Just discovered your channel recently, and it is really a gem! I really cannot tell why that YT algorithm wouldn't have suggested it earlier, but now it brightens up these dark days a lot.
HA! Danke, Jonas! Ich habe gerade mal bissle durch deinen Kanal gescrollt und direkt abonniert, sauber! Sieht richtig interessant aus! TH-cam-Algo: ja, ich denke der muss erstmal den ganzen Schlamm beiseite drücken - und bei minütlich hundertirgendwas Stunden neuem Videomaterial... dauert das :D
Danke für die Blumen. :-) Ich denke eigentlich, dass mein Konsumverhalten mir Deine Inhalte schon wesentlich früher über den Weg hätte laufen lassen sollen, aber so gibt es wenigstens immer wieder angenehme Überraschungen.
I am re-watching this, and laughed at 3:30 when you talk about having to “smuggle in” two accidentals quickly when going from a minor key to the dominant. 😃 I miss more than I want to admit when watching your videos for the first time. Am I the only one here who needs to watch these multiple times?
This is a fantastic video! I got my BMus in the early '90s, and had forgotten most of this stuff.. it was a brilliant refresher course for me, and you delivered it with pace, humour and clarity. Thanks! Subbed 😊👍
Great tutorial, Michael. I loved your opener and closer to the video. It made me laugh, because the closing sequence shows exactly how my head feels when I start thinking about so many keys!! :-D
I like to make sequential sketches that I’ll later make asymmetrical to melodically modulate, I can’t stand raw sequences in other genres, even Mozart’s sequences irritate me sometimes but I acknowledge nuanced sequences are essential to articulate melodic intent
ha! THX Mr.! Well, you proabably didn't check the channel, but sequences is probably the most exhaustively covered topic on the channel: Fauxbourdons: th-cam.com/video/fnb2Q8gL5vY/w-d-xo.html Circle of 5ths sequences: th-cam.com/video/KxAqEvW8piI/w-d-xo.html Romanesca: th-cam.com/video/Nq1WCblU_rg/w-d-xo.html 2-3-chain/7-6-chain: th-cam.com/video/aJut2xoQb9w/w-d-xo.html Scarlatti as Master of Sequence: th-cam.com/video/zXW6zUcUs0U/w-d-xo.html ... you actually can binge on this topic! Cheeeeeers
You can tune a piano but you can't tunalord... Thx! Well I gotta say I don't see how the central concepts presented in the video (1. Rule-of-the-octave-modularity and 2. chromatization of diatonic scaffoldings) are hittin' the same note as Neo-Riemannian Theory. But you're gonna tell me for sure :DDD
So refreshing! Module....a new note in the progression of terminology.....sequence....schema....module? Cadences, to me, are the foundational schemas. Exit Module...pinpoints my current struggle recognizing key changes and re-ordering my do-re-mi accordingly. "Module" well it's like modulation, which is good, but sadly "module" has considerable emotional connotations related to it's wide use in academia. "Schema", Gjerdingen's choice (for something different) is wonderfully neutral, despite near equal employment over the years. Modulette? ;) Outstanding video, again!
well :D module is not a new term. Modularity in general is a nessecary concept of teaching improvisation which means that you devide music into learnable building blocks that can be combined within an open space of multiple options. Partimento in general provides a modular approach to music and as I try to show in my videos, it can be transmitted to later styles as well…
Your welcome! :D that's quite a comment! I somehow stumble across the term "non-diatonic thirds"... Common sources before let's say 1750 discuss the diminished 7th chord always linked to the scale (if not RO-wise), so this chord is somewhat grounded in the expanded concept of diatonism of minor scales (common accidentals)/keys and implies distinct resolutions. The oldest source I know that comes up explicitely with the thing you're describing (enharmonic spelling and thus multiple resolutions) is C.P.E. Bach's "True Art...", if you scroll a bit through it you'll find it, I think there's even a special chapter. BUT: I bet there's earlier sources and there is of course baroque pieces that implicitely demonstrate this possibility. I'd say it was in the air... My humble opinion on this: the dim7th as systematic modulation device is a topic that's way overstretched in modern harmony theory (which doesn't mean that it doesn't play a certain role in compositional practice) and it surely doesn' have the importance that the popularity of this topic suggests - or can you name 5 examples on the spot? :DD If you wanna search for stuff like this to proof your suspicion then you surelly find original examples in a) dramatic recitatives or b) extravagant fantasia-genres. And after that please come back and tell me what you found :DDDD Are you pleased with that answer?
@@en-blanc-et-noir I think I agree with you about the lack of examples, even in Jazz. My apologies for not responding sooner. Thanks for the reply!! I'm coming back (after 40 years of playing "non-western" music on strings) to studying Baroque and romantic/jazz music, so my questions may seems strange. In coming back to my post after 3 months. I initially didn't even understand my own post! Upon reflection, I see that the question relates to my study of Barry Harris' teaching where he lays great emphasis on the three diminished 7th chords and the family of 4 dominant 7th chords that applies to each dim 7th chord. As an aside, is it possible to say dominant and diminished chords to mean dom 7th and dim7th chords?
at 6:32 when you land on that 6/5 chord, with 4 in the bass (4 of E major i guess?), why is the C not sharp if E major has C#? is that not supposed to be a ii7 chord first inversion in E major leading to the cadential 6/4 and then the V?
that is a common "romantic alteration" of the 6/5 chord on 4 and it is indeed a ii7 but I've never looked at this chord as a ii7 because it is much more evident to describe it just as you did: 6/5chord with flat third instead of the diatonic major third. This is truly a very an absolute standard device. E.g. Check the intro to Chopin's Nocturne Op. 32,2, you can see the alteration from major to minor!
@@en-blanc-et-noir interesting. so is this where the idea of borrowed chords maybe comes from in the modern way of thinking about chords? since that ii7 with a flat third would technically be a borrowed half diminished ii7 in first inversion from the parallel minor?
@@DanDanDan-c2w yeah, that's true. So E minor would be the parallel minor of E major??? What's c# minor then? Is this called relative minor? E minor and E major are parallels (and vice versa), is this correct? I'm sorry for asking because in Germany parallels are E major and c# Minor and E minor would be the "Varianttonart" ("variant key") of E major. That is confusing...
@@en-blanc-et-noir haha all good yea i've always known parallel keys to mean a key with the same starting note but different tonal characteristic, whereas the relative was always the minor key that's on the 6th degree of a major key (and the major key on the 3rd degree of a minor key). we also use parallel to refer to any mode, like parallel dorian or parallel lydian etc.
Timestamps:
00:00 Intro
00:43 Musical disclaimer
01:08 BAROQUE style examples + 7-1 exit
04:01 Applying the 7-1 exit onto two other sequences (faux and tied bass)
04:31 Common thoroughbass figures above 7-1
04:49 4-3 exit module derived from tied bass sequence
05:35 ROMANTIC descendant of this sequence
06:22 Prelude-style modulation Bb-E (4-3 exit)
06:50 Derived SWEET modulation F-Cb, Waltz-style (4-3 exit) + circle modulation in tritone relations
08:18 A kind-of-sequence by CHOPIN
08:59 Modulation d-b (7-1 exit) in Waltz style
09:20 How to exit via 4-3
09:40 Modulation d-Eb (4-3 exit) in Waltz style
10:01 Modulation C-a for TWO PIANOS :D
Thank you again and again and again and again and again and again and again and again for your videos!
:DD
This video is fire!
Sprayed some snot around the flat on "Shopan". 👌
seems like it became a standard spelling… I saw it frequently on yt
What a genius channel!
Just discovered your channel recently, and it is really a gem! I really cannot tell why that YT algorithm wouldn't have suggested it earlier, but now it brightens up these dark days a lot.
HA! Danke, Jonas! Ich habe gerade mal bissle durch deinen Kanal gescrollt und direkt abonniert, sauber! Sieht richtig interessant aus!
TH-cam-Algo: ja, ich denke der muss erstmal den ganzen Schlamm beiseite drücken - und bei minütlich hundertirgendwas Stunden neuem Videomaterial... dauert das :D
Danke für die Blumen. :-) Ich denke eigentlich, dass mein Konsumverhalten mir Deine Inhalte schon wesentlich früher über den Weg hätte laufen lassen sollen, aber so gibt es wenigstens immer wieder angenehme Überraschungen.
I am re-watching this, and laughed at 3:30 when you talk about having to “smuggle in” two accidentals quickly when going from a minor key to the dominant. 😃 I miss more than I want to admit when watching your videos for the first time. Am I the only one here who needs to watch these multiple times?
You can explain things very well! I really Like watching your videos
keep going man 👍
Totally awesome!
Outstanding!
10:01 a clear sign that he’s being held hostage by steve reich and is sending out a call for help ;)
Bro this is a GREAT video
Thank you very much. Wonderful. Brilliant!
Another great vid! Learning from you has become my top priority on piano. Just after Violin.
"...just after violin" ok then :DDD Nah, I'm glad you enjoy it!
This is a fantastic video! I got my BMus in the early '90s, and had forgotten most of this stuff.. it was a brilliant refresher course for me, and you delivered it with pace, humour and clarity. Thanks! Subbed 😊👍
Absolutely brilliant video 👏 Very informative and helpful 🙏
Great video!! Could you make one talking about the baroque fantasy? . Thanks!
Thank you, Luis! Baroque fantasy, phew... ha, what like?
awesome content!
Wow, that was eye opening! Very pleased to have discovered your channel - happily subscribed :)
thx for comment and subbing!
Great tutorial, Michael. I loved your opener and closer to the video. It made me laugh, because the closing sequence shows exactly how my head feels when I start thinking about so many keys!! :-D
I like to make sequential sketches that I’ll later make asymmetrical to melodically modulate,
I can’t stand raw sequences in other genres, even Mozart’s sequences irritate me sometimes but I acknowledge nuanced sequences are essential to articulate melodic intent
Subscribed - I would love to hear more about sequences
ha! THX Mr.! Well, you proabably didn't check the channel, but sequences is probably the most exhaustively covered topic on the channel:
Fauxbourdons: th-cam.com/video/fnb2Q8gL5vY/w-d-xo.html
Circle of 5ths sequences: th-cam.com/video/KxAqEvW8piI/w-d-xo.html
Romanesca: th-cam.com/video/Nq1WCblU_rg/w-d-xo.html
2-3-chain/7-6-chain: th-cam.com/video/aJut2xoQb9w/w-d-xo.html
Scarlatti as Master of Sequence: th-cam.com/video/zXW6zUcUs0U/w-d-xo.html
... you actually can binge on this topic!
Cheeeeeers
Sooooo cooooool! 😎
This is incredible
is it? 😅
@@en-blanc-et-noir of course
@@richardk1598 Thanks Rich :D
❤🎉 Thanks
Great video! If you havent checked it out before, Neo-Riemannian Theory would be right up your alley ✌
You can tune a piano but you can't tunalord... Thx! Well I gotta say I don't see how the central concepts presented in the video (1. Rule-of-the-octave-modularity and 2. chromatization of diatonic scaffoldings) are hittin' the same note as Neo-Riemannian Theory. But you're gonna tell me for sure :DDD
Subscribed- you are scratching an itch😮
So refreshing! Module....a new note in the progression of terminology.....sequence....schema....module? Cadences, to me, are the foundational schemas. Exit Module...pinpoints my current struggle recognizing key changes and re-ordering my do-re-mi accordingly. "Module" well it's like modulation, which is good, but sadly "module" has considerable emotional connotations related to it's wide use in academia. "Schema", Gjerdingen's choice (for something different) is wonderfully neutral, despite near equal employment over the years. Modulette? ;) Outstanding video, again!
well :D module is not a new term. Modularity in general is a nessecary concept of teaching improvisation which means that you devide music into learnable building blocks that can be combined within an open space of multiple options.
Partimento in general provides a modular approach to music and as I try to show in my videos, it can be transmitted to later styles as well…
Thanks! Is it common to Baroque to see non-diatonic thirds as part of a diminished 7th ? And then use that knowledge to modulate to 4 keys?
Your welcome! :D that's quite a comment! I somehow stumble across the term "non-diatonic thirds"... Common sources before let's say 1750 discuss the diminished 7th chord always linked to the scale (if not RO-wise), so this chord is somewhat grounded in the expanded concept of diatonism of minor scales (common accidentals)/keys and implies distinct resolutions. The oldest source I know that comes up explicitely with the thing you're describing (enharmonic spelling and thus multiple resolutions) is C.P.E. Bach's "True Art...", if you scroll a bit through it you'll find it, I think there's even a special chapter. BUT: I bet there's earlier sources and there is of course baroque pieces that implicitely demonstrate this possibility. I'd say it was in the air... My humble opinion on this: the dim7th as systematic modulation device is a topic that's way overstretched in modern harmony theory (which doesn't mean that it doesn't play a certain role in compositional practice) and it surely doesn' have the importance that the popularity of this topic suggests - or can you name 5 examples on the spot? :DD
If you wanna search for stuff like this to proof your suspicion then you surelly find original examples in a) dramatic recitatives or b) extravagant fantasia-genres. And after that please come back and tell me what you found :DDDD
Are you pleased with that answer?
@@en-blanc-et-noir I think I agree with you about the lack of examples, even in Jazz.
My apologies for not responding sooner. Thanks for the reply!! I'm coming back (after 40 years of playing "non-western" music on strings) to studying Baroque and romantic/jazz music, so my questions may seems strange. In coming back to my post after 3 months. I initially didn't even understand my own post! Upon reflection, I see that the question relates to my study of Barry Harris' teaching where he lays great emphasis on the three diminished 7th chords and the family of 4 dominant 7th chords that applies to each dim 7th chord. As an aside, is it possible to say dominant and diminished chords to mean dom 7th and dim7th chords?
at 6:32 when you land on that 6/5 chord, with 4 in the bass (4 of E major i guess?), why is the C not sharp if E major has C#? is that not supposed to be a ii7 chord first inversion in E major leading to the cadential 6/4 and then the V?
that is a common "romantic alteration" of the 6/5 chord on 4 and it is indeed a ii7 but I've never looked at this chord as a ii7 because it is much more evident to describe it just as you did: 6/5chord with flat third instead of the diatonic major third. This is truly a very an absolute standard device. E.g. Check the intro to Chopin's Nocturne Op. 32,2, you can see the alteration from major to minor!
@@en-blanc-et-noir interesting. so is this where the idea of borrowed chords maybe comes from in the modern way of thinking about chords? since that ii7 with a flat third would technically be a borrowed half diminished ii7 in first inversion from the parallel minor?
@@DanDanDan-c2w yeah, that's true. So E minor would be the parallel minor of E major??? What's c# minor then? Is this called relative minor?
E minor and E major are parallels (and vice versa), is this correct? I'm sorry for asking because in Germany parallels are E major and c# Minor and E minor would be the "Varianttonart" ("variant key") of E major. That is confusing...
@@en-blanc-et-noir haha all good yea i've always known parallel keys to mean a key with the same starting note but different tonal characteristic, whereas the relative was always the minor key that's on the 6th degree of a major key (and the major key on the 3rd degree of a minor key). we also use parallel to refer to any mode, like parallel dorian or parallel lydian etc.
6:23 😍
Breath! please!
👍🏼👍🏼👍🏼
👍🏽👍🏽👍🏽
SHOPAN
lol what about him?
You are sooo cute.
Well... thanks haha