So many harmonic surprises...I am a choralist. It is amazing what you think you know about music, having had much training and experience in/after college...then you stumble onto this gorgeous piece, and it just blows you away...0_o!
Thank you SO much for this labor. As a singer who went into a Navy career instead of taking the invitation to music school, but understands chords and keys "from the outside," this was a joy. God bless all those talented musical "evangelists" who post such scores for us to follow and imagine ourselves conductors who have not enough time left in life to be so. [ One "sir" where there should be a "wir" about 3/4 through the piece.] The translation was a blessing, too. As I followed along (knowing German well) and reading the English translation (my native tongue), and drinking in the harp and the masterful solo in every regard, and reading the comments and chord symbols (thankfully the languid pace of the piece allows time for all this processing, I am left with a very pleasant musical "aftertaste." Now "to the arms of Morpheus" (sleep) as my Mother would say. Bravisssimo!
This is extremely valuable for those of us who love this Lied and wonder about its inner workings that enable it to push our emotional buttons :) Thank you very much for making these videos, they are truly appreciated!!!
For me, the important parts of this piece are where the 2 melodic lines start and end. The journey they go on. And in this instance neither of them start or end on the root of the key signature or the root of the current key/chord. This gives a sense of wandering or being somewhat lost, which, given the words of the poem, may be precisely what Strauss was aiming for.
Well in classical analysis (at least in france) we wouldn't consider these #5 chords as proper chords, rather appodiaturas leading to a resolution over an already resolved bass note. So the function of the chord is that of its resolution (if this makes sense) The most common usage would be what we mark as the I +7 chord, which is the dominant fonction on top of the I bass (in G : G(Eb)F#AC resolving to GDGB). This the same principal here but over the third of the chord. I know this is ultimately the same thing but it's interesting to compare different methids of analysis
Responding late, but for anybody else who's wondering: The singer is Claudine Ledoux. (Full credits are shown in the video, at the 0:08 mark.) She has her own website, and it also looks as though the CD this piece is from is available on iTunes.
Amazing! Thanks a lot! Could you also explain the incredible beauty of the Strauss' 4 Letzte Lieder? In particular "Im Abendrot", if you choose one. That would be a great achievement!
I’m afraid that my simple question won’t be disturbing you after 12 years since this video was uploaded. Is there any possibility for the coda to be analyzed in various modal progression? If not, how one can compose such passage? Only by his/her ear and high level of musicality? Thank you in advance 😊
This a nice analysis of a great piece of music, but it's a pretty basic harmony. I mean, classical-like, almost nothing truly romantic here. Liebestreu from Brahms would have been a more interesting choice of song (those appogiaturas in canon with the voice are amazing!).
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
So many harmonic surprises...I am a choralist. It is amazing what you think you know about music, having had much training and experience in/after college...then you stumble onto this gorgeous piece, and it just blows you away...0_o!
Thank you SO much for this labor. As a singer who went into a Navy career instead of taking the invitation to music school, but understands chords and keys "from the outside," this was a joy. God bless all those talented musical "evangelists" who post such scores for us to follow and imagine ourselves conductors who have not enough time left in life to be so. [ One "sir" where there should be a "wir" about 3/4 through the piece.] The translation was a blessing, too. As I followed along (knowing German well) and reading the English translation (my native tongue), and drinking in the harp and the masterful solo in every regard, and reading the comments and chord symbols (thankfully the languid pace of the piece allows time for all this processing, I am left with a very pleasant musical "aftertaste." Now "to the arms of Morpheus" (sleep) as my Mother would say. Bravisssimo!
Great choice of composition. Another wonderful master class.Thank you.
That #5 really keeps me coming back to this piece.
Seriously! Doesn't it break your heart?
This is extremely valuable for those of us who love this Lied and wonder about its inner workings that enable it to push our emotional buttons :) Thank you very much for making these videos, they are truly appreciated!!!
For me, the important parts of this piece are where the 2 melodic lines start and end. The journey they go on. And in this instance neither of them start or end on the root of the key signature or the root of the current key/chord.
This gives a sense of wandering or being somewhat lost, which, given the words of the poem, may be precisely what Strauss was aiming for.
Well in classical analysis (at least in france) we wouldn't consider these #5 chords as proper chords, rather appodiaturas leading to a resolution over an already resolved bass note. So the function of the chord is that of its resolution (if this makes sense)
The most common usage would be what we mark as the I +7 chord, which is the dominant fonction on top of the I bass (in G : G(Eb)F#AC resolving to GDGB). This the same principal here but over the third of the chord.
I know this is ultimately the same thing but it's interesting to compare different methids of analysis
Out to lunch, my guy. In 'classical analysis' the only true chord constructions are maj,min,dim,aug triads.
Beautiful!! and beautiful work, DBT!! :)
Wunderbar still, unspektakulär, ausdrucksstark und hoffnungsfroh!
who
sings??? she is perfect!! lover her!!
Great job! thanx for that. hope to see more...
Who is the singer? Wonderful phrasing; I love this song.
Responding late, but for anybody else who's wondering: The singer is Claudine Ledoux. (Full credits are shown in the video, at the 0:08 mark.) She has her own website, and it also looks as though the CD this piece is from is available on iTunes.
Thank you for your amazing work
Amazing! Thanks a lot! Could you also explain the incredible beauty of the Strauss' 4 Letzte Lieder? In particular "Im Abendrot", if you choose one. That would be a great achievement!
So great!!! Wonder if it is available in Pdf??
❤
I’m afraid that my simple question won’t be disturbing you after 12 years since this video was uploaded. Is there any possibility for the coda to be analyzed in various modal progression? If not, how one can compose such passage? Only by his/her ear and high level of musicality? Thank you in advance 😊
gerne zu lesen, alles bestens!
wrong notes played in bar 7, 3rd beat....... played f instead of g....
This a nice analysis of a great piece of music, but it's a pretty basic harmony. I mean, classical-like, almost nothing truly romantic here. Liebestreu from Brahms would have been a more interesting choice of song (those appogiaturas in canon with the voice are amazing!).
How can it be possible that literally every single comment by you on RUclips is bullshit?
Well, you are certainly welcome to do just that.
Why the analysis in F, while the original is in G?
I already had all of the slides made, but couldn't get permissions for the recording in G :)
Thank you, David, for this delightful gift.
alright well it was ok but maybe a little dull me thihnks