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There is a cadence with a similar effect in Beethoven's cadenza for Mozart's piano concerto No. 20: Right before the end of the cadenza, there is a series of bII V7 i progressions. The tonic chords are all in root positions, on the first beats etc., but they sound so incomplete...

I love the video, your (shared) perception, and the way you talk and explain. Really cool, congratulations! It seems to me you have the same urge I have at times, that is to explain to others something I enjoy so very much, in the hope that other people will find it compelling too. BTW, the 4th concert is one of my first discoveries, as a teenager. Pollini and Karl Böhm with the Wiener Philharmoniker, what a gorgeous concert, and a gorgeous execution (ruclips.net/video/fQjCzEhek3A/видео.html).

I presume it's a combination of me being used to more harmonically complex music (not better, just more complex) and you hyping it up so much before actually playing the music, introducing some bias and priming me to disagree with you, but no matter how many times you played it, that G major never sounded unresolved 🤔

Sam, two things: Beethoven being tongue in cheek - I can well believe it. The last movement of the Emperor Concerto if FULL of good-natured humour with Beethoven joining in with the listener for a good old laugh. I am certain he had a great sense of humour and that he could be very grumpy is not surprising given the desolation of his deafness, which affected his love of company. Then there's the last movement of the Waldstein sonata, brimming with humour and, yes, laughter, especially when he briefly breaks into 3/4 time. It often makes ME burst out laughing. I do wish folk would stop regrading Beethoven as 'a tragic figure'. Yes, there was tragedy in his life (e.g. his concern, then obsession, with his nephew and ugly fight with his sister-in-law which really got out of hand. And there was his for ever falling in love with 'unsuitable' lasses - a snobbish class thing on behalf of their parents - and never finding a companion. So the really remarkable thing is that he stayed comparatively good-humoured despite his illnesses (not just deafness)! Sounds daft but I would have like to have met him. No doubt he would have regarded me as an insufferable pain, but there again maybe not. May he RIP.

B major would be the 4th key in the cycle of 5ths from G major, so that is why it makes musical sense. In essense, Beethoven was making use of a JAZZ concept in the Orchestra RESPECT.

Love this. subscribed.

🥰

The best thing about dominant chords is that you don't even have to make all 4 to resolve to all 4 of their respective keys. From a B dim chord, you can make G7, Bb7, Db7, and E7 by lowering each note, and those then resolve to C, Eb, Gb, and A respectively. But you can easily do all that with even just one of the dominant chords. G7 naturally resolves to C, but just switch the tritone through a cheeky tritone sub and it resolves to Gb. G7 also resolves to A via the deceptive cadence, and, again, just apply tritone sub to deceptive cadence and you've got Eb. Another cool party trick is reversing the process and raising each note i stead of lowering it. What you'll get is a minor 6th chord (raising the B in a B dim will make F, Ab, C, D), which is a cooler alternative to the perfect cadence - the minor plagal cadence. As the tritone between Ab and D neatly resolves to G and Eb (or E natural), it gives you this darker iv-I. You can hear it at least twice in Beethoven`s Sonata op.13 no.8 Pathetique - at the end of the slow intro he goes Fm6-Cm, right before the big chromatic run tnat leads into the first motif. And second time right at the end of the second motif with all the trills, he goes Cm-Abm6-Eb-Bb-Eb. The diminished chord is amazing; so versatile, I love it.

This was really really packed with useful information. My music is somewhere in the realm of rock but I have an extreme appreciation for classical composers, and your explanation was one of the most understandable analysis of a piece that I've come across. Subscribed, and hoping for more!

I like your ZZ Plant I have one too

Funny, it sounded resolved to me. I was honestly disappointed that it returned to the V right after. I think the sense of resolution must be partially informed by our own expectations. Its a cool piece either way

That E flat section was beautiful, definitely inspiring.

In theory class they would call this a two note slur or arguably a localized IAC. It is one of the most overused trick in the classical literature. The sonority seems highly similar to a cadencial 64. In theory class, they tell you this device has to be in second inversion, but textbook theory does not cover exceptions.

This guy has so many gaps in his understanding of music. There ARE accidentals and modulated cadence. That must be embarrassing.

Broke G Major? Then I don't want to know what Charlie Parker and John Coltrane did to it, and all the other keys. <looks over his shoulder at the ghost of Barry Harris>

Can you spell: tonicization

Brilliant video, thanks for uploading this. Looking forward to more content from you!

I don’t understand the third mechanism! Can someone explain how do you come up with these bases and cadences?

There is a c# in the soprano at the beginning of the 1rst Motiv that clearly makes the feel of that final G chord unresolved in a sort of plagal cadence to D Major. You can look at it just as an melodic ornament, but in Beethoven there is never just an ornament.

I liked the video and loved the cat!!!

I've loved this concert ever since the first time I heard it. Thank you for posting this in-depth analysis of the changing keys.

The algorithm just fed me one of your videos, and I quickly devoured the rest in one sitting. Love your content! Keep it up!

nice kitchen :)

Beautiful channel ❤ keep it up 👍

The second phrase containing the tonic substitute (B major harmony) is foreshadowing for the E-flat major local modulation later. The G major harmony transitions to its "B major doppelgänger" in the second phrase by semi-tonal displacement around a common tone. Beethoven holds the B from both harmonies, but lowers the G one half step and raises the D one half step from the G major chord to morph it into the B major harmony. He invokes a similar change later when the local modulation to E-flat occurs. If one keeps the G from both harmonies, but lowers the B and raises the D one half step each, G major becomes E-flat major. Beethoven had been doing this for quite a while by the time the 4th Concerto was penned. It is an astoundingly impressive work. For more transformations like this, one should study Neo-Riemannian theory and its transformations. When I was introduced to this in my university studies, I found a wonderful world of possibilities that composers have been using since the early 19th century (like Beethoven, and later Schubert, Brahms, etc.). Composers were seeking techniques for more distant key modulations, as the tuning systems now allowed for this evolution.

Broke. Another word to add to the list of words the internet isn't using right.

2:27 Oh look, it's the mew chord!

Very interesting study of Beethoven. Thanks for the insight into genius.

You make me feel as though I'd never actually listened to it. ;)

the day beethoven broke A-minor

Nicely done

It feels a bit like D64-53 situation, but there's G as the root note of the chord. However we oscillate so quickly between G and D that our brains might interpret it this way like the long G chord had D in bass, but it doesn't 😉

I‘d love to listen to some of the conversations you have with your dad about music! It seems as if he‘s a very knowledgeable guy showing you stuff like this!

Ah, the KISS principle. Keep it simple stupid, one of my favourite musical tools. It also applies to almost anything in life. ✌✌

The rythm get more fast and the dynamics louder,

so the piece had been in d mixolydian the whole time?

I think all chords in terms of the mode they represent in the context. It seems romantic composers thought chords as complete keys.

Hey Sam, I like this piece and this chord! I would argue that the chord at m. 27, an augmentation of the suspension that began the piece, can be heard as a Dominant harmony because its resolution is the V. I hear an inner-voice Dominant pedal starting at m. 15, weaving from the horns to the basses (mm. 18-19), then to the 2nd Violins and violas (mm. 20-26). The lowest voice in the bass is a result of the counterpoint during the Dominant pedal, and the chord at m. 27 has an "alias" of G-major Tonic, but because of its function as a suspension and its location within a Dominant pedal, I would argue that the function is Dominant. M. 68 is where we return to a structural Tonic in root position, but no sooner. (Yes, there is a fleeting moment of root-position G major in mm. 37-38, but it's within a sequential episode.)

Well done analysis, thanks!

That's some next level stuff. When that D hits the bottom falls out and everything just floats. To me the rhythmic build in the preceding bars is doing quite a bit of heavy lifting, like Beethoven's idea of a juke. I wonder if putting a C note in the D chord voicing leading up and in resolution would completely ruin the effect. I get jealous looking at music with lots of voices, with guitar you get maybe three good ones or you get forced into a corner and need to employ some serious gymnastics. If your good at playing traditional folk music, you can get that type of thing to happen, a fifth down is what typically happens in my playing (usually by accident).

I'm not sure I'm hearing the instability

Thank you - very interesting - you have a new subscriber!

What recording is this? I mean who is playing?

My favorite piece of classical music ! For 50 years. Brings tears to my eyes every time.

BEETHOVEN IS GOD!!! 👊🏾🎹😈✨

Imo, i still hear the g chord as tonic but with just a little more energy because the top note is b and not g

I wore out my record of Clibern with Reiner...love this concerto

that Eb to G is nothing short of amazing. how??

Who's the real genius? (Sam) The Genius or the genius who recognizes and can analyze & understand the true genius? (Sam)