Italian Basso Continuo 1650-1700
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- เผยแพร่เมื่อ 30 พ.ค. 2016
- For the footnotes and other extra information see the following link:
www.earlymusicsources.com/you...
Created by Elam Rotem and Oren Kirschenbaum
www.earlymusicsources.com
Many thanks to Thomas Leininger and his harpsichord:
Gianfranco Facchini 2009, after Giovanni Battista Giusti 1678
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this channel is the best thing on TH-cam... I canceled my Netflix subscription after finding this channel.
Who could have thought that "fasten your seatbelts" is suitable when speaking of the early music! You are great, thank you.
I think I don't deserve this because I'm starting to learn piano now, at the age of 36. But, at the same time, I'm eager to know everything about the roots of music. I'm grateful.
don‘t worry, I am 70 and have just 2.5 years of basic tuition behind me. Just starting with Bach and Mozart… look at it this way: what little we can learn for the remaining time left to us will serve us well in our next life.
What a treat to hear and see Elam’s wonderful playing, and in a luxuriously appointed room.
Note to self:
POINT #1 (00:49) Counterpoint
1:36 (1:47) Accented Passing Note
2:24 (2:41) [PIE!] Note scambiate
2:50 Fancy Counterpoint (Scarlatti)
POINT #2 (3:10) Nice Things
3:14 (3:24) (3:31) Plagal Cadence (Penna)
3:39 (3:53) (4:00) Preparamento alla cadenza (Bismantova)
POINT #3 (4:23) Crazy Things
4:25 (4:49) (5:00) Playing Pieno ('full') Common cadence (Penna)
5:22 (5:45) [PIE!] Simple realization (6:13) 'Regolo' version (6:50) Regolo slow-mo(tion)
POINT #4 (7:51) Transpositions
Meraviglioso, Complimenti vivissimi 👏👏👏👏👏👏👏👏👏👏👏👏👏 Se avessi avuto molti anni fa spiegazioni così chiare, mi sarei appassionata a questa grande Materia! Seguirò il Vostro Canale con interesse!!! Cordiali saluti, Anna
5:00 This is how 17th century jazz sounds like
Wow! This was such a well-produced and enjoyable video. I'm very much looking forward to more videos in the future!
I gripe about the stuff youtube recommends to me sometimes, but then youtube recommends a great video like this and I forgive them
Beautiful videos! I am also amazed by your excellent pronunctiation of Italian words.
Mmm I think he might be Italian.
milles merci Elam pour tout ce travail et le partage du fruit de toutes ses recherches , je suis tous les jours sur early music sources avec mes élèves de basse continue du conservatoire de Besançon, définitivement le meilleur site sur ce sujet !!
I'm sorry it took so long for me to discover these videos. Very enjoyable.
Chris Palo I agree!
Really excellent video, and it is absolutely remarkable that you also provide references and footnotes in the link. Thank you for doing this! Such high-quality educational material is very much needed nowdays - Greetings from Italy, Lionello
Quite good. I also teach basso contino and my Italian harpsichord is also a Facchini!
Not only entertaining, but very informative. And such innovative harmonies for the period!
Thanks so much! Very nice to actually have notes available!
Wonderful teaching method....simply excellent! As a Cellist, I love keyboard insight! Thank you very much.
Thank you for everything,Elam. Great job,wonderful musicality...
I've been following this channel since the beginning and was interested to see/hear what it offers on the art of Basso Continuo. It really feels like the channel came a long way throughout the years, covering topics more in depth and with higher quality - well done!
I would appreciate to find a good source that I could use to teach myself BC with emphasis on practice rather than theory. Thank you!
Early music will have a huge comeback.
And you guys are the tip of the spear.
Keep it up!
Elam, I have just discovered your channel and am watching all your videos. Marvelous!
I've just started on grade 6 theory and A level music, I found this video very helpful! I'll be sure to watch more :)
Beautifully explained and performed. Grazie mille
BRAVO!!!
Grazie per i tuoi video molto utili e interessanti!!!
👍👍👍👍👍
I have never gotten into renaissance music/ early baroque until I watched this show. Bravo on your performance at the harpsichord in this video! :)
that minor 9th chord at 7;20 anticipates jazz centuries early
I had noticed that too :))
that b9 sure surprised me. what a completely unexpected sound from the period.
excellent! Thank you so much for sharing your research... Especially in the context of studies, it is typically the kind of thinks one should do on his own, but doesn't have any time to !
Incredibly nice content! Thank you for this amazing and enjoyable video!
Great job! Very well explained and an impressive video technique. My students are enjoying it a lot!
Thank you sincerely. This is very helpful.
Brilliant and beautifully done. Molto bello!
Excelent! I am violinist and this things are very important.
Thank you!
Bravissimo! Magnifique!
me encantan sus videos!! maravilloso!! estoy aprendiendo mucho
Love this channel so much! Keep doing these videos please :)
Outstanding video. Wonderful points and excellent performance.
6:14 😳😳😳 WOAH! This changes everything. I love it so much!!!!!
Very Nice Elam! Well done! Hope more to come.
Wow fantastic exposition. Molto grazie!
Wonderful videos thank you!
It was fascinating. Congratulazioni molti!!!!!
Está de lujo. ¡¡Súper trabajo!! Sei bravissimo! ;)
A very interesting and well made video. Thank you!
This is fantastic. Excellent. Thank you.
Thank you !!!
Congratulazioni per il video e le spiegazioni molto chiare !
this vid rly discovered a lot for me thanks!
You play very beautifully !!
Nice work!
Thanks!
Thank you! I LOVE YOU
This is great in soooo many levels!
love the instrument too
This is the best material on youtube about this subject. What temperament are you using? Your cembalo sounds like a dream
Video molto interessante che finalmente hanno fatto valere tutti questi miei anni di studio di armonia
Great video, grazie!
I really enjoyed it, Thank a lot! :)
great , thank you
This was really sweet!
This was so interesting
fantastico !
You are doing god's work and it seems you got his harpischord for it. My inner teenager is thankful for this video, please make a lot more. Cheers
This stuff is absolutely fascinating and I adore the fascinating insight provided in all your videos.
I can’t help but wonder whether or not this Gasparini fellow knew what he was talking about... some of this harmony (especially the minor 9th) is so wonderfully outlandish, and as wonderful as it is, can this man’s treatise really be considered to be an authority on general practice? Perhaps Gasparini was just a bit crazy and this was just HIS practice, and not really a reflection of anyone else. I’d absolutely love to believe that continuo players were playing minor 9ths in dominant cadences in the 17th century, and it’s clear that at least Gasparini did, but is there any reason to believe that the use of such insane mordents and acciaccaturas was particularly widespread? I’d appreciate any information.
And I used to think Basso Continuo simply refereed to a chord progression that continually repeats throughout the piece...
Maybe you were confused with Basso Ostinato (en.wikipedia.org/wiki/Ostinato#Ground_Bass:_Late_Renaissance_and_Baroque).
7:34 - I always wondered what the correct pronunciation of "acciaccature" was.
As an Italian, I can confirm that he pronounces Italian words very well.
Beautiful playing! I want to learn how to play mordenti and acciaccature! I want to be able to play like that! That was very impressive!
Stunning, the anonymous Bologna Ms. was written by an early Duke Ellington! Just like the 'thickening' of texture by adding a 4th and 5th saxophone to the section was certainly primarily a means to achieve a more beefy and weighty sound it worked only with arrangers like Ellington, Benny Carter or Thad Jones who knew how to extend chords with quite similar dissonances rather than doubling the consonances as was the case in so much orchestral and even piano music of the 19th century ce..
Un’oasi di autentica bellezza nel mezzo della sterilità di questo mondo.
this video is great! :D :D
Buen canal viejo. Suscrito👍
thanks for reminding me that i cannot play basso continuo...
Thanks for the insightful video. It gives a glimpse in what the Basso continuo of that time might have sounded. In our days we only have the bass and the numbers and I suppose most performers would not dare to play similar to the examples shown in the video. You already have a beautiful instrument, but if you are in Berlin and want to visit the workshop of a talented cembalo maker, who makes very beautiful sounding instruments, I can give you his address and introduce you. It is always a pleasure to watch your videos. Greetings, Nils.
3:38 it was obvious why the passing 6th was added but not the augmented 4th... My only guess is that it becomes a sort of modal or melodic leading tone to the natural 5th?
So much overkill. I love it.
Your videos are awesome.
Could you please recommend explicits Books to lern Counterpoint and basso continuo?
Amazing, thanks! Do you have any advice on how to start with transpositions..? Maybe some early exercises? Thanks!
Hey guys, Can speak in spanish please?
Hard core all your work.
Mis clases de música eran de nivel elemental. Ahora todos los estudiantes sienten el trasfondo de cada noción o concepto tocado.
Gracias. Además de admirarles, disfruto su producción audiovisual un montón.
Gracias por acercarnos a las profundidades donde no llegaríamos jamás. En los pueblos de Colombia estamos en apnea apenas.
וידאו נפלא , הסבר בהיר וחינני... יישר-כח ! Precioso
Very fabulous! What is the tuning temperament used on this Facchini Harpsichord ?
Hi, very nice videos. Could you explain please why in minute 3:21 you call that a plagal cadence?
I thought it was a semicadence because goes to the fifth grade and plagal cadences go from the fourth grade to the tonic. Thanks a lot a keep up the music outreach
I like the "Bla bla bla" chapters!
Very good! Thank you!
By the way, I found that the link to the acciacature and mordenti video does not work, though one can still find the video on your channel.
Thanks for noticing! I fixed it
I'm a music beginner, but learned that if I want to progress, I have to regress. I heard that Bach used a sort of 9th chord that wasn't used again for 300 years with the introduction of jazz. But Italian musicians seemed to have that covered, n'est-ce pas?
Does anyone know the aria at 5:46? It’s lovely
Composition is not about formulas or crazy or bad notes, it is about something to express, something deep, something moving or a product of our perception. The result will conform to many musical theories, but the reason why conservatory composers fail is attachment to theory.
5:20 minor 9th*
Are they all in C Major? I need keys signatures
Besides, what is basso continuo?
Obrigado pela tradução para o português
Ficou muito bom!!
WOW! you can make me feel very stupid haha :D LOVE your channel! more on vocals vocals vocals
No, no he makes us feel ignorant, which is not the same thing at all. If you are stupid, you can't feel bad for not knowing something.
Ignorance can be cured by learning, stupidity can't be cure at all.
pardon my ignorance but i was wondering if playing the chord notes simultaneously or each after the other is a matter of choice? i don't see symbol or anything that suggests they should be played together or not. especially, the last chord is often sounded each note at a time. thanks
Sorry i cant give you a precise rule (I am still a beginner) but although the continuo notation doesn't indicate whether you should arpeggiate or play the notes simultaneously, there are certain sections of the piece where arpeggiating the chord makes sense and others where it doesn't. This however is not to be taken strictly, you can always play the chords in the "wrong" way to give more character to the music, but you should also have in mind that doing this too much can make the music boring or confusing. In short playing the chord notes simultaneously or arpeggiating them is a matter of choice to a degree. While playing continuo gives you freedom, you also want not to mess things up by breaking the "rules" too much.
(sorry if my English is bad. It's my second language)
I loved your realization of the song that was brutalized by Penna! (in my opinion)
Anon. was the greatest composer of all times.
why is it a dimiminshed ninth, not a minor ninth?
you are right, a diminished nine in modern terms would be something else. It's a minor ninth.
I'm not sure that I follow your argument at 2:00 about Penna. With basso continuo, only the bass is given, and the right hand is realization, right? So somehow you draw the conclusion that that first F should not be realized and only the subsequent E. How do you draw that conclusion? And even if you recognize that the F is a passing note, why do you switch the chord from G to C (in 6/3 position) on the 3rd beat and not the fourth?
You are right, only from the bass one cannot know for sure whether it is a passing note or not. But you can see it in other given voices in the composition. This is a common phenomenon one can see in compositions and was explicitly mentioned in basso continuo treatises.
thanks. That explains it. Using the other voices.
No new videos?
What are the names of composers who use this the most?
What do you mean by "this"? if you mean Acciaccature, it's not something that composers use, it's something that performers use. Acciaccature are found in sources in the late 17th century but also in 18th century treatises. It's up to us, according to the descriptions in the source, to find pieces that we think are appropriate for this kind of performance.
Early Music Sources :( I am very sorry, I did not mean to be disrespectful. I asked because the music at 2:10 was so beautiful and unlike the music I am used to, and wondered where I could find similar music. Again I am sorry and thanks for replying.
You were not at all disrespectful, you should't be sorry! :) I was trying to understand what are you referring to. If you refer to the music at 2:10 - this is just a generic example of the "transitus irregularis" (the accented passing note), that can be found within the different styles of music from the 16th to the 18th centuries.
I always told my uncle that in this period they discovered rock'n'roll (minus backbeat, maybe).
I want to transcribe that piece to piano (I can't read music fluently).
I want to bring this back into composition
Neil Walsh you and me both
Me three
@@Ekvitarius I've been going through all the Bach cantatas. Bach fused styles through continuo. With our modern forms and the older forms, I see room for new composition. In fact, I would argue music stalled after Beethoven up to Berg exhausted the sonata form. I am trying to return to the dance in composition including the improvised nature of continuo and tonality mixed with dissonance. Order is not the enemy!
@@Ekvitarius We're constantly told that sonata form is the highest form. On the contrary, I find myself looking to Bach as the idea means of fusing ritornelli, the dance, deep form, polyphony and the human voice. Beethoven in his late compositions, and Schumann, for example, seemed to grasp this sense of melody and line?
wow, b9 chords in the 17th century!?!