I was going to make a comment, but I was pulled over by the You Tube Police. They said I was about to use a Roman Numeral, and they said I was risking Reckless Transcribing. Luckily they let me off with a warning. They didn't do a Breathalyzer, since I had been dabbling in some Augmented Sixths. Thanks for putting warnings on your titles.
I'm interested in the leaps from dissonances at the end of the measure discussed with the F, E C#. There's what seems to be a G7 chord, but leaping down from F to D.
@@spcfsu1 Mmm, that's if we want to give it an identity _as_ a chord, but as they discuss a little bit at the end, there's a more "horizontal" way to analyze it, too. In this case, you might think of it as a suspension (of the E in the tenor) combined with an appoggiatura (the C# in the treble, itself arising naturally from the linear, chromatic drive in the previous measure--uh, maybe we should call it an "accented passing tone," instead? we probably don't have to be too precise about nomenclature here...) resolving finally on the inverted tonic triad--of course, tantalizingly, the D adjacent to the C# is delayed for a little bit longer actually, and doesn't get an accented beat until the final 4-3 moment at the end of the cadence: that's the really _French_ bit. Now, no one can really know the interiority of long-dead men like Thomelin, but to judge by what I remember from undergrad (when I was learning theory the mainstream way while simultaneously taking continuo with my studio professor,) I imagine the two ways of thinking about it were sort of swirling around inseparable in his mind while his fingers did the work.
4:34 "Noman Rumerals"😅
I was going to make a comment, but I was pulled over by the You Tube Police. They said I was about to use a Roman Numeral, and they said I was risking Reckless Transcribing. Luckily they let me off with a warning. They didn't do a Breathalyzer, since I had been dabbling in some Augmented Sixths.
Thanks for putting warnings on your titles.
I'm interested in the leaps from dissonances at the end of the measure discussed with the F, E C#. There's what seems to be a G7 chord, but leaping down from F to D.
Perhaps they were not considering G7 at that point and were simply headed to the dominant chord at the start of the next bar for the cadence.
I'm not sure I understand the name of the famous dissonant chord (beginning of the third bar)... What does Johannes Menken call it?
L'accord de la quinte superflue
@@johannesmenke5968 Thank you so much!
@@spcfsu1 Mmm, that's if we want to give it an identity _as_ a chord, but as they discuss a little bit at the end, there's a more "horizontal" way to analyze it, too. In this case, you might think of it as a suspension (of the E in the tenor) combined with an appoggiatura (the C# in the treble, itself arising naturally from the linear, chromatic drive in the previous measure--uh, maybe we should call it an "accented passing tone," instead? we probably don't have to be too precise about nomenclature here...) resolving finally on the inverted tonic triad--of course, tantalizingly, the D adjacent to the C# is delayed for a little bit longer actually, and doesn't get an accented beat until the final 4-3 moment at the end of the cadence: that's the really _French_ bit. Now, no one can really know the interiority of long-dead men like Thomelin, but to judge by what I remember from undergrad (when I was learning theory the mainstream way while simultaneously taking continuo with my studio professor,) I imagine the two ways of thinking about it were sort of swirling around inseparable in his mind while his fingers did the work.
It can even lead to death 💀
😵🪦