The soprano line is essentially a scale in minims from G up to D and back down to G. The bass line scales go in the other direction four times faster. Genius!
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Loving the Bach series! I'd love to also see more insights into later music, like a video on Rachmaninoff's use of counterpoint and chromatic and modal harmony in one of the the etudes-tableaux would be amazing!
Absolutely wonderful! Thank you so very much for once again sharing your profound knowledge and insights, and for your clear and easy way of explaining your thoughts . . . There is so much going on in only 5 bars of music! You are a treasure, and this brightened my day more than I can say.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I teach electric bass. I play mostly rock, blues and jazz. Bach wrote the best bass lines ever and even bass players today use those same techniques of chromatic/half step or lower fifth approach notes for walking basslines. If you want to know where the chords are, listen to the bass. Especially the melodic minor scales outlining the secondary dominates resolving to the relative minor chords. I've recently starting transcribing piano bourrées for electric guitar and electric bass to illustrate how the bass moves through chord changes. Not very traditional, but a lot of fun.
Another delightful pair of Bach phrases! Perhaps you've discussed this already somewhere, but I remember reading that functional harmony became established during Bach's lifetime (Rameau?), and that Bach might not have thought about his harmonies in the same way we do looking back. Perhaps an installment of "Inside the Mind of Bach" could look at what's known of Bach's perspective on organizing harmony, and how that relates to earlier as well as later approaches?
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
G'day, Mr. Greene! I was thinking, "I wish he'd use highlighter for the chords he's talking about," and then you DID. You read my mind. Thank you. It really helps.
Another fascinating analysis. I'm still impressed with how Bach was given pre-written melodies, but his arrangement and harmony put his own stamp on the music. Our current society places so much emphasis on melodic originality, but Bach seems to be a master of harmonic originality (something arguably a bit more useful).
Thank you very much for your videos. Very informative and clear. One technical question. What software do you use to get the green lights on the keyboard? Thank you.
A root motion by third progression in the first phrase: I-vi-IV, indirect step-descent bass from scale degree 1 down to 4 harmonized with 42 (figured bass) chords on the off beats, except a passing 64 on the and of beat 2 which combines the vi and IV versions of the descent, plus a IV-ii complex extending the step descent. A V chord is stronger than a V7 in regard to its independence from the tonic.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Interesting how certain scalar notes such as the B flat in this example can be seen as either a chord tone or inessential Like arpeggios, breaking up the chord And, for that matter, adding extensions
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
This was my introduction to music analysis and it is above my pay grade. But it is a good motivation for my practice sessions. Just over two months playing the piano after my retirement. I think I need to work my inversions since it seems that really knowing what notes to use is important, n'est-ce pas?
@@MusicMattersGB Time to rewatch this after a year, and you've helped me progress as a musician. I stopped this and sightread the harmony and then watched your analysis. You really are the best witch of your generation, I mean, music teacher. I stole a line from Harry Potter for inspiration, since imitation can be a good musical tool, n'est-ce pas?
@@MusicMattersGB I was taught to call a parallel movement of two voices from any interval onto an octave a "hidden octave", and that it has in general to be avoided, although there are exceptions, one being indeed that the voices involved are the external ones and the soprano moves by a minor second, as I have checked in the meanwhile in Dubois: it is actually the first example of paragraph 28 (Italian edition, but I suppose the numbering is the same).
It sounds alright but I have come back to this series because it's been a while and it's a pretty meh chorale. He is a genius don't get me wrong but going from V7 to V is not something I would ever advise and the fact he did it when there's no reason to including movement reasons I find strange and it makes the chorale sound a lot weaker. Really strange. It was quite a disappointing chorale and there's more disappointing chorales than I would like to admit but it's the shear volume of music he had to churn out for every single Sunday as well as look after his family is where you take a step back and forgive him for frankly a poor chorale. Having said that I am glad you looked at it because there are some useful elements in it as well as some interesting corners.
@@MusicMattersGB I bought a high end Kawai keyboard last year and was surprised to find that its flagship piano "instrument" was imperfectly tuned. (The Kawai synthesizer is based on "sampling" from real instruments. The tuning on my keyboard varies from pre-installed instrument to instrument.) Fortunately, on this Kawai one can change the tuning of individual notes as well as change temperaments. Or, better yet, just run the keyboard through a superior emulator like Modartt Pianoteq. I think you might find that your A4 was mistuned out of the box. Depends on the temperament, of course, but I believe that most temperaments keep a fairly pure interval between the root and the fifth in the key of C. We violinists pay a lot of attention to that 440 A! ;=)
Loving the Bach series! I'd love to also see more insights into later music, like a video on Rachmaninoff's use of counterpoint and chromatic and modal harmony in one of the the etudes-tableaux would be amazing!
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The soprano line is essentially a scale in minims from G up to D and back down to G. The bass line scales go in the other direction four times faster. Genius!
😀
"How you might 'Handel' that" gives me a giggle every time.
Great video, I'm looking forward to the rest!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Loving the Bach series! I'd love to also see more insights into later music, like a video on Rachmaninoff's use of counterpoint and chromatic and modal harmony in one of the the etudes-tableaux would be amazing!
Will put Rachmaninov on the list.
Absolutely wonderful! Thank you so very much for once again sharing your profound knowledge and insights, and for your clear and easy way of explaining your thoughts . . . There is so much going on in only 5 bars of music! You are a treasure, and this brightened my day more than I can say.
That’s most kind of you. Enjoy!
What a wonderful lesson! So musical and very informative. Great analysis. Bravo! Simple is always beautiful.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
This channel is fantastic! I've been evolving a lot since I discovered it. Thanks for posting!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I teach electric bass. I play mostly rock, blues and jazz. Bach wrote the best bass lines ever and even bass players today use those same techniques of chromatic/half step or lower fifth approach notes for walking basslines. If you want to know where the chords are, listen to the bass. Especially the melodic minor scales outlining the secondary dominates resolving to the relative minor chords. I've recently starting transcribing piano bourrées for electric guitar and electric bass to illustrate how the bass moves through chord changes. Not very traditional, but a lot of fun.
Brilliant connection
Another delightful pair of Bach phrases! Perhaps you've discussed this already somewhere, but I remember reading that functional harmony became established during Bach's lifetime (Rameau?), and that Bach might not have thought about his harmonies in the same way we do looking back. Perhaps an installment of "Inside the Mind of Bach" could look at what's known of Bach's perspective on organizing harmony, and how that relates to earlier as well as later approaches?
That’s a good point. Of course much Baroque harmonic thinking was from the bass up rather than the top down approach we have often adopted since.
Always a pure delight to watch. Thank you!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Great video - I haven’t heard the cadential phrase ‘hot cross buns’ since i was at school (over 30 years now….)
Great stuff
😀
G'day, Mr. Greene! I was thinking, "I wish he'd use highlighter for the chords he's talking about," and then you DID. You read my mind. Thank you. It really helps.
😀
Another fascinating analysis. I'm still impressed with how Bach was given pre-written melodies, but his arrangement and harmony put his own stamp on the music. Our current society places so much emphasis on melodic originality, but Bach seems to be a master of harmonic originality (something arguably a bit more useful).
Absolutely
Thank you very much for your videos. Very informative and clear. One technical question. What software do you use to get the green lights on the keyboard? Thank you.
Thank you. It’s called Synthesia Piano.
Excellent stuff! Thank you!
A pleasure
Jazz Bass players should know this!
😀
A root motion by third progression in the first phrase: I-vi-IV, indirect step-descent bass from scale degree 1 down to 4 harmonized with 42 (figured bass) chords on the off beats, except a passing 64 on the and of beat 2 which combines the vi and IV versions of the descent, plus a IV-ii complex extending the step descent. A V chord is stronger than a V7 in regard to its independence from the tonic.
It all works really well.
I enjoy your music tuition 👍
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Interesting how certain scalar notes such as the B flat in this example can be seen as either a chord tone or inessential
Like arpeggios, breaking up the chord
And, for that matter, adding extensions
True
Fantastic video.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Fantastic
😀
This was my introduction to music analysis and it is above my pay grade. But it is a good motivation for my practice sessions. Just over two months playing the piano after my retirement. I think I need to work my inversions since it seems that really knowing what notes to use is important, n'est-ce pas?
Absolutely. Enjoy!
@@MusicMattersGB Time to rewatch this after a year, and you've helped me progress as a musician. I stopped this and sightread the harmony and then watched your analysis. You really are the best witch of your generation, I mean, music teacher. I stole a line from Harry Potter for inspiration, since imitation can be a good musical tool, n'est-ce pas?
@lawrencetaylor4101 You’re very kind.
Thanks!
Thanks for your support
I was just thinking about this o.O
Excellent
Is it not possible to label the chord on beat 2 of m. 1 as vi so the progression is I - vi - Vi - ii - V - I?
You could see it as vi7 followed by an unaccented passing note in the bass. In reality the A in the bass sounds like an accented passing note.
Is the hidden octave at the end of second bar acceptable because the top voice moves by step? I mean, if JSB does it, it must be right! 😆
Where do you see a hidden octave at the end of bar 2?
@@MusicMattersGB I was taught to call a parallel movement of two voices from any interval onto an octave a "hidden octave", and that it has in general to be avoided, although there are exceptions, one being indeed that the voices involved are the external ones and the soprano moves by a minor second, as I have checked in the meanwhile in Dubois: it is actually the first example of paragraph 28 (Italian edition, but I suppose the numbering is the same).
😀
It sounds alright but I have come back to this series because it's been a while and it's a pretty meh chorale. He is a genius don't get me wrong but going from V7 to V is not something I would ever advise and the fact he did it when there's no reason to including movement reasons I find strange and it makes the chorale sound a lot weaker. Really strange. It was quite a disappointing chorale and there's more disappointing chorales than I would like to admit but it's the shear volume of music he had to churn out for every single Sunday as well as look after his family is where you take a step back and forgive him for frankly a poor chorale. Having said that I am glad you looked at it because there are some useful elements in it as well as some interesting corners.
😀
Hey, it would be way more clearer if you write the chords number at the right of the screen
We prefer to associate the number with the chord so there’s no confusion.
That is a very strange chorale. I like to look at chorales and analyse them but this is the strangest yet.
It’s a very interesting example
Turn the tonic into a dominant! Why not? 😂
Go for it!
Past time to tune your piano!
It never goes out of tune. That’s the joy of electric pianos!
@@MusicMattersGB I bought a high end Kawai keyboard last year and was surprised to find that its flagship piano "instrument" was imperfectly tuned. (The Kawai synthesizer is based on "sampling" from real instruments. The tuning on my keyboard varies from pre-installed instrument to instrument.) Fortunately, on this Kawai one can change the tuning of individual notes as well as change temperaments. Or, better yet, just run the keyboard through a superior emulator like Modartt Pianoteq.
I think you might find that your A4 was mistuned out of the box. Depends on the temperament, of course, but I believe that most temperaments keep a fairly pure interval between the root and the fifth in the key of C. We violinists pay a lot of attention to that 440 A! ;=)
It is at 440 but it may well be ever so slightly out. We’ll take a look!
Loving the Bach series! I'd love to also see more insights into later music, like a video on Rachmaninoff's use of counterpoint and chromatic and modal harmony in one of the the etudes-tableaux would be amazing!
Okay