Thank you! I am honored that you found my video. I absolutely love your rendition of the piece. Cynthia is a stunning player. Would love to hear the ensemble live!
Bravo!! Bravo!! Kevin. My dude. This was epic!!! Firstly I would like to thank you for doing this amazing analysis. I am sure you spent a lot of time preparing it, yet you made it so accessible to understand. I liked your calm and simplistic, but in-depth way of explaining all the concepts. This video should have a lot more views. As in thousands, if not millions more - for such a famous piece and brilliant analysis! I understand it may be a very niche topic, but still… One of the best of its kind I have come across on RUclips. Far better than some of the other “big” theory channels that either just try to dazzle you with their own skills, and fancy camera and lighting equipment, but in the end their analysis remain quite superficial. I have played this concerto on violin myself long ago. The four seasons my be overplayed, but it’s one of the reasons I started learning the violin. Though it took many years to reach that level. However, I have to say my teachers focused more on the playing technique and never went into so much theory/composition detail… This is something I am paying more attention to since I started focusing on my own compositions a couple of years ago. Though I never studied composition at conservatory/university. Consequently the violin playing become secondary, but I am now getting back to playing violin more regularly and decided to work on the four seasons again. This video is a great merging of the two worlds for me. There was surprisingly nothing “new” I didn’t know theory wise eg. melodic minor scale, circle of fifths progressions, augmented 6th chord, applied dominants, chromatic bass lines etc. I guess it is pretty “standard” music theory, but you brought it all together for me by showing how Vivaldi used it to make such a wonderful composition. It perfectly reflects the atmosphere of winter… That is the real trick. Plus these techniques still stand the test of time. I loved the other classical and modern pieces you added as examples. Your sense of humour, the rocker/metalhead long hair, the celtic symbol and instruments behind you… Plus a love for baroque music. Yes. That is an instant subscribe for me. You seem like a very cool person. I am eagerly going to check out some more stuff on your channel. I hope you will do/have done the other seasons by Vivaldi too. Thank you once again for making this video. All the best.
Kevin, would you be willing to have an in-depth look at Vivaldi's Winter Largo ? This melody to me is one of the most beautiful in the history of music. It has a dignity, elegance and grace I never tire of. I would love it if you would do this (do let me know if you will). If I may add, you are so good at this, you have such a gentle, likable personality.
@@KevinElamMusic What !!! You have already had a close look at this ?? Well, evidently you knew you would be asked to do so in the future ... I mean, there is no other explanation, is there ? Very prescient of you Kevin ...
Lol yep, exact same chord progression albeit transposed to a different key of course! One thing baroque and jazz have in common is we both really love moving in the circle of fourths!
In measure 13, why isn't the half-note low C indicated as a trill to D natural? In measure 18, 3rd and 4th beats, the trill is written C-D natural, but some editions and players use C-D flat. The whole step trill seems more in keeping with c minor and would be consistent with the implied trill in measure 13. Do you agree?
Great question! both have their own unique sound. C-Db will give more of a "harsh", wintry quality (phrygian mode), while C-D will more closely confirm the key of C minor, as you mention. It really depends on whether Vivaldi considered this section to be firmly in C minor or more of a '"flirtation", with roots more in the tonality of F minor. I imagine the trill in m.18 is notated as a natural in order to make the upcoming Db's sound more striking. But, I'll have to check older manuscripts to see if there's any indication either way for m. 13!
hey kevin! im currently writing an essay about this composition, and i was wondering if there is any chance you could present the course of musical events? im not a very musical guy and it would be easier for me to have a more simplified version of what is happening in the piece and what the instruments are playing watched through most of the video and i gotta say, you deserve way more attention than just 200 subscribers! if you have any questions relating to my question or anything else you're wondering, feel free to ask away! im thankful for anything :)
Hello friend I'm so sorry I missed your comment 3 months ago. I'm assuming the essay has already been turned in by now, but is there anything else I can help you with? I'm not entirely sure what you were asking... Cheers
Kevin, I have a question for you .. what were Vivaldi's favourite chords ? He seems to use a lot of suspended 4th chords. Also, do you know of any sites that look at the chord dimension of his work ?
Starting a video like this one made me pause to subscribe, activate the notification bell, like and comment. Now let me go back to the content. Thank you and greetings from Brazil.
Haha, assuming you mean "are" not "ate": It is a violin concerto, so the soloist is a violin. The ensemble is: first and second violin, viola, cello, and "continuo", which refers to the instruments that supply the bassline and chords. This last category was typically a cello or upright bass paired with either a harpsichord or lute/theorbo. Typically Baroque composers did not specify what exact instruments they wanted in the continuo, so it is up to the performer!
In the Voices of Music performance (ruclips.net/video/ZPdk5GaIDjo/видео.html), they are using harpsichord, organ, archlute, and upright bass as their continuo section. Hope that helps!
Awesome, do you know the, dynamics, meter and rhythm, melodic contour and range, tonality You would be my savior🙌 I have a musical analysis project due tomorrow on this musical piece 1st movement "winter"
Particularly enjoyed Fly me to the moon!
Thank you! I am honored that you found my video. I absolutely love your rendition of the piece. Cynthia is a stunning player. Would love to hear the ensemble live!
Bravo!! Bravo!! Kevin. My dude. This was epic!!! Firstly I would like to thank you for doing this amazing analysis. I am sure you spent a lot of time preparing it, yet you made it so accessible to understand. I liked your calm and simplistic, but in-depth way of explaining all the concepts.
This video should have a lot more views. As in thousands, if not millions more - for such a famous piece and brilliant analysis! I understand it may be a very niche topic, but still… One of the best of its kind I have come across on RUclips. Far better than some of the other “big” theory channels that either just try to dazzle you with their own skills, and fancy camera and lighting equipment, but in the end their analysis remain quite superficial.
I have played this concerto on violin myself long ago. The four seasons my be overplayed, but it’s one of the reasons I started learning the violin. Though it took many years to reach that level. However, I have to say my teachers focused more on the playing technique and never went into so much theory/composition detail… This is something I am paying more attention to since I started focusing on my own compositions a couple of years ago. Though I never studied composition at conservatory/university. Consequently the violin playing become secondary, but I am now getting back to playing violin more regularly and decided to work on the four seasons again. This video is a great merging of the two worlds for me.
There was surprisingly nothing “new” I didn’t know theory wise eg. melodic minor scale, circle of fifths progressions, augmented 6th chord, applied dominants, chromatic bass lines etc. I guess it is pretty “standard” music theory, but you brought it all together for me by showing how Vivaldi used it to make such a wonderful composition. It perfectly reflects the atmosphere of winter… That is the real trick. Plus these techniques still stand the test of time. I loved the other classical and modern pieces you added as examples.
Your sense of humour, the rocker/metalhead long hair, the celtic symbol and instruments behind you… Plus a love for baroque music. Yes. That is an instant subscribe for me. You seem like a very cool person. I am eagerly going to check out some more stuff on your channel. I hope you will do/have done the other seasons by Vivaldi too.
Thank you once again for making this video. All the best.
thanks again my friend! all the best to you as well.
Thank you so much for this information. It has really allowed me to appreciate the recording along with playing the piece myself.
Glad it was helpful!
okay you've sold me you know what ur doing in the first 30 seconds LOL.
now to watch the rest of it
thank you for presenting such a legendary piece in such a delightful way
You are so welcome! thanks for the comment
I chose this movement for my presentation in my music class in school, so your analysis is so helpful and complex thank you so much !!!
Kevin, would you be willing to have an in-depth look at Vivaldi's Winter Largo ? This melody to me is one of the most beautiful in the history of music. It has a dignity, elegance and grace I never tire of. I would love it if you would do this (do let me know if you will). If I may add, you are so good at this, you have such a gentle, likable personality.
I got great news for you - already done!
ruclips.net/video/M4a7Hoq3-xs/видео.html
@@KevinElamMusic What !!! You have already had a close look at this ?? Well, evidently you knew you would be asked to do so in the future ... I mean, there is no other explanation, is there ? Very prescient of you Kevin ...
Incredible insight, thank you 🤩
Beautiful lesson thx a lot
Awesome analysis, thank you Kevin!🔥
Alexander, Thank you so much for your comment!
Ok that intro was everything in the most unironic way, I was like “THOSE ARE THE SAME CHORDS????”
Lol yep, exact same chord progression albeit transposed to a different key of course! One thing baroque and jazz have in common is we both really love moving in the circle of fourths!
Falling fifth
25:28
In measure 13, why isn't the half-note low C indicated as a trill to D natural? In measure 18, 3rd and 4th beats, the trill is written C-D natural, but some editions and players use C-D flat. The whole step trill seems more in keeping with c minor and would be consistent with the implied trill in measure 13. Do you agree?
Great question! both have their own unique sound. C-Db will give more of a "harsh", wintry quality (phrygian mode), while C-D will more closely confirm the key of C minor, as you mention. It really depends on whether Vivaldi considered this section to be firmly in C minor or more of a '"flirtation", with roots more in the tonality of F minor. I imagine the trill in m.18 is notated as a natural in order to make the upcoming Db's sound more striking. But, I'll have to check older manuscripts to see if there's any indication either way for m. 13!
hey kevin!
im currently writing an essay about this composition, and i was wondering if there is any chance you could present the course of musical events? im not a very musical guy and it would be easier for me to have a more simplified version of what is happening in the piece and what the instruments are playing
watched through most of the video and i gotta say, you deserve way more attention than just 200 subscribers! if you have any questions relating to my question or anything else you're wondering, feel free to ask away! im thankful for anything :)
Hello friend I'm so sorry I missed your comment 3 months ago. I'm assuming the essay has already been turned in by now, but is there anything else I can help you with? I'm not entirely sure what you were asking... Cheers
Kevin, I have a question for you .. what were Vivaldi's favourite chords ? He seems to use a lot of suspended 4th chords. Also, do you know of any sites that look at the chord dimension of his work ?
I don't know of any such sites off hand, but there very well might be some!
@@KevinElamMusic Thank you. Do you have any idea re the chords Vivaldi favoured?
Hey, Kevin ignore what I said in the comments, I just want to know the (melodic contour and range) used in this musical piece.
Thank You
Starting a video like this one made me pause to subscribe, activate the notification bell, like and comment. Now let me go back to the content. Thank you and greetings from Brazil.
So what ate the instruments used in this musical piece
Haha, assuming you mean "are" not "ate": It is a violin concerto, so the soloist is a violin. The ensemble is: first and second violin, viola, cello, and "continuo", which refers to the instruments that supply the bassline and chords. This last category was typically a cello or upright bass paired with either a harpsichord or lute/theorbo. Typically Baroque composers did not specify what exact instruments they wanted in the continuo, so it is up to the performer!
In the Voices of Music performance (ruclips.net/video/ZPdk5GaIDjo/видео.html), they are using harpsichord, organ, archlute, and upright bass as their continuo section. Hope that helps!
Awesome, do you know the, dynamics, meter and rhythm, melodic contour and range, tonality
You would be my savior🙌
I have a musical analysis project due tomorrow on this musical piece
1st movement "winter"