Видео

Bravo!

Awesome class Professor thanks so much! Just a question if you allow me, don´t you think there´s a modal taste in measures 45-47, despite being still pentatonic material, It sounds like a resting point to me...anchient and modal stuff too, as Debussy´s typical procedures sometimes, what´s your opinion please?

Thank you so much for these classes! I'm currently studying No1 and No8 and full lectures like this are invaluable! You are an excelent teacher

Great work

Great video! Do you think that the bassline in bars 3-4 is an augmentation of the initial ascending fourth?

Thanks for positing this online. Is this a University level course? I can only dream of playing at this level...for now. I'm slowly playing the inventions as a sightreading lesson and playing them in only one hand. I figure that when my technique permits, this will help. I joked all my life that I was born with two left ears when it came to music. Only after 65 yoa did I start studying music theory. Watching this it would be nice to be able to audiate. Would all of these students already have this ability?

give me a break with this old boring fart, look how my music is complex and how its structure is so perfect, but this music is BORING AF, OK ?

Very nice lesson, thanks again for putting these up for us to see. I learned heaps again.

A nice balance between interactive and informative. Thanks!

counterpoint is the combo of the horizontral and the vertical - chords are a snapshot in time of where the harmony lands. I would disagree however that harmonic progressions do not play a vital role at the micro level - i would say it is a balance between the 2 - esp when more voices are added to a contrapuntal texture. this is a brilliant subject in that it is step wise up and jumps coming down, when inverted you get the opposite. the resulting contrapuntal textures are pretty amazing. also, a good subject contains a complete musical statement within itself. many times a I IV V I idea. the fact that this subject has all of that in about 8 notes makes it an aggressively brilliant idea. Thanks for making this video.

My reaction to the piece was a bit different from the students' -- I felt that the piece had my feet "firmly planted in mid-air", i.e. not planted anywhere. No Tonic. No Home. Just mist. Blind-folded in a fog. I got to the augmented-only thought quickly, and realized that that was what was giving me that feeling...augmented triads are famous for not going anywhere. Then Debussy switches to the pentatonic scale, and it was like the blindfold was taken off...and...oh great, I still can't see anything, cuz there's this dense fog everywhere. Maybe it has a little color now...blue or green, maybe, but in pastels. Thanks for sharing. You got a sub here.

Well, phooey. It seems like I should have gotten the "cadential formula" answer, but I'm not familiar with that term. I studied music at Michigan State in the late 70's, so there's nobody around to blame by now. My answer was going to be something along the lines of how the rhythm changes...we had seen running sixteenths in every beat of every bar until that motion comes to a screeching halt in the second half of m. 6. I guess that motion-change could be described as part of the formula. The phrase makes perfect sense. Maybe an old man can still learn some things. Thanks for reminding me of Sequences. When I was teaching this stuff (for fun, long ago, to non-musicians), I noticed that some of Bach's contemporaries used sequences so much that they could get predictable and boring (Vivaldi's violin concerti come to mind.)

I am a bassist but I taught myself invention 1. I thought I would learn all the inventions in order. I got as far as invention 1.great to hear your analysis.

I'm a Music Composition student in Iran. I watched your videos and there were so helpful thank you for sharing your knowledge with other people.

That was great. I wish i could attend all your classes!

This is perfect. Having spent a lifetime with Bach, counterpoint, and theory, this exposition clearly and simply details what Bach is doing as well as what Bach hoped a student could hear. There are many ways to approach analysis, but for Bach this is hand in glove. Very enjoyable.

I was about to click away when I realised this was what my parents used to call, derogatorily, "struggle music," but I struggled on and found this interesting, puzzling, and perhaps expressing struggle itself. The extraordinary change in the middle to baroque chamber music, then almost immediately sliding into dissonance again... hmmmmm?

Wow, thanks for uploading this, Ben. You're a natural. I felt jealous not to be in the class and doing a music degree - is it first year degree level? I'm torn, though, on the issue of the notation, because I have always disliked and struggled with the diatonic staff, key signatures, accidentals, etc., and have been working on an alternative chromatic system, because (having not stayed with the program for the last 50 years) I now want to learn pieces on the piano as simply as possible. A chromatic staff tells me "which buttons to push when", which is much easier. Theory is wonderful, but can come after. Subbed.

The opening is adequate idea upon which Bach builds a better idea...

you are amazing! keep it up , hope you find great fortune and that this will grow!

I know this is Bach et Al but don’t forget the Basie ending. There others in Jazz but that’s the hippest.

Vague. No harmonic progression or counterpoint explained. Articulation? "Magic word"---come on.... His sequence analysis is so basic "down a third"----no follow through on how Bach manages the ensuing harmony. He's doing a reading/finger-wiggling exercise and calling it analysis. Bizarre. Focussing on the motive (me.5) rather than the counterpoint outlining the harmonic progression completely ignores Bach's plan for the piece. This pseudo/surface analysis is of no help to anyone who wants to use it as a composition template.

Thank you so much for decoding Bach's intention, it's interesting to know the terms .

Why is it a cadence? Latin cadere means to fall down. The last beat has D dropping tp D in the bass, and B moving to G in the soprano..both 'falling' down. Also, harmonic rhythm adds to the tension by speeding up as the tonic approaches in the next measure.

Absolutely love this piece! Thank you for posting.

sometimes it looks like bach explored every possible harmonious chordal and melodic intervals and juxtapositions. as you work to the end of each WTC book, each song is far more 'jazzier' and endless chord change tricks (secondary dominiants. chromatic mediant. tritone, relative minor. lots of 'altered' dominant chords and so on) and amazing melody tricks with rhythm (which actually get 'funky' towards the end of those books, in their syncopation) . min9ths, seconds, tritones, etc. no end to possible substitutions. I realize a lot of jazz artists were inspire by those latter chapters of both WTC books. They just get so futuristic and wild, but , as i say in a previous comment, there is some boring and pedantic content in those first chapters, the first book, especially. it goes without saying i could never create something as gloriously boring as bach. i don't consider myself to be a musician, althoug i play

2:59 what is this magic of which you speak?

2.40 "DONT NEED INSPIRED MELODY?" doesnt resonate with me. I guess we differ here. Very nice presentation but our points of viewing art is different.

This guy looks like Dwight Schrute.

About the 16th rest question. My counterpoint teacher would of accepted it as part of the motive. But not integral to it. She would often say: "You can compose with rests just as much as with notes." This became quite an important lesson later on when composing and part writing. Voice (or section) entries and exits, contribute in developing the texture. It can be a great aid in continuing a piece, that would be clunky or not continuable otherwise. Thank you for your video! The comments here show that your work is appreciated.

He didn't mention the use of augmentation (playing the theme half as fast) in the left hand.

Very nice!

Merci beaucoup. I'm trying to learn music theory after 65 yoa, and I thought these lectures were boring when I was in school. Very interesting discussion of the Cadential Formulae. Since I'm trying to learn keyboard technique, it seems that this was a prerequisite for a student to pass on to the next level. And you have to learn it in every key. It's like having to write on the blackboard 100 times "I should have paid more attention in music class".

This was great, thanks! Hoping for more.

So good, Dr. Sabey.

sodelicious..............................

What a beautiful piece. I really do feel suspended in light. Always inspired by you. Great work

Authentic. I don’t know what it is but I hear that the composer strongly wants to say something. I would love to hear more about this piece!

@4:32 The most satisfying "boing" i have ever heard in my life

Exciting work!

Ben, you rock - very insightful and fun presentation!

Thanks for the analysis! Just a fun fact: Renee is my grandmother. She remembers her contribution a little differently than Marian recorded in her biography. Renee was in the first grade when she came up with her melody. A student teacher in Renee's class shared a simple poem with the class and asked if anyone would like to compose a melody for the poem. Renee came up with the tune and then sang the words and her song to her family after school. Leroy was delighted and made a big fuss over it. The first few bars of the oboe part are Renee's original song to the poem she learned at school: Swinging, Swinging Here we go up Here we go down Swinging, Swinging Here we go up and down. Then together father and daughter came up with some additional words and music before returning to Renee's tune. Up so high in the treetops Down so low in the garden Swinging, Swinging Here we go up, Here we go down.

Beautiful!

Beautiful, Dr. Sabey!! Thanks for including a breakdown of the instruments in the description too, super cool.

I love fugues! It is beautiful!

also, hardcore page turn at 5:40

also, you are very responsible for teaching me how to not take myself so seriously. will never forget showing you that string quartet I was only working on toward a grade, and after you listening to it asking me if it was either me or someone else who wrote it, because to you it didn't sound like me. you hardly knew me, but you just sensed that energy coming from me and you called it out. it taught me how to write from my own spirit. to this day I carry that mentality with me. it's cool to read how the teacher abides by the wisdom he gives to his students. don't let it go to your head though ;) haha. this piece is mental, ben. would love to look at the score and study it a bit. cheers.

shit gets SUPER REAL at about 1:18. excellent work.