It’s interesting how the “rules” of different eras can change how we perceive certain qualities of chord. In the Strauss, what makes it so striking is the fact that all the dissonances are unprepared appoggiatura. However in the earlier examples there is a tendency for the crunchy notes to be prepared and resolved as one would expect for the time period. Perhaps seeing this clear relationship between (prepared) dissonant note and resolution makes us want to label it as a suspension, whereas the lack of such obvious delimitation in the Strauss makes us go “oooh jazz chord”! I’m not sure
Wow. Another brilliant video. I've met this type of chords before while studying jazz, following Barry Harris' principles. He explained that as borrowing notes in sixth diminished scale. So colorful! Thanks for the video
The roots of jazz run much deeper than people really know. Formally it may be a newer style,but echoes of its form are seen throughout western musical history
Great video. This chord really does evoke a strong "Romantic" feel for me, particularly of the mid-19th century period, but you did a great job at tracing it back to its (less Romantic?) origins.
What a great video. Subscribed! The most memorable use of this chord to me is as the deceptive cadence at ‘wandle deine Bahnen’ of R. Schumann’s ‘Er, der herrlichste von Allen’. It is so poignant because the root motion implies a simple V-I, but we soon find out it is vi6/3 with this special suspension affixed.
honestly the best music theory channel on yt <3
9:47
It’s interesting how the “rules” of different eras can change how we perceive certain qualities of chord. In the Strauss, what makes it so striking is the fact that all the dissonances are unprepared appoggiatura. However in the earlier examples there is a tendency for the crunchy notes to be prepared and resolved as one would expect for the time period. Perhaps seeing this clear relationship between (prepared) dissonant note and resolution makes us want to label it as a suspension, whereas the lack of such obvious delimitation in the Strauss makes us go “oooh jazz chord”! I’m not sure
This is blowing my mind Michael. So fascinating. Great detective work!
Wow. Another brilliant video. I've met this type of chords before while studying jazz, following Barry Harris' principles. He explained that as borrowing notes in sixth diminished scale. So colorful! Thanks for the video
Wonderful stuff
First time i have seen one of your videos. Great examples used. Excellent job!
Definitely going in my "crunchy" toolkit! Many thanks for this :)
Amazing video !❤
The roots of jazz run much deeper than people really know. Formally it may be a newer style,but echoes of its form are seen throughout western musical history
I'm so glad I found this channel. 😁
Thank you. A great presentation.
The same progression appears in the chromatic fantasia as well!
Great video!!
Great video. This chord really does evoke a strong "Romantic" feel for me, particularly of the mid-19th century period, but you did a great job at tracing it back to its (less Romantic?) origins.
Yeah! Love Couperin's Prelude!
Amazing!!!
Well, I made it to the end - so nice to have my 'nerd' status confirmed! Great video btw!
What a great video. Subscribed! The most memorable use of this chord to me is as the deceptive cadence at ‘wandle deine Bahnen’ of R. Schumann’s ‘Er, der herrlichste von Allen’. It is so poignant because the root motion implies a simple V-I, but we soon find out it is vi6/3 with this special suspension affixed.