Hi, Bruno, nice form analysis and beautiful graphic organization. Thank you for sharing. On the Harmonic side, I think I caught a misinterpretation: when the upper staff change to bass clef, I'm afraid you continued reading as it was treble clef. So, the F/E would actually be A-/E, and so on. Take a look there. Greetings.
Thanks Bruno for this very helpful content you are posting. while i was checking this analysis, i noticed a tiny notation mistake, measure 81, the G should be noted G- ( there is Bb in it and as well i was surprised because it sounds really minor ).
Yup that was my mistake, you can actually see that in the Roman numeral I wrote it as minor but I must have had a slip of mind writing the chord symbol.
@@brunoroblesrendon when i see the quality of your analysys (the best on youtube for me) i have no doubt that you can spot the difference between a maj and min chord :) i want to thank you again for your work, it really helps me. i studied jazz harmony in conservatory but never studied classical music even though i love this music as well. i wish one day you analyse pieces wich contain both functional and non functional harmony ( maybe early shoenberg Transfigured night, or some Ravel, or Debussy, i dont know...) i always thought that Debussy was already using more modality (vs tonality) but your analysis of Arabesque proved me wrong. i am fascinated by this period where tonal harmony become more elusive and the chord changes are more surprising and rich, while in same time very coherent. i find hard to get informations about these types of harmony. some modern jazz is on this subtle frontier , i try to compose this way, but i need more material and theory to study.
@@jean-xf9mv Thanks for the kind words. I do plan to later to analyze less tonal music. I just need to find the time, I've been very busy lately and I'm currently working on analyzing another film theme.
![Gustav Mahler - Adagietto from Symphony 5 (Bernstein) [Score]](/img/n.gif)
I have never before seen a jazz-style harmonic analysis over a piece of classical music. Clear and thorough explanation. Thank you!
This is brilliant, thank you so much for this magnificent analysis.
Wow, your analysis is going to the next level. I love it! Thanks for sharing 😊 really enjoy reading your analysis.
Thanks for the kind words :)
Fantastic to see this! Looking forward to learning a lot from your analysis!
thanks for the kind words
It's not boring at all! Very exciting! Thank you
Sehr schönes Werk und eine gute Analyse.
Una meravella de analisis.......Congratulations
Hi, Bruno, nice form analysis and beautiful graphic organization. Thank you for sharing. On the Harmonic side, I think I caught a misinterpretation: when the upper staff change to bass clef, I'm afraid you continued reading as it was treble clef. So, the F/E would actually be A-/E, and so on. Take a look there. Greetings.
pretty sure its a Neapolitan 6 chord (bII6)
Thanks Bruno for this very helpful content you are posting. while i was checking this analysis, i noticed a tiny notation mistake, measure 81, the G should be noted G- ( there is Bb in it and as well i was surprised because it sounds really minor ).
Yup that was my mistake, you can actually see that in the Roman numeral I wrote it as minor but I must have had a slip of mind writing the chord symbol.
@@brunoroblesrendon when i see the quality of your analysys (the best on youtube for me) i have no doubt that you can spot the difference between a maj and min chord :)
i want to thank you again for your work, it really helps me. i studied jazz harmony in conservatory but never studied classical music even though i love this music as well.
i wish one day you analyse pieces wich contain both functional and non functional harmony ( maybe early shoenberg Transfigured night, or some Ravel, or Debussy, i dont know...) i always thought that Debussy was already using more modality (vs tonality) but your analysis of Arabesque proved me wrong. i am fascinated by this period where tonal harmony become more elusive and the chord changes are more surprising and rich, while in same time very coherent. i find hard to get informations about these types of harmony. some modern jazz is on this subtle frontier , i try to compose this way, but i need more material and theory to study.
@@jean-xf9mv Thanks for the kind words.
I do plan to later to analyze less tonal music. I just need to find the time, I've been very busy lately and I'm currently working on analyzing another film theme.
Good work
Congrats, but measure 16 this F/E should be an A minor...
No, thats definitely a Neopolitan 6 chord (bII6)