Thank you for this brilliant analysis of Beethoven's complex and ever surprising harmonies. I like the instability of diminished 7th chords and the expectation and drama they create.
The introduction to Op. 111 does share some similarities with the "Pathetique" introduction (dotted rhythms, diminished 7th chords), but Beethoven's harmonies are more advanced, as one would expect with the late style. An interesting point about diminished 7th chords: there are only three possible chords in the 12-tone chromatic scale, and Beethoven uses all three within the first five bars of the intro.
Gareth, I have been watching your videos for over a year and after this one I just felt compelled to comment. Your ability to tell Beethoven's story by explaining the musical ideas is amazing!
As an amateur appreciator of music theory and classical music listener, I am riveted by analyses such this. I will now put on some headphones and listen to this sonata. Thank you for the education, and I appreciate this channel very much.
Delightful video. Clearly, there is enough going on in this sonata to provide teaching material for (at least) 3 full hours of instruction. Thanks so much!
Beethoven music seems to bring you in joy and excitement like few other subjects. Not that it's "diminishing" the content of the analysis at all. It's both in a good mood and still pretty technical. One of your best. But I'm not quite sure what Beethoven is trying to express with this intro except: I'm a brute and I do what I want.
Excellent analysis and video!! This has long been my favorite introduction a Beethoven Sonata, and one of my favorite Sonatas in general!! Love those Diminished chords!! Thanks for the upload!!
I'm laughing out loud watching this. It is so funny how you mimic the reaction of the listener caused by the unpredictability of this piece. Great as always, Gareth. This piece is wonderful.
Shows how fluid and adaptable diminished chords are. It’s very interesting, because in many ways, this has a formal classical structure with tonics, fourths and fifths, but using diminished chords to create tension before changing chords.
I'm still trying to wrap my head around Ger+6 chords. So in this case he's in Ebm and goes to the Ger+6 which in my jazz brain is essentially a B7. My question is-"normally" with the Ger+6 chord, it "should" resolve down to the Bb7 chord right? So I guess my question is was it considered "wrong" for him to go somewhere else with the Aug6 chord? Did that fall outside the realm of what they considered to be functional harmony at the time, or are those Aug6 chords-like diminished chords-able to be used as gateway chords to take you to different keys? Obviously that's what he did, but I'm curious if that was groundbreaking, or were Aug 6 chords used that way in say Bach's time as well?
This is Beethoven extending the use of the Diminished 7th and opening up possibilities for enharmonic manipulation. The German 6th sounds like a Dominant 7th but is notated differently - therefore the voice leading and resolution are different.
@@MusicMattersGB thank you for your reply! but his treatment of the voice leading for the aug6 is not the way we are taught. That’s what’s interesting to me. He goes the opposite direction than the “correct” voice leading. Moving the Cb up to a C and the A natural eventually down to the Ab. Would it be safe to say the Aug 6 is a non-functional result of the bass passing motion to the C diminished?
Absolutely. This is what I’m suggesting by claiming that Beethoven is exploring new ways of using the Dim 7th. And yes, we have to observe what he’s doing in order to understand less conventional resolutions.
@@MusicMattersGB got it. Thank you! I’m really curious if Bach ever went aug6->dim7. It wouldn’t surprise me as his chorales are constantly blowing my mind. But so far everything I’ve seen is resolving in the “normal” way. Please let me know if you know of any chorales where Bach does weird stuff with aug6 chords! 🤣
Of course, way back in his first symphony (in C), he makes the very first chord V7 of IV resolving to IV, then interrupts a cadence in the tonic by moving from V7 to vi, and then cadences in the dominant before finally settling on the home key, so he was a scamp, wasn't he? 😀
It’s such a good opening and clever that by the opening statement of the first subject he has been both sides of the tonic key so when the first theme comes it’s positioned right in between the F and G major secondary dominants of the intro.
If Beethoven was deaf, he was hearing all this in his head, without reference to how it actually sounded on a piano. Amazing! I'll stick to rock music.
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Thank you for this brilliant analysis of Beethoven's complex and ever surprising harmonies. I like the instability of diminished 7th chords and the expectation and drama they create.
They’re great chords to colour things
The introduction to Op. 111 does share some similarities with the "Pathetique" introduction (dotted rhythms, diminished 7th chords), but Beethoven's harmonies are more advanced, as one would expect with the late style. An interesting point about diminished 7th chords: there are only three possible chords in the 12-tone chromatic scale, and Beethoven uses all three within the first five bars of the intro.
Absolutely
Gareth, I have been watching your videos for over a year and after this one I just felt compelled to comment. Your ability to tell Beethoven's story by explaining the musical ideas is amazing!
That’s most kind.
As an amateur appreciator of music theory and classical music listener, I am riveted by analyses such this. I will now put on some headphones and listen to this sonata. Thank you for the education, and I appreciate this channel very much.
That’s great. Much more at www.mmcourses.co.uk
Delightful video. Clearly, there is enough going on in this sonata to provide teaching material for (at least) 3 full hours of instruction. Thanks so much!
There’s so much in it.
Beethoven music seems to bring you in joy and excitement like few other subjects. Not that it's "diminishing" the content of the analysis at all. It's both in a good mood and still pretty technical. One of your best.
But I'm not quite sure what Beethoven is trying to express with this intro except: I'm a brute and I do what I want.
😀
Listen to the vocal utterance at 8:54. That's what Beethoven is trying to express. 😀
😀
Excellent analysis and video!! This has long been my favorite introduction a Beethoven Sonata, and one of my favorite Sonatas in general!! Love those Diminished chords!! Thanks for the upload!!
It’s an amazing work
I'm laughing out loud watching this. It is so funny how you mimic the reaction of the listener caused by the unpredictability of this piece. Great as always, Gareth. This piece is wonderful.
Glad you’re enjoying it. That’s great. Much more at www.mmcourses.co.uk
Shows how fluid and adaptable diminished chords are.
It’s very interesting, because in many ways, this has a formal classical structure with tonics, fourths and fifths, but using diminished chords to create tension before changing chords.
The Diminished 7ths are his primary way to add colour and drama.
Excellent analysis...
😀
Great video. Thank you! I love these deep dives in to specific pieces.
Glad it’s helpful. Much more at www.mmcourses.co.uk
I thoroughly enjoyed your bewilderment and explanations as much as the music.
Not really. There is nothing like Luigi and his music.
😀
I do understand less than half of it, but I love to try and wrap my head around it!
Keep going! Much more at www.mmcourses.co.uk
I'm still trying to wrap my head around Ger+6 chords. So in this case he's in Ebm and goes to the Ger+6 which in my jazz brain is essentially a B7. My question is-"normally" with the Ger+6 chord, it "should" resolve down to the Bb7 chord right? So I guess my question is was it considered "wrong" for him to go somewhere else with the Aug6 chord? Did that fall outside the realm of what they considered to be functional harmony at the time, or are those Aug6 chords-like diminished chords-able to be used as gateway chords to take you to different keys? Obviously that's what he did, but I'm curious if that was groundbreaking, or were Aug 6 chords used that way in say Bach's time as well?
This is Beethoven extending the use of the Diminished 7th and opening up possibilities for enharmonic manipulation. The German 6th sounds like a Dominant 7th but is notated differently - therefore the voice leading and resolution are different.
@@MusicMattersGB thank you for your reply! but his treatment of the voice leading for the aug6 is not the way we are taught. That’s what’s interesting to me. He goes the opposite direction than the “correct” voice leading. Moving the Cb up to a C and the A natural eventually down to the Ab. Would it be safe to say the Aug 6 is a non-functional result of the bass passing motion to the C diminished?
Absolutely. This is what I’m suggesting by claiming that Beethoven is exploring new ways of using the Dim 7th. And yes, we have to observe what he’s doing in order to understand less conventional resolutions.
@@MusicMattersGB got it. Thank you! I’m really curious if Bach ever went aug6->dim7. It wouldn’t surprise me as his chorales are constantly blowing my mind. But so far everything I’ve seen is resolving in the “normal” way. Please let me know if you know of any chorales where Bach does weird stuff with aug6 chords! 🤣
Bach is not a great fan of augmented 6th chords in his Chorales. He’s much more likely to use a Dim 7th or to employ secondary dominants
Of course, way back in his first symphony (in C), he makes the very first chord V7 of IV resolving to IV, then interrupts a cadence in the tonic by moving from V7 to vi, and then cadences in the dominant before finally settling on the home key, so he was a scamp, wasn't he? 😀
It’s such a good opening and clever that by the opening statement of the first subject he has been both sides of the tonic key so when the first theme comes it’s positioned right in between the F and G major secondary dominants of the intro.
Meticulous and minute as always. A pleasure to listen to :-)
Glad it’s helpful. Much more at www.mmcourses.co.uk
Beethoven most profound works together with his last 5 string quartets.
Absolutely
If Beethoven was deaf, he was hearing all this in his head, without reference to how it actually sounded on a piano.
Amazing!
I'll stick to rock music.
Absolutely
So lots of temporary tonicization here the ole sport did, eh?
😀