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Ah the circle of fiths are the pearls of music knowledge the truth in the beginning of understanding creating a story of sound &or a song of your hearts through sound pulls on the heart strings

How is four forty c-M & A r one and the same true correct???

Isn't the first beat of 2nd last bar supposed to be I6? It's a major chord.

That chord at the end of the penultimate phrase was quite the shock the first time I heard it. Different conductors handle it differently: some dwell on it, some just plow onwards as perhaps Bach himself did.

It’s a standard Lutheran tune, “Christ unser Herr,” but the last verse of a different hymn usually sung to that tune. Bach certainly has a grand time with it. As a Bach enthusiast who is almost a functional illiterate musically, I can’t quite appreciate your analysis, unfortunately, but I feebly grasp that some ingenious things are going on.

Is the iiø65 in the first full bar after the repeat sign supposed to be a different inversion?

The Well Tempered Clavier is the Old Testament of Tonal Music.

Is the third beat in the bar after the third fermata supposed to be a ii65 chord? F C A D (F A C D). Also is the bar before the 3/4 section supposed to be a I54 to I53 and the last beat of the bar proceeding the eight fermata supposed to be a vi chord? Finally, in the third last bar, doesn't it go from ii7 to ii6?

Wow that Bb is quite strange! Yes, I agree with the F tonicization, I can definitely see that. Couldn't it possibly be a very short modulation to F major? Maybe not because it wouldn't be very practical to modulate for only 3 beats 😅

Why would Bach use a C minor key signature if it starts in F minor and ends in F minor?

How can the 3rd last bar of the second system be a vi in D major if it's a major chord? Also is the vii°7/V in the beat before the 9th fermata (or second last fermata) supposed to be vii-half-dim-7 since it's D# A C#?

You make me feel better about my analyzing. Sometimes it’s not the way “the textbook” analyzes it & although our instructor might accept it, it always feels like it’s a compromise. I was feeling like a failure but it’s really helpful to know that there actually can be room for other ideas. Your voice Is really gentle too. Helps me be more gentle on myself.

Is the I in measure 2 supposed to be i (lowercase)? Also couldn't the passing notes in measure 3 right before the HC be a iv7 in its inversion? Is the last chord in measure 3 supposed to be ii°7? Also I am a bit confused at the start of measure 9?

Is the V65/V in measure 2 supposed to be a V chord in the key of E major? What would it be in A major then? Also what exactly does V65/V mean?

Why did you write V/IV in the second line in the C major modulation? Isn't it supposed to be V7? G D F B (G B D F)

well researched and explained! thank you!

Great channel and great effort and extremely helpful to me as a piano student of these chorale harmonizations! Is it at all possible for you to do another project notating the smoothest piano fingerings for each of these chorales for those of us who wish to play and perform these 389 chorales! I know that this is a huge favor to ask and would require tons of energy and time on your part!But what do you think?? Anyway I find this channel to be awesome and I am super-impressed with your effort and stamina to complete this harmonic analysis project! Just amazing!! But I need someone who can show me best fingerings for each chorale! Are you the man???

This is great! You helped me a lot. <3

Thanks!

This is BWV 3.6, but the youtube title has "Erhalt mein Herz im Glauben rein" when I think it should be "BWV 3.6, Ach Gott, wie manches Herzeleid - Herr Jesu, mein's Lebens Licht". Adding this in in case search picks up comments, it took me a bit to find this one. Thanks for all you do!

salad

I love this! Are you afraid to wake someone up, your whisper is encouraging

The cadence at the end of bar 9 into 10 ten is not I to IV. There is a G natural in the alto making this V7/IV to IV. I'll keep an eye out for what you mentioned about an inverse plagal cadence, but this seems to be a brief tonicization of the subdominant. Thank you for sharing these. I'm still on my journey through them. My final step for each chorale is to compare mine to yours.

Did you not forget to let us hear what you are talking about the whole time?

Hello! I'm a high school music teacher in Taiwan. Just want to say thank you to you. Your video is really helpful, the way you anaylze chorale is very clear. Thanks for sharing these videos! : )

Thanks, good analysis. To answer your question at the end, I tend to only mark a modulation when it can be heard as such, or maybe one preparatory chord prior, rather than earlier in the phrase. Even though it can make sense theoretically to mark it earlier, if the listener can not hear it until a certain point than to their ears there has not been a modulation yet. I guess this could be a debate between whether the planning of the composer or the experience of the listener is the one we should give credence to when analyzing what is happening with the music.

Thank you!

Sehr geehrte Damen und Herren. Danke für diese wundervolle Reportage. Ich besitze ein originales Portrait von Johann Sebastian Bach in Öl aus dem Jahren um 1724 ,aus seiner Zeit in Köthen. Sollte die internationale Bach-Forschung Interesse daran haben, setzen Sie sich bitte mit mir hier in Verbindung. Danke !

This is not BWV 12.7 according to this website I use (bach-chorales). This one is BWV 69a.6. We can tell this by analysing bar 3, beat 3 of the chorale showed in the video and the "real" BWV 12.7. The embellishment are different on that bar and beat. Here's the explanation according to the websise referring to chorale BWV 12.7: "This early 1714 setting reappeared in slightly reworked form as the closing chorale in the 1723 Leipzig cantata Lobe den Herrn, meine Seele, BWV 69a. The later setting appears in the key of G major and without obbligato instruments." Which means this one is the later reworked version (BWV 69a.6), but somehow it did end up in Bb as the "original" version. lol Your version is also missing a formata in bar 9, beat 3. We gotta love these inconsistencies. At first I would get all confused, but now I'm used to it. I'm not consistent myself so I totally understand. Thank God we have those Bach schoolars to help us understand these inconsistencies.

According to this website I know (bach-chorales) this chorale's first performance was in 1714.04.22. It's the second chorale sorted by date. So this is very early Bach if this information is correct. What I guess it's the case because you said this chorale is very simple harmonically, right? And we have some weird doublings like finishing a PAC with three roots and the fifth. That's very odd and can be explained because this is early Bach. He probably preferred voice leading over having all the complete chord. As time went on he seldom used incomplete chords like that. Later Bach preferred to triple the root and add the third instead of adding the fifth. Let's think about this. If we use the fifth then we can be sure about what chord we are playing, but if we use the root and third then it can be one chord or an inversion. The fifth is a very defining tone chord. If I have a C and G then I know this is some sort of C chord, it may be minor or major, it sure isn't diminish. However if I have C and E it can be C major or some sort of A chord or Ab chord. Yeah, I don't know which one is "better". I would use the one which I think sounds cooler.

I think that I have the solution concerning the short excursion to F# minor. 4 bars from the end, beat four, downbeat C#m chord, we are still in the key of "E." It's not a minor five of F# minor, it's the vi of E major. As you mentioned, on the upbeat, there is a i 6/4 in F# minor. So, I see this as a 3.5 beat tonicization of F# minor, i 6/4 to viiº to i to V. The F# minor on the upbeat pivots as it is the ii chord in E and the i chord in F# minor. I see it was an extended supertonic in E.

Thank you. Bach so often increases the harmonic rhythm at cadential points. I don't see the upbeat of 2 in bar three as non-harmonic tones. On the contrary, the upbeat of two is a D#º (viiº) with a deceptive resolution to vi. The "G" in the bass is the non-harmonic tone as a brief pedal point from the downbeat. Anyone else on this journey through the Bach chorales that this is very common. Bach very rarely has more than two non-harmonic tones simultaneously. You'll see that what often appears as a single passing tone is the root of a viiº.

22:19 what is f#? doesn't belong to any none-chord tone category.

Thanks!

Hi. Thanks. I disagree with with your analysis in bar 10, but I see your point. You mentioned the viiº7/vi chord on the upbeat of 3 then dismissed it, calling successive notes non-chord tones. For a couple of reasons, I don't think this is correct. The D# harkens back to the original key and also part of a brief but strong tonicization of vi as well as a foreshadowing of the coming modulation. Also, calling these successive notes non-chord tones means that we would have an appoggiatura in the tenor (C) and in the alto (D#) that do not resolve to chord tones. You normally comment that there could be a quicker harmonic rhythm when three voices move on a weak beat. Perhaps you hesitated because of the "E" in the bass throwing a monkey wrench into the D#º7 chord? I see the "E" as the one non-chord tone in this case, as as short pedal point under the brief viiº7 of Em. Also, even with the third of the dim. chord missing, having the tritone above the root and the augmented second below the root do create a strong tendency to resolve to Em. It looks and sounds more like functional harmony than just NCTs, in my opinion. I think the penultimate beat is ii (1/2 dim 6/5), then V7 to I. I was also puzzled as you were by the fluid nature of "G" major or "E" minor in the middle measures. It's a pleasure to check my work with yours. Thank you again for sharing this!

Keep up the good work. Maybe you could go into analyzing his preludes or inventions!

do you have one on ein feste burg

To me, I see great potential in the type of videos you make, but am fully distracted from the content by all the memes and the comedy music in the background. A strange mix with Bach analysis videos as well to be honest. What is your intention with this mix?

Hey Forrest, would you be realising a version which have the harmonisations (analysis) as well?

This one was really hard to analyze. I was stuck on last 3 bars. I couldn't find the tonality.

Hello! Have a question! Why you decide last note in bass in bar 4 is a passing tone? This tone isn't passing tone, I think it is a D2 that resolve to I6. Isn't it?

Hi Forrest, wow - this is perfect timing - I am going on a long trip soon and didn't want to pack too many books including my massive tome of the Bach Chorales. This morning I literally just thought, "I wish there was a clean copy of nicely engraved Bach Chorales one-per-page in PDF format which I could load onto my iPad for study from the road." 😂 I have ones from IMSLP but they're so cramped and the engraving+lyrics doesn't leave much room for analysis. I'm so grateful you did this - not surprised it was a lot of work, sounds like you learned a lot along the way about engraving too. Looks awesome, now I'm off to study! 🙏😅

❤❤

Love your video!! ♥ Was really easy to understand! Keep doing more videos like this, please 🙌

thanks for adapting the language to the audience 🇲🇽

An absolut massacre when you pronounced the German names. What's the matter with Americans?

I think it ends in D because if you analyze the cadence you will noticed that it's a "cadenza doppia". In this case V7-i64-Vsus4-V-I. It's just happens that the soprano ends on the fifth degree of the scale. This chorale is so cool. Very unnusual stuff happening. Really cool. And it sounds amazing. Sounds very good. The Bb augmented was such a surprise, the chain of IV-viihalf° chords was really cool as well, the N6 chord. Bach was very inspired when he composed this one, huh? Very tasteful.

My analysis of the fourth "phrase" was like this: Key d: i | ((IV - viihalf°43 of VI), but I took this as the common chord to modulate to Bb so that is IV - viihalf°43 of I (Bb, now we are in Bb)) - (IV6 - viihalf° of V) - (V - viihalf°43 of I) - Iaugmented6 | vi (but this is a common chord to modulate to g, so this is a iii-iv) - V - i That part was tricky. But overral I think the same as you. I think it starts in Bb and then modulates to g.

Where do you get the sheet music for all of these analysis'? im trying to do analysis' for my music theory class but cant find the sheet music

The pointless, distracting and countless memes make this unwatchable and a complete waste of what otherwise may have been useful. How can you even read a meme while you are talking about Bach? Why waste your time with needless filler like this? I don't want to see pics of Kayne and Taylor in a Bach educational video. What a total waste. Why? smh....