youtube. Keep up the good work, I see this channel gaining a lot of followers in the near future!
i agree, with this quibble: resolved itself into tragedy, not positivity" . I would take great issue with your use of the hackneyed Americanism "positivity" here. i have no idea what you mean by it, and is suspect neither do you. by positivity, do you mean some kind of shallow new age american Tony Robbins confection, do you mean the "just do it" positivity of corporte america's mendacity, or do you mean the opposite of tragedy, which is comedy? i would argue, you mean none of those. tragedy is not "negative" anyway, in the arts, b/c the it provides catharsis (dont trust me trust aristotle) for the listener, or viewer, which is very positive. on the other hand, when my mother had just died, telling me an joke, might have been quite negative....so whatever G major implies is not positive anymore than G minor is negative. . a more accurate opposition would be dark versus bright.
resolved itself into tragedy, not positivity" . I would take great issue with your use of the hackneyed Americanism "positivity" here. i have no idea what you mean by it, and is suspect neither do you. by positivity, do you mean some kind of shallow new age american Tony Robbins confection, do you mean the "just do it" positivity of corporte america's mendacity, or do you mean the opposite of tragedy, which is comedy? i would argue, you mean none of those. tragedy is not "negative" anyway, in the arts, b/c the it provides catharsis (dont trust me trust aristotle) for the listener, or viewer, which is very positive. on the other hand, when my mother had just died, telling me an joke, might have been quite negative....so whatever G major implies is not positive anymore than G minor is negative. . a more accurate opposition would be dark versus bright.
hey man, i just got a question. i'm sorta new to all of this. the thing that keeps bothering me is that whenever a composer decides to change a key, for instance, fur elise, it starts in A minor and goes to C major in the first theme right but how can we say it was a key shift? i mean technically it's just it's relative major that means that we just changed the chord and not the key? im kinda confused :)
alex d'Aquino A typical novel/movie follows this 3-phased structure: The beginning, in which we see 2 main characters(eg good guy & bad guy; boy & girl) and their conflict (eg wanna kill each other; like each other but encounter obstacles). The development, in which the conflict worsens (eg it’s expected that the one who loses will die together with all his friends; they start to doubt their relationship). The climax, in which the conflict is resolved (eg one side wins, or they become friends; the couple overcomes the obstacle, or realises they never can), usually in an unexpected way. While classical music (according to this video) often has 2 themes which combine at the end, novels/movies are similar. For example, in Titanic, Rose experiences a double-conflict of deprivations of true love and freedom. In the end, she chooses Jack over the rich guy, thereby resolving both conflicts. Of course, a masterpiece usually contains multiple themes, mainly related to personality, personal interests, the greater good, physical action and ideologies (eg in The Godfather, Michael becomes cold and cruel, saves the family business, kills all his enemies and betrays his American dream of becoming a respectable law-abiding citizen unlike his immigrant father). Feel free to ask more questions (tho I may not be capable to give very good answers) ;)
@@johnleung7250 whoa I'm a writer _and_ composer, or at least I'm a wannabe for both. I can clearly see how it relates, and I find it very interesting.
@@eldridge1555 I think philosophical and scientific proofs too: you've got a thesis, an antithesis (or alternative thesis), an argumentation of some sort or scientific test, and a conclusion where you refute or validate the initial thesis. I think it's a universal basis for any logical structure
1:31 3 parts 2:27 parts in a bar 2:54 coda and intro 3:59 exposition 5:10 codetta 6:05 development 8:07 recapitulation 9:29 3 pts of recap 10:17 coda 10:33 bar timeline
Very instructive indeed, however, and may I point out something that has confused me a lot when I was studying Music aesthetics, I think it is important to make it clear that sonata form is the structure of one movement of a piece. It is most of the times the first movement of a piece, which can be a symphony, a concerto or even, surprise surprise, a sonata. Beethoven's famous Moonlight Sonata, has its first movement in a sonata form, and other two movements that are not sonata-form. You probably know this already, but I thought it'd be cool to reinforce that to the viewers who didn't. tl;dr: sonata form and sonata are two different things.
This should be higher up. I was confused throughout the video as I expected a breakdown of how a Sonata's movements work with each other ! Thank you for clarifying.
Minor note: the Moonlight Sonata's third movement is also in sonata form, and indeed is the more important of the two, giving an effect like the entire sonata's structure was reversed (the second is just a scherzo and trio). Beethoven also put the main movement as the finale in the preceeding Sonata quasi una fantasia, Op. 27, no. 1.
For anyone who wants to go more in-depth with classical-era sonata form, I recommend to read and work through Caplin’s ‘Analyzing Classical Form’. Its probably the most comprehensive text on high-classical sonata formal analysis out there.
I have to search that book, thanks for the tip! I actually bumped into another one of Caplin's books at my University's library, called "Classical Form : A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven", I wonder if it tackles with the same concepts
@@ToastedCigar he has one book called Classical Form (Theory of Formal Functions for the instrumental music of Haydn, Mozart and Beethoven) and another called Analyzing Classical Form (An Approach for the Classroom)
for so long classical music has been a mystery to me, and i’ve never known what makes it tick or what exactly goes through the composers’ heads while they write it. this channel is helping a lot with understanding the inner workings of classical music that i didn’t see before. thank you!
I'm a musician studying for my upcoming exam on harmony&form, mostly focusing on sonata form. This was a great review for me, very clear and concise. Thanks for your video!
Thanks so much for this video. I've always been intrigued by classical music (well, exploring new genres of music in general really), but never been able to get into it. Having this framework has transformed what previously seemed to be a mess of randomly placed, jarring, unpleasant key changes and a mysteriously annoying use of repetition, into something that actually makes sense. Now I finally know what to listen for. A lot of the advice I've read on the net has been to "just listen", but I probably would have never figured this out on my own by just listening. Or at the very least, I would have ran out of patience before then.
Thank you! Exactly! I know what you man, it can be overwhelming until you figure out that so much of it fits into regular structures. Then what becomes exciting is listening to how the composer breaks the traditional mould. You'll start hearing Beethoven's genius being like "Oh wait, isn't that supposed to go there? But him doing *that* makes it even MORE dramatic, what a genius". The rabbithole goes deep
I completely agree. A violinist friend and I went to a symphony and I was asking all sorts of questions like what is fugue, Sonata, etc.. and I realized there is structure and form to classical pieces (like poetry) and it really did help me appreciate the music more. (Even if I still didn’t enjoy some of it.) I do have to wonder if the audiences listening at the time understood what a sonata form was or was that knowledge just for composers and musicians - seems quite complicated for the average person.
I have been listing to classical music since I was a child. Some fifty years ago. Never took a music theory class. Your videos have given me a new appreciate of classical music. Thanks
In Mozart's 40th symphony, listen carefully to the end of the development section of the first movement In a rare and wonderful moment: the violins are impatient and begin their recapitulation before the winds had completed their development, creating a "splice" between sections. Beethoven does something similar in the last movement of his first symphony.
I had listened to this series of videos a while back to get to know classical music better, but only understood them in spirit. Now, after listening to multiple pieces, revisiting this series makes it an even better experience. Thanks for the enlightening series!
I've been soooooo hesitant to write the first movement (I kind of started with the third movement =E) of my first symphony, and I'm so confused about sonata form/mvmt 1 form. A lot of videos on TH-cam are kind of useless and don't get anywhere, but this one did. Inside the Score explains is so well! Recommend for any young composers. 👏👏👏
Thank you for this entertaining and helpful video! I’m teaching myself a Beethoven sonata and never took music theory. Though I was making good progress with the themes and breaking down chunks, I kept getting lost with which key change happened next each time I finished a section. Now I feel like I’m finally speaking Beethoven’s language and I have a roadmap to make sense of the piece!
So good to hear! Hopefully you'll be able to apply this to a lot of music you cover too! Also, try some of my other theory videos - particularly "How to listen to a sonata" i think it's called - that covers a lot of common structures too. Thanks!
Thanks for this! I took music history and advanced theory in high school, but it's been years. It's great to have a quick refresher! Came because of the Harry Potter musical analysis, stayed for the LOTR analysis, and now slowly making my way through all of your videos. Thank you!
Haha wow, thanks so much! I'm doing a Masters at Yale now so I'm suddenly mad busy, want to make loads more but finding the time is the problem at the moment. Hopefully there'll be more coming soon-ish :)
That is part of Beethoven's genius. Make the sound so unconventional and difficult to resolve while at the same time making it sound flawless and engaging.
Thank you for your videos. I've only been enjoying classical music for a few years with very minimal knowledge of music in general. I've always wanted to understand and appreciate classical music on a more profound level, and this really helps me. Hopefully, by watching more of your videos, I'd be able to make more sense of the music I'm listening to and put my thoughts and feelings about it into words.
Excellent discussion. It discusses basic structure along with the creative molding of the structure. One exception. There are really only two parts to the sonata form 1) exposition 2) development-recapitulation. Second repeat always brings back to the beginning of the development. Many performers ignore the second repeat however.
This is quite good work and I will share it quite often. Two quick points: the opening of Mozart 40 seems very romantic despite being a classical era work. The chromaticism seems to make it someone battling with deep self doubts. Lawrence Kramer, in his book "Why Classical Music Still Matters" points out how classical music, often setting up the return of a "long-lost" theme (Recap), "tells the story of its own becoming." In other words, the exposition and development often turn out to be a big "flashback" (in movie terms) and the recap is the REAL start, now that we know everything hanging in the balance.
EXCELLENT! TRULY EDIFYING! This video makes us, enjoy, learning and makes us enjoy the Music, so much more!!!! Make for us many more videos like this one! Don't be afraid to tackle more complex topics! People are "hungry" to learn, more and more, about Music, all types! However, Classical Music has an, endless, supply of complex inner workings, which will keep on BEGUILING US FOREVER!!!!!!!!!!!!
Thank you for these videos . I blindly love classical music, so it’s great to receive guidance, or find a formal an explanation to what I was aware of emotionally and intuitively.
I have kept watching this particular video from time to time in the past five years or so.... and what attracted me most is the way how you presented Beethoven's uniqueness and his talents vividly to me each time when I watched them. I now understand Beethoven better and appreciate his music more imaginatively... I'm a classical music lover. So, thank you very much!!! And I wish to see more of your presentations on such subjects.... Great job!!!!
So the Sonata Form is a Hegelian Dialectic? Exposition --> Development --> Recapitulation (or in Hegelian conception, Thesis --> Antithesis --> Synthesis)? Damn you, Inside the Score. You got it.
I really enjoyed the straightforwardness of your video. I like how you talked about integrating of the two ideas into the Recap with your example. Well Done!
Hey great video! Awesome channel as well, super informative and looking forward to more videos. Interesting that you said Sonata form developed from Binary form, as the Exposition-Development-Recapitulation structure screamed Ternary form to me. Keep up the amazing work!
Thanks - glad you enjoyed it. Yes well it's the idea from binary form that, harmonically, the first part would start in the tonic and then end in the dominant; the second part would then hoover through many keys before ending in the tonic again. So Sonata Form really expands that 'tonal' concept, rather than simply the fact that there are three sections to it!
I'm very interested in learning about the overall structures progressions can be based on as well as common modulations so this is one of the great answers I was looking for. Thanks!
I enjoy this video greatly! It's clear and well-structured. I have learned a lot. Looking forward to seeing more of such well-considered videos. Of course, I am subscribing for sure!
I love the explanations of the rules.... often things I haven't heard before. reminds me of Bill McGlaughlin's "Exploring music" which I listen to daily, but it's like you are trying to fit it in 10 minutes what bill talks about for an hour, or even 7 hours sometimes! not enough time to really feel each thing you say so it sinks in better, so it kinda leaves me feeling incomplete, as if i only heard a snippet of a song and now its stuck in my head until I finish it.
Thank you for introducing me to Bill's show. Well, I wish I had 7 hours and a full time paid job to do what Bill does. But I have to make do with my limitations
very good writing and presentation. i follow all the points you make with great interest in getting to know more about them, however this is where i offer my constructive critisim: there arnt enough examples musics in the videos. Since i guess your intent is to educate those who are willing to know the basic musical concepts, it's really good to back those concepts(and you presented so many interesting ones)with brief examples. You've already done so for some, im feeling there could be a great deal more and it'd make your videos much easier to appreciate, for the uninitiated ones like me. Right now it feels more towards reading an essay, albeit a well written one. you have already done a great job at explaining the concepts, seems a bit shame the full potential is not reached by exploiting the video format more. Anyway keep'em coming! :)
Great Video. Something I would add though, is that sonata form does not necessarily have two theme groups. Some have three in three distinct keys (Bruckner)
Really useful; however as you have stated in the description that this is a ‘full account’ of sonata form, I think you have been slightly dismissive of the idea of the use of monothematic first and second subject expositions which are not limited to the very early history of sonata form, but occur throughout Haydn and was something Beethoven picked up from him and used as well (it is rare in Mozart). One or two others have picked this up in the comments. It was Haydn, probably even more than Mozart who established sonata form as a model into which composers could pour their finest thoughts and within his own sonata form movements, displayed an astonishing range of originality and new ideas that fascinated both Mozart and Beethoven in his own time. That apart, this is a really well explained and useful guide that will be helpful to many viewers, thank you. Quiz: Which well-known symphony delays the arrival of the second subject until the Development section?
At 4:21 you introduce the first group and state that it's in G minor. But from looking at these four bars, this is not obvious to me, since you can find the notes of either G minor and Bb major triads. Furthermore the Eb and C notes seem to point to a Am7b5 chord which, as a diatonic chord can also be found in both keys. So how can one decide whether the key is Bb major or G minor ?
I'm a composer who knows most of these things already, yet I still watch and support all of your videos because such concise and qualitative musical content is so rare on youtube. Keep up the good work, I see this channel gaining a lot of followers in the near future!
Thank you - I'm so glad you're enjoying them! Stay tuned for more, I hope I have time to keep making them as I have a lot I want to share...!
xWeegee7777x Great to see a fellow MuseScorerer on here! :D
i agree, with this quibble: resolved itself into tragedy, not positivity" . I would take great issue with your use of the hackneyed Americanism "positivity" here. i have no idea what you mean by it, and is suspect neither do you. by positivity, do you mean some kind of shallow new age american Tony Robbins confection, do you mean the "just do it" positivity of corporte america's mendacity, or do you mean the opposite of tragedy, which is comedy? i would argue, you mean none of those. tragedy is not "negative" anyway, in the arts, b/c the it provides catharsis (dont trust me trust aristotle) for the listener, or viewer, which is very positive. on the other hand, when my mother had just died, telling me an joke, might have been quite negative....so whatever G major implies is not positive anymore than G minor is negative. . a more accurate opposition would be dark versus bright.
resolved itself into tragedy, not positivity" . I would take great issue with your use of the hackneyed Americanism "positivity" here. i have no idea what you mean by it, and is suspect neither do you. by positivity, do you mean some kind of shallow new age american Tony Robbins confection, do you mean the "just do it" positivity of corporte america's mendacity, or do you mean the opposite of tragedy, which is comedy? i would argue, you mean none of those. tragedy is not "negative" anyway, in the arts, b/c the it provides catharsis (dont trust me trust aristotle) for the listener, or viewer, which is very positive. on the other hand, when my mother had just died, telling me an joke, might have been quite negative....so whatever G major implies is not positive anymore than G minor is negative. . a more accurate opposition would be dark versus bright.
hey man, i just got a question. i'm sorta new to all of this. the thing that keeps bothering me is that whenever a composer decides to change a key, for instance, fur elise, it starts in A minor and goes to C major in the first theme right but how can we say it was a key shift? i mean technically it's just it's relative major that means that we just changed the chord and not the key? im kinda confused :)
I’m a literature major and I can say that this is in a general sense how novels are written. Thank you for the video!
please explain further im writing both and i think i see what youre saying but please elaborate itd b greatly appreciated.
alex d'Aquino
A typical novel/movie follows this 3-phased structure:
The beginning, in which we see 2 main characters(eg good guy & bad guy; boy & girl) and their conflict (eg wanna kill each other; like each other but encounter obstacles).
The development, in which the conflict worsens (eg it’s expected that the one who loses will die together with all his friends; they start to doubt their relationship).
The climax, in which the conflict is resolved (eg one side wins, or they become friends; the couple overcomes the obstacle, or realises they never can), usually in an unexpected way.
While classical music (according to this video) often has 2 themes which combine at the end, novels/movies are similar. For example, in Titanic, Rose experiences a double-conflict of deprivations of true love and freedom. In the end, she chooses
Jack over the rich guy, thereby resolving both conflicts. Of course, a masterpiece usually contains multiple themes, mainly related to personality, personal interests, the greater good, physical action and ideologies (eg in The Godfather, Michael becomes cold and cruel, saves the family business, kills all his enemies and betrays his American dream of becoming a respectable law-abiding citizen unlike his immigrant father).
Feel free to ask more questions (tho I may not be capable to give very good answers) ;)
@@johnleung7250 whoa
I'm a writer _and_ composer, or at least I'm a wannabe for both. I can clearly see how it relates, and I find it very interesting.
This is a great little tid bit. Thanks for explaining!
@@eldridge1555 I think philosophical and scientific proofs too: you've got a thesis, an antithesis (or alternative thesis), an argumentation of some sort or scientific test, and a conclusion where you refute or validate the initial thesis. I think it's a universal basis for any logical structure
Props for incorporating Hegel’s dialectic. You are a musician and a scholar.
Perhaps he made a rational-empirical synthesis?
1:31 3 parts
2:27 parts in a bar
2:54 coda and intro
3:59 exposition
5:10 codetta
6:05 development
8:07 recapitulation
9:29 3 pts of recap
10:17 coda
10:33 bar timeline
Very instructive indeed, however, and may I point out something that has confused me a lot when I was studying Music aesthetics, I think it is important to make it clear that sonata form is the structure of one movement of a piece. It is most of the times the first movement of a piece, which can be a symphony, a concerto or even, surprise surprise, a sonata. Beethoven's famous Moonlight Sonata, has its first movement in a sonata form, and other two movements that are not sonata-form. You probably know this already, but I thought it'd be cool to reinforce that to the viewers who didn't.
tl;dr: sonata form and sonata are two different things.
Good point.
This should be higher up. I was confused throughout the video as I expected a breakdown of how a Sonata's movements work with each other ! Thank you for clarifying.
Thank you, I was wondering whether or not this was the case!
Minor note: the Moonlight Sonata's third movement is also in sonata form, and indeed is the more important of the two, giving an effect like the entire sonata's structure was reversed (the second is just a scherzo and trio).
Beethoven also put the main movement as the finale in the preceeding Sonata quasi una fantasia, Op. 27, no. 1.
Thank you so much for this clarification, because I was also very confused lol
For anyone who wants to go more in-depth with classical-era sonata form, I recommend to read and work through Caplin’s ‘Analyzing Classical Form’. Its probably the most comprehensive text on high-classical sonata formal analysis out there.
I have to search that book, thanks for the tip! I actually bumped into another one of Caplin's books at my University's library, called "Classical Form : A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven", I wonder if it tackles with the same concepts
@@ToastedCigar he has one book called Classical Form (Theory of Formal Functions for the instrumental music of Haydn, Mozart and Beethoven) and another called Analyzing Classical Form (An Approach for the Classroom)
But I dont like reading
for so long classical music has been a mystery to me, and i’ve never known what makes it tick or what exactly goes through the composers’ heads while they write it. this channel is helping a lot with understanding the inner workings of classical music that i didn’t see before. thank you!
I'm a musician studying for my upcoming exam on harmony&form, mostly focusing on sonata form. This was a great review for me, very clear and concise. Thanks for your video!
Wow. Your channel deserves to be better known ! This should be taught at school ;)
Thanks - glad you've enjoyed it
If only schools still supported arts
Patrick Chong how do they not?
Thanks so much for this video. I've always been intrigued by classical music (well, exploring new genres of music in general really), but never been able to get into it. Having this framework has transformed what previously seemed to be a mess of randomly placed, jarring, unpleasant key changes and a mysteriously annoying use of repetition, into something that actually makes sense. Now I finally know what to listen for. A lot of the advice I've read on the net has been to "just listen", but I probably would have never figured this out on my own by just listening. Or at the very least, I would have ran out of patience before then.
Thank you! Exactly! I know what you man, it can be overwhelming until you figure out that so much of it fits into regular structures.
Then what becomes exciting is listening to how the composer breaks the traditional mould. You'll start hearing Beethoven's genius being like "Oh wait, isn't that supposed to go there? But him doing *that* makes it even MORE dramatic, what a genius".
The rabbithole goes deep
I completely agree. A violinist friend and I went to a symphony and I was asking all sorts of questions like what is fugue, Sonata, etc.. and I realized there is structure and form to classical pieces (like poetry) and it really did help me appreciate the music more. (Even if I still didn’t enjoy some of it.) I do have to wonder if the audiences listening at the time understood what a sonata form was or was that knowledge just for composers and musicians - seems quite complicated for the average person.
@Michael Lochlann very true!
Excellent video, good pacing, great analogies, extremely informative for me. Thank you!
Good to see you out!
I have been listing to classical music since I was a child. Some fifty years ago.
Never took a music theory class.
Your videos have given me a new appreciate of classical music.
Thanks
Most of this stuff comes naturally to those that listen in the purist circumstances, it's just we don't have the language to attribute to it.
European Bourgeois I was wondering if I was the only one who noticed simply by listening.
In Mozart's 40th symphony, listen carefully to the end of the development section of the first movement In a rare and wonderful moment: the violins are impatient and begin their recapitulation before the winds had completed their development, creating a "splice" between sections. Beethoven does something similar in the last movement of his first symphony.
I had listened to this series of videos a while back to get to know classical music better, but only understood them in spirit. Now, after listening to multiple pieces, revisiting this series makes it an even better experience. Thanks for the enlightening series!
Music appreciation teacher here: I love your videos! I use them all the time in my class. They are top notch!
I've been soooooo hesitant to write the first movement (I kind of started with the third movement =E) of my first symphony, and I'm so confused about sonata form/mvmt 1 form. A lot of videos on TH-cam are kind of useless and don't get anywhere, but this one did. Inside the Score explains is so well! Recommend for any young composers. 👏👏👏
Thank you for this entertaining and helpful video! I’m teaching myself a Beethoven sonata and never took music theory. Though I was making good progress with the themes and breaking down chunks, I kept getting lost with which key change happened next each time I finished a section. Now I feel like I’m finally speaking Beethoven’s language and I have a roadmap to make sense of the piece!
So good to hear! Hopefully you'll be able to apply this to a lot of music you cover too! Also, try some of my other theory videos - particularly "How to listen to a sonata" i think it's called - that covers a lot of common structures too.
Thanks!
Thanks for this! I took music history and advanced theory in high school, but it's been years. It's great to have a quick refresher! Came because of the Harry Potter musical analysis, stayed for the LOTR analysis, and now slowly making my way through all of your videos. Thank you!
Haha wow, thanks so much! I'm doing a Masters at Yale now so I'm suddenly mad busy, want to make loads more but finding the time is the problem at the moment. Hopefully there'll be more coming soon-ish :)
probably the best video out there on this supject! great stuff
This is even better and clearer than the music history classes I've had. Thank you!!
You have made exactly the videos I have always been searching for! Thank you! New sub for sure, keep it up
Thanks! Glad to hear it - means a lot! I'm trying to make the videos I wish had existed 8 years ago when I was getting into it all
Well I’d say you’ve hit the nail on the head with this channel-I can’t wait for more videos!
Thank you - comments like this make me want to continue making them
and the he shoots himself again, apparently with a machine gun.
That is part of Beethoven's genius. Make the sound so unconventional and difficult to resolve while at the same time making it sound flawless and engaging.
This was the best video and explanation about sonata form i’ve ever heard and seen in my whole musical life! Thank u very much.
Thank you for your videos. I've only been enjoying classical music for a few years with very minimal knowledge of music in general. I've always wanted to understand and appreciate classical music on a more profound level, and this really helps me. Hopefully, by watching more of your videos, I'd be able to make more sense of the music I'm listening to and put my thoughts and feelings about it into words.
One of the best tutorion on sonata form!
10:00 I'm laughing way too hard at this part XD
Me too, way too hard might I add.
Came across your channel 2 years ago but now coming back again, I'm still very intrigued. Great work! Thank you so much :)
Thank you for making classical music accessible.
Focused, interesting and understandable with helpful musical examples from one of the masters! Thank you for sharing your creativity.
Brilliant video!
"Apparently with a machine gun" 10:09 my favorite line of the whole video.
Excellent discussion. It discusses basic structure along with the creative molding of the structure. One exception. There are really only two parts to the sonata form 1) exposition 2) development-recapitulation. Second repeat always brings back to the beginning of the development. Many performers ignore the second repeat however.
You're doing God's work.
You know, I believe he is.
The connection with Hegel's dialectic is so interesting!
This is quite good work and I will share it quite often. Two quick points: the opening of Mozart 40 seems very romantic despite being a classical era work. The chromaticism seems to make it someone battling with deep self doubts. Lawrence Kramer, in his book "Why Classical Music Still Matters" points out how classical music, often setting up the return of a "long-lost" theme (Recap), "tells the story of its own becoming." In other words, the exposition and development often turn out to be a big "flashback" (in movie terms) and the recap is the REAL start, now that we know everything hanging in the balance.
EXCELLENT!
TRULY EDIFYING!
This video makes us, enjoy, learning and makes us enjoy the Music, so much more!!!!
Make for us many more videos like this one!
Don't be afraid to tackle more complex topics!
People are "hungry" to learn, more and more, about Music, all types!
However, Classical Music has an, endless, supply of complex inner workings, which will keep on BEGUILING US FOREVER!!!!!!!!!!!!
I've watched one video, and now I'm subbed.
This is the best channel about classical music. I’m learning so much! Thank you for your work, it’s invaluable
Thank you for these videos . I blindly love classical music, so it’s great to receive guidance, or find a formal an explanation to what I was aware of emotionally and intuitively.
Awesome explanation, extremly interesting!
I have kept watching this particular video from time to time in the past five years or so.... and what attracted me most is the way how you presented Beethoven's uniqueness and his talents vividly to me each time when I watched them. I now understand Beethoven better and appreciate his music more imaginatively... I'm a classical music lover. So, thank you very much!!! And I wish to see more of your presentations on such subjects.... Great job!!!!
There’s no one on the web doing the wonderful kind of work that you do
I have my exam on this tomorrow. Thanks so much for the video!
This is a brilliantly done explanation of sonata form! I hope you gain more followers.
So the Sonata Form is a Hegelian Dialectic? Exposition --> Development --> Recapitulation (or in Hegelian conception, Thesis --> Antithesis --> Synthesis)? Damn you, Inside the Score. You got it.
Wonderful video! Thank you so much!
Glad you enjoyed, thanks for watching! Stay tuned for more
Excellent very helpful. I think I will have to study more to understand this fully. Videos are a great format for this though.
So beautifully explained, I always wanted to learn what a sonata exactly is, and now I know!
Thank you Score! This is sooo fun to watch & listen to..... I'm such a dork... 👊 👓 🙂
I really enjoyed the straightforwardness of your video. I like how you talked about integrating of the two ideas into the Recap with your example. Well Done!
Outstanding! Thank you for the gift of a brilliant teaching video.
Hey great video! Awesome channel as well, super informative and looking forward to more videos. Interesting that you said Sonata form developed from Binary form, as the Exposition-Development-Recapitulation structure screamed Ternary form to me. Keep up the amazing work!
Thanks - glad you enjoyed it. Yes well it's the idea from binary form that, harmonically, the first part would start in the tonic and then end in the dominant; the second part would then hoover through many keys before ending in the tonic again. So Sonata Form really expands that 'tonal' concept, rather than simply the fact that there are three sections to it!
wow, best explanation I've ever known!
Brilliant video - you've got to the heart of the matter.
Thank you for this... after watching two minutes of the video, I learned so much.
thanks for such an incisive introduction to sonata form, this helps me a lot
I'm very interested in learning about the overall structures progressions can be based on as well as common modulations so this is one of the great answers I was looking for. Thanks!
Thank you for the video! Now, a question: What about movements?
Second movement is ususally slow, in ABA form, third movement is a Menuetto/Scherzo + Trio and the last one is a sonata rondo
Hopefully, they are solid
Learning so much from your channel. Thanks for your time and energy. Means so much to me.
That was a captivating and very well composed lecture! Thank you!
This is amazing! Why did I just find out about this now? And why do you only have 34k subs?! Excellent content!
Thumbs up! Very good video. I'm learning to compose, and this video helps be better understand the sonata form.
Thank you very much for producing a very instructive video. 🙏
thank you for this !!
Dude, brilliant lesson!
What an amazing video. Interesting and well rounded. Thank you!
Very detailed, and great examples! Huge help for me starting out with composition!
I didn't know any of these terms, but I feel like it was easy to understand if you think back on things you've listened to.
Thank you very much.. Keep up the good works!
Understanding structure of classical musics is fairly important when you listen one and this video is brilliant~~
I love this guy! you bring great content for composers dude fr
I am greatly enjoying your videos
classical music seems foreign and arcaic... until you start talking about it. I absolutely love this, my dude. #Subbed
My comment: all the good things I've read in the comments + your voice and vocal expression is epic!
This is brilliant!
This clarified so much for me. Thank you!
An excellently made video, very useful for my music lessons!
Well done, extremely helpful for it's explained in a intelligent way, many thanks
thank u for the help been struggling w, my online music class, lately huhu. thank u so so much!
Thanks man! Great video!
8:03 but sometimes this one may be in subdominant key(exsample Beethoven sonata no.8 1st movement) with modulation to home key
What a fabulous lesson. Thank you
I enjoy this video greatly! It's clear and well-structured. I have learned a lot. Looking forward to seeing more of such well-considered videos. Of course, I am subscribing for sure!
I love the explanations of the rules.... often things I haven't heard before. reminds me of Bill McGlaughlin's "Exploring music" which I listen to daily, but it's like you are trying to fit it in 10 minutes what bill talks about for an hour, or even 7 hours sometimes! not enough time to really feel each thing you say so it sinks in better, so it kinda leaves me feeling incomplete, as if i only heard a snippet of a song and now its stuck in my head until I finish it.
Thank you for introducing me to Bill's show. Well, I wish I had 7 hours and a full time paid job to do what Bill does. But I have to make do with my limitations
Very, very informative and interesting
Thank you!
very good writing and presentation. i follow all the points you make with great interest in getting to know more about them, however this is where i offer my constructive critisim: there arnt enough examples musics in the videos. Since i guess your intent is to educate those who are willing to know the basic musical concepts, it's really good to back those concepts(and you presented so many interesting ones)with brief examples. You've already done so for some, im feeling there could be a great deal more and it'd make your videos much easier to appreciate, for the uninitiated ones like me. Right now it feels more towards reading an essay, albeit a well written one. you have already done a great job at explaining the concepts, seems a bit shame the full potential is not reached by exploiting the video format more. Anyway keep'em coming! :)
amazing vid, very helpful
Genius video!
amazing, thank you very much for clear explanation
An excellent video. Thanks
Great Video. Something I would add though, is that sonata form does not necessarily have two theme groups. Some have three in three distinct keys (Bruckner)
Really useful; however as you have stated in the description that this is a ‘full account’ of sonata form, I think you have been slightly dismissive of the idea of the use of monothematic first and second subject expositions which are not limited to the very early history of sonata form, but occur throughout Haydn and was something Beethoven picked up from him and used as well (it is rare in Mozart). One or two others have picked this up in the comments.
It was Haydn, probably even more than Mozart who established sonata form as a model into which composers could pour their finest thoughts and within his own sonata form movements, displayed an astonishing range of originality and new ideas that fascinated both Mozart and Beethoven in his own time.
That apart, this is a really well explained and useful guide that will be helpful to many viewers, thank you.
Quiz: Which well-known symphony delays the arrival of the second subject until the Development section?
I thought the "really amazing" was a bit over-the-top until I figured out where my favorite parts of my favorite pieces lined up.
Good explanation for beginners like me though I don't understand the whole thing :)
Thank you so much for your content. Legend
Thank you so much for the video
absolutely great content
At 4:21 you introduce the first group and state that it's in G minor. But from looking at these four bars, this is not obvious to me, since you can find the notes of either G minor and Bb major triads. Furthermore the Eb and C notes seem to point to a Am7b5 chord which, as a diatonic chord can also be found in both keys. So how can one decide whether the key is Bb major or G minor ?
Wow this helps me A lot. This can help me to make Music!
Great work, thanks!
Great content!