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I heard Carlo at Wigmore Hall, London in 1996. He gave 2 recitals. At that time Godowsky was almost unheard of (pace, David Saperton’s recordings and another which is of historic rather than pianistic interest - Geoffrey Douglas Madge. And don’t forget Doris Pines who recorded only a handful of the 53 etudes but virtuosic!) Carlo Grante was what we were waiting for - all 53 performed to perfection. Thank you!

❤❤

Thank you a lot!

This ridiculously fast tempo makes it sound superficial and like a finger exercise.

I had just analyzed it few days ago! We connected!

Have you done the analysis of the prelude. I don't see part 1.

Voy a realizar mi anáisis de esta obra: tararán, tararán, tararán, tararán, tararán, tararán, ad infinitum. JUANCITO TETRACORDIO FALTÓ AL CONSERVATORIO EL DÍA QUE ENSEÑARON LOS SILENCIOS.

sketchy analysis !

Beautiful 🎵🎶 🎵 Note ❤ Classic

Perfect

Thanks for the harmonic analysis

Love that.thankyou.

The last chord of the third bar is not ii but V/V, and the last chord of the sixth bar is V/ii, not vi

Thank you!

素晴らしい演奏有り難うございます

Excellent,it's wonderful seeing the chords and modulations,thank you.

Did you make the next part(s)? I would be willing to pay for it 🥹 this piece is just too beautiful to ignore the harmony context

Thank you teacher! Subscribed.

Tutto un po' meccanico le voci non si distinguono ed è suonato tutto mf

To Composernotes: For example, be sure to use the ° symbol for diminished triads and fully-diminished seventh chords (vii°6, vii°7) and the ° symbol with a slash through it that runs SW to NE to denote half-diminished seventh chords (such as ii7 in minor). In minor, the correct roman numerals for the triads are i, ii°, III, iv, V, VI, and vii° (when it's a chord built on the LEADING TONE), sometimes VII (when it's built on the SUBTONIC). In measure 7, the subdominant harmony (iv6) needs to written with a lowercase iv, not "IV." Also, the harmony on beat 3 of m. 7 is an incomplete vii°7/V (the F# and C alone are enough to signal that the harmony is effectively F#, A-natural, C, Eb --you might ask, why not a vii° triad? diminished TRIADS do not appear in root-position). This is where you are having some difficulty: this is what's called a secondary leading-tone chord. It's a vii°7, yes, but of G (which is V). So, the correct analysis is vii°7/V. The "seven fully-diminished seven of five" (which is how you would say it) is confirmed in its function as a leading-tone chord by the fact that the vii°7/V actually GOES TO a G chord (V). In measure 8, you have V on beat 1 (good), i on beat 2 (also correct), but V4/2 / iv on beat 3. What is iv in C minor? It's F minor (which is where the chord resolves to on the downbeat of m. 9). What is V of iv in C minor? If iv is F, then V of F is C. The chord there (C, E-natural, G Bb) should tip you off that it's chromatic (being that the E-natural is not found in C minor --additionally, the Bb, instead of B-natural, provides another clue), and as such must be analyzed as a non-diatonic chord, specifically here as a secondary function: here a SECONDARY DOMINANT. Because Bb (the seventh of the chord) is in the bass, the analysis must reflect the fact that it's in third inversion (thus, V4/2). Because it's not the dominant of C minor, but of another chord in C minor (iv), it must be analyzed as such: V4/2 / iv. Also, note that dominant seventh chords in first inversion almost invariably resolve to the root-position version of whatever chord they're acting as dominant seventh to (e.g., V6/5 / V resolves to V), whereas dominant seventh chords in third inversion almost invariably resolve to the first-inversion version of whatever chord they're acting as dominant seventh to (e.g., V4/2 / iv resolves to iv6). I hope that helps a little. Email me if you want some more information.

No. There is not "always more than one way" to analyze harmonies in progressive common-practice-era tonal music. One MUST account for secondary functions as such. There is no single music theory textbook that would advocate the "system" (I use quotation marks to indicate that there is, in fact, NOTHING systematic or accepted about it) that you've invented here. The very purpose of showing secondary functions is twofold: to indicate their tonicizing function on subsequent chords and to differentiate their chord-quality from what a diatonic label would suggest. I taught music theory at USC's Thornton School for nearly 15 years. As one of the US's top-10 Conservatories, I can assure you that the "system" you've invented here would earn you a grade of D or lower, as it indicates that you've learned nothing about the primacy of secondary dominants/secondary leading-tone chords or the technique by which to encapsulate non-diatonic chord qualities. If you can name ANY analysis text that accords with your view, please give me the name. Otherwise, to avoid embarrassing yourself and misguiding others, I'd recommend either taking your wrong-headed analysis down or re-doing it upon learning the universally-accepted mode of analysis.

I absolutely LOVE you videos Keep up the good work man!!!

Tempo Indications: 1. Allegro vivace 2. meno Allegro

Tuning: 0c: A4 = 440Hz

While I truly appreciate your effort here, I'm curious as to why you seem to avoid the use of secondary functions as an analytic label?

The playback’s not fast enough! lol

Thanks! Bach clearly applied new musical techniques. The use of triplets in the subject and subject inversion in the fugue exposition were not seen in the WTC Book I

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Analyse in PDF please. Thank you very much

JS Bach, the inventor of stride.

Thank you for this!!🙏

Not accurate. Bars 40-41 for example? Nothing?

I think of it with a less evident and less constant staccato, given the minor key and the two-beat beat. The frivolous character does not enhance the piece.

Bach transcribed a Vivaldi Concerto for solo keyboard and this prelude is very close to being pretty similar.

Beautiful piece.

tanto el análisis como la interpretación es fenomenal

1:00 is there a measure missing between 22 and 23?

2:34 B7/F# is wrong Correct Is B7/A

My top favourite of all his 48.

Where would you consider the parts of the music to be homophonic?

What a beautiful articulation! So clear and crispy ❤

could you do an analysis of mozart sonata for two pianos in d major harmonic analysis?

Non c'è musica più strugente perche ' lasci la propria anima

I don’t understand why I love Bartok, but can’t stand most composers from his era

wow bless my youtube today i came across you today, I have been looking for people analyzing P&Fs for a while now and your analysis of this BWV 875 is really nice! and your channel has a lot of good stuff too! could you do more analysis on the bach's 48?

Your link is invalid

Keep it up🎉🎉🎉

Thank you for the analysis. I wish you had some explaination on the video :)

Very informative! This is one of my Bartok's favorite. So drummy and percussive and I love it.

Inversion? Is it not voice exchange? To ly knowledge the word inversion is already taken