Hey there! a couple months ago I asked you about the relation between jazz and classic improvisation, and you told me that the difference was that jazz standards have a set of fixed chords, at least that was what I understood. I think I've found a way through! I'm exploring the barry harris M6/dim system (which resembles the RoTO) and noticed how it works as a device for freely harmonizing a melody. Also, the harmony he gets from altering the diminished chord sounds just like romantics modulation devices that you show in your channel. Just wanted to point it out in case it helps you, sharing my enthusiasm! Thanks, greetings
1:42 ;those are some nice suspensions with coloration. interesting progression, I’ve never heard it before, I - V6 - IV6 - iii6?! Is this to be seen as just a falling fauxbourdon?
lol yeah, I'd call this a Fauxbourdon - with 7-6-suspensions applied. And I'd stay away with the Roman numerals from that thang! I mean: what's the point in tagging it with those? How does it illuminate the progression when it''s actually just a parallel shift of 6th chords that descends by step and that is already the entire mechanism behind it (and it actually hasn't any functional logic)... You haven't heard it before? I don't believe you :DDD Thanks for asking!
@@en-blanc-et-noir why give something a label, because it helps us humans to order our thoughts. In retrospect, the first chord in the sequence is actually an a minor 6 chord, so yeah, falling fauxbourdon that doesnt „need“ labeling, other than to analyze something for yourself - and being able to look over your thoughts again.
Can you talk about special harmony found in Issay Dobrowen, Medtner, Bortkiewic and Blumenfeild music. Im trying to learn to improvise in their style especially Dobrowen, but goddaaamm its confusing. Im like okay, if I play this with this I get this, but then I look at the actual complexity of their work and I’m no where near it. I love late romantic music, I think its the evolutionary peak of music, and I love it more than anything( ik what I just said is corny💀) but I humbly ask for theeee god of musicology on this planet for help.
lol never heard about Dorowen, but I'm gonna check out. As far as I can see Bortkiewic (a composer that I dig regularly!!!) and Blumenfeld are pretty much outright Chopin epigones with the generall Russian late romantic flavours in it. Medtner is pretty different I would say... But I understand why you count them among the others, of course! I have limited ressources so I can always just work on one thing at a time...
@@en-blanc-et-noir no problem, I also recently discovered him; I took one listen to his piano concerto and I strongly believe he should be up there with Rachmaninoff. its sad that like 80% his works are lost
The ‚Prinner’ is a term invented by the musicologist Robert Gjerdingen, using the name of a German 18th century music theorist that describes a prevalent standard cadence of baroque and classical music that takes place above a snippet of the descending major or minor scale on the degrees 4-3-2-1. It usually begins with the triad on the 4 (subdominant), descends in to the 6th chord on the 3 (tonic) and does a 7-6 suspension on the 2 resolving into the tonic. In many cases the 2-1-progression (tenor cadence) is replaced by a 2-5-1 cadence with 7th chords on 2 and 5. There is a Chapter in Gjerdingens ‚Music in the Galant Style‘ on it but you probably find other sources online. The Prinner is part of a greater repertoire of musical schemata - which are standard, or off-the-shelf phrases that have been uncovered in the field of historical informed music theory and the historical improv scene but for some reasons have been ignored by mainstream music theory.
Modulating is trending at the moment 😉 Very nice and musical examples
@@ClaireODonnell you‘ve seen Justin‘s videos?
Thx for passing by✌️
Yeah, exactly! :)
Please who's Justin?
Good stuff man
I'm a big fan your channel
More of these kind of stuff... you're doing great
i love the beginning of the first exercise
Hey there! a couple months ago I asked you about the relation between jazz and classic improvisation, and you told me that the difference was that jazz standards have a set of fixed chords, at least that was what I understood.
I think I've found a way through! I'm exploring the barry harris M6/dim system (which resembles the RoTO) and noticed how it works as a device for freely harmonizing a melody. Also, the harmony he gets from altering the diminished chord sounds just like romantics modulation devices that you show in your channel.
Just wanted to point it out in case it helps you, sharing my enthusiasm! Thanks, greetings
1:42 ;those are some nice suspensions with coloration. interesting progression, I’ve never heard it before, I - V6 - IV6 - iii6?! Is this to be seen as just a falling fauxbourdon?
lol yeah, I'd call this a Fauxbourdon - with 7-6-suspensions applied. And I'd stay away with the Roman numerals from that thang! I mean: what's the point in tagging it with those? How does it illuminate the progression when it''s actually just a parallel shift of 6th chords that descends by step and that is already the entire mechanism behind it (and it actually hasn't any functional logic)... You haven't heard it before? I don't believe you :DDD
Thanks for asking!
@@en-blanc-et-noir why give something a label, because it helps us humans to order our thoughts. In retrospect, the first chord in the sequence is actually an a minor 6 chord, so yeah, falling fauxbourdon that doesnt „need“ labeling, other than to analyze something for yourself - and being able to look over your thoughts again.
Good stuff 👍
Can you talk about special harmony found in Issay Dobrowen, Medtner, Bortkiewic and Blumenfeild music. Im trying to learn to improvise in their style especially Dobrowen, but goddaaamm its confusing. Im like okay, if I play this with this I get this, but then I look at the actual complexity of their work and I’m no where near it. I love late romantic music, I think its the evolutionary peak of music, and I love it more than anything( ik what I just said is corny💀) but I humbly ask for theeee god of musicology on this planet for help.
lol never heard about Dorowen, but I'm gonna check out. As far as I can see Bortkiewic (a composer that I dig regularly!!!) and Blumenfeld are pretty much outright Chopin epigones with the generall Russian late romantic flavours in it. Medtner is pretty different I would say... But I understand why you count them among the others, of course! I have limited ressources so I can always just work on one thing at a time...
Thanks for introducing me to Dobrowen, it's interesting for me! :DD
@@en-blanc-et-noir no problem, I also recently discovered him; I took one listen to his piano concerto and I strongly believe he should be up there with Rachmaninoff. its sad that like 80% his works are lost
Sorry but what is "prinner" someone please help :c
The ‚Prinner’ is a term invented by the musicologist Robert Gjerdingen, using the name of a German 18th century music theorist that describes a prevalent standard cadence of baroque and classical music that takes place above a snippet of the descending major or minor scale on the degrees 4-3-2-1. It usually begins with the triad on the 4 (subdominant), descends in to the 6th chord on the 3 (tonic) and does a 7-6 suspension on the 2 resolving into the tonic. In many cases the 2-1-progression (tenor cadence) is replaced by a 2-5-1 cadence with 7th chords on 2 and 5.
There is a Chapter in Gjerdingens ‚Music in the Galant Style‘ on it but you probably find other sources online. The Prinner is part of a greater repertoire of musical schemata - which are standard, or off-the-shelf phrases that have been uncovered in the field of historical informed music theory and the historical improv scene but for some reasons have been ignored by mainstream music theory.