i had a very good composing teacher who said that making great sounding music wasnt as hard as one may think. creating great sounding passages as those illustrated here is not as challenging as finding the right place for them. so its not about how the music sounds but rather about the narrative, the form of the whole. what all great composers had in common was their ability to put the structure of the piece to the service of the music
YEEEEES!!! Absolutely agree! Thats why I always disagree when my fellow composer-friends or anyone tells me thats its only about harmony. The form, orchestration, develompent, motiffic work... these are the true tools for writing great music ! Not only the harmony, altough its not less important.
This is a crucial point. Obviously you must know counterpoint, harmony, invention, and all that; but without being able to actually "compose" it all into an effective whole, you get little more than an interesting comp exercise. Yet, once you can grasp the long-range form and the "story" to be "told", then you will "form" something that will "speak" to people.
The same goes for performance as well. Sometimes a passage has to be played less-beautifully, so that the piece as a whole can be more beautiful in its total effect.
Nahre you are one of my prime inspirations as a autodidact in music. I learn a lot of theory, but your view of music helps me learn to use the heart tovturn it from theory robot to actual music. Thank you
Thanks to a much older brother, I have listened to this music for 65 years and Nahre Sol is an absolute genus. Her videos are utterly revelatory. I am so grateful to your presence on youtube.
Very well put! It's great to hear someone who does so much research explain their findings in the language of a practicing musician instead of a traditional researcher. The metaphoric or synaesthetic vocabulary may not be the most accessible approach for non-musicians, I guess, but for musicians this channel feels, like said above, highly appreciative. Please keep it this way.
I would have to agree with @Eric Gross. She is a genius. I've learned more from her videos and garnered a deeper understanding of musical style, history and theory than all my college courses. I've taught music for 28 years now. Thanks, Nahre Sol, and keep up the good work.
Awesome, thank you! Here are my takeaways: • Having EMOTIONS as a PRIMARY FOCUS • Paying ATTENTION TO how each technical DETAIL can AFFECT these emotions • Not hesitating to USE BASIC ELEMENTS (with purpose, these basic elements will convey unique emotions). Those are great reminders, especially when we lose track of them due to a lack of inspiration.
I’ve literally had composition lessons going over these exact topics. Your ability to combine performance techniques with composition techniques is truly brilliant and would revolutionize music schools.
You are articulating the gestalt of a musical piece. The very fact of our humanity, and hence our unique nervous system, lends attack, hesitation, and strength changes, as well as an interpretive signature to whatever we play. This is the reason I have intolerance for music that has “fixed” all of the “mistakes” in pitch and time. Happy holidays, Nahre ❤🙏
I would love for you to do a video going over the music of Camille Saint-Seans. His piano works especially, mazurkas, waltzs, op 72 etc, it's all incredibly complex and scattered, yet very simple ingredients how you describe, and it comes together like a Michelin star meal!
So nice! I like how you point out that any little change to a great piece will likely just kinda ruin it. I feel like composing your best piece is like building a house of cards. Care and delicacy for the emotional story 💯 or it’ll collapse to a flat stack.
Actually I think that’s kind of the brilliance of jazz-endless variations (that work) in realtime on a theme. You could argue that the same logic applies for the original composition, but the interpretation of the composition is at least as important as the original in this case..finding out just how many related stacks of cards you can make from that particular deck, if you want to say.
this video is genius, this is probably what separates a great musician from a good musician. Super informative and affects how I think about music and practising. I always imagine how it would be like if I have a professor like you when I was an undergraduate🙇🏿♂️🙇🏿♂️🙇🏿♂️
This makes me think that there is less of a gulf between us improvisors and composers overall! I had always thought that composing was more of an intentional matter of taking theoretical elements of music and using them to "paint a picture" with a known palette of theory and technique. It seems that the idea of "just letting it flow" applies to both!
A weird thing about improvising into an audio recorder, with the intent to listen back later and keep the better stuff... I started to hear instances of "oh wait, that should be like THIS" moments, where I'd be in the middle of a jam and play something almost good, and then immediately afterwards a better version of that same phrase, and then continue with the rest of the jam. IOW, while I was playing, subconsciously I'd set it up so I could go back and edit out the bad phrase. And the timing and cuts almost always worked out perfectly, if done in the moment like that. I think that developed because previously, I had to go back later and punch in, and all my excessive little micro-timings would be different, and it was so obvious it was edited. The weird thing is that it was a subconscious development. I'm not quick or observant enough to notice a poorly played but good phrase, and fix it, consciously, well enough so that the edit will work later. Therefore, if other people are like that, then your realest and best music is probably improvised... And with our audio and MIDI recording tools (even just onboard digital pianos) it makes sense to build compositions around improvisations, even for people who consider themselves to be composers first. Not if it's a procedural compositional method etc, but if you're conveying emotions? Of course! Improv is the most direct way to get emotions out musically, so... yeah.
@@GizzyDillespeean online jazz teacher said many classical composers actually improvised like jazz musicians, even in performances. I thought was so cool
I have often felt that great music and great literature are the same, in how they are intricately build worlds subject to an endless exploration. A great story always feels right; you don't feel like changing a single word, let alone a scene. Your analysis reminded me of that idea. Thanks for the great work as always Ms. Sol. Looking forward to more insights like these.
Yes, please! I would love for you to explore this topic deeper! I agree with you on the importance of conveying a particular emotion with music. It's a tricky thing to explain, so I think these types of videos are SUPER valuable
Exactly right Ms Sol. All compositional decisions need to be guided by a very clear emotional intention directing the musical storytelling and every detail of rhythm, melody, harmony, texture, colour etc. Without emotional clarity there can be no musical clarity or consistency in either composition or interpretation. Musicians young and old need to hear this every day! Thank you for your wonderful work. I love your pianistic skills and the workings of your creative and analytical musical mind.
Dear Nahre, I am so grateful for you! ☺ You have a gift for conveying knowledge in a wonderfully warm and appealing manner. I am a professional pianist and, without fail, learn from your presentations; yet, they are just as accessible and enjoyable to amateur music lovers, young and old, of all levels. Kudos! Keep up the fine work! 👍
I totally agree with the others calling Nahre Sol a genius! The feeling that is created by certain works of music by certain composers is a familiar but abstract concept, which she's somehow articulated in a concrete way that makes so much sense. I've been watching her videos for years now and I have to say that this is my favourite channel on RUclips :)
For me great music not only conveys emotions but the more you listen to it, the more you like it. Great music grows on you, it's not the most accessible.
Like Hans Zimmer said in one of his interviews, don't just write music but tell a story. And I think that's the genius in all the music. Each one has a unique story to tell, using their own "voice " and vulnerability they expose themselves through their music. Holding to their own, each one of them made a "language" so unique to them and us, as their listeners, recognize their sound very distinctively.I think these "voices" are lost or silenced now because of too many standards the are imposed where in fact, these standards are just merely uniqueness.
@@SkyCloudSilence that’s fair, although imo every composer would like to tell a story with their music. And even though i think most people miss it when it comes to music without lyrics, most of them also end up, like you said, projecting their own stories into the music, just like we do with every piece of art. But i do understand your point, I just believe that all composers do tell a story with their compositions because that’s what makes a composer great aside than many other abilities. But then again, this is just what i think personally and there is no evidence to prove my point, and I think this discussion can end with us realizing that almost everything about music is subjective, to me, a music might have a story, to you, it might not, who is right in that case? No one, because there is no right or wrong when it comes to music.. Thank you for this lovely discussion!
Memorable & thoughtful content as always! Truer words have never been said about crystalization being an art and not a science which is why it's beauty varies from composer to composer and reaveals why everything Nahre creates doesn't sounds like any other.
i think this video is also a great example of how important sheet music is. sheet musc standards allows for nearly every intricacy to be communicated even to someone who has never heard the piece before. without even just a few missing notations, lots of this crystallization can be lost in translation.
To your point about interpretation: I have recently realized that the greatest gift we musicians acquire is Sensibility. This gift, as you say is an art rather than a science, we can only get through years of immersing ourselves in music and more than allowing us to perform better, I think it also makes just the act of listening to music more enjoyable too. Should I ever lose the ability to play my instrument, I will still have my musical sensibility.
I love this channel! I'm not that much of a musician but I do love the piano, and you breaking down the complexity of learning about the technical aspects of music is so interesting and captures my short attention span unlike any book of lecture would do. Thank you so much! I actually think I'm learning something! You're awesome!
In theatre dance we talk about "finding the breath" of a choreography. It's pretty much the same concept. And you can hyperhanalyse it into constituent parts (accents, dynamics, single notes/movements etc) or keep the focus on the general intention, but breath (influencing both your psychological and physical states) ties it all together. However, more than one kind of breath might work for a piece (see Bernstein on Gould's interpretation, and yet it moves). As an offshoot, towards another musical world, but from this perspective, check out how Victor Wooten talks about music.
It's great to see a pianist who is truly a musician, I've come to see music as a living person, a woman with moods, hard to understand, but truly worth getting to know well... thank you for your work in this field...
This was super interesting! I'm just a classical music listener, and I feel I'm missing a lot compared to musicians, which are able to appreciate the music more deeply because they understand the feeling, the techniques, and all that. These kind of analysis help a lot, I specially liked the small changes you made to the pieces to show how it makes the mood change! Thanks for your hard work, looking forward to more videos like this!
A listener can perfectly understand all that counts in a musical piece. What can lack is the strictly technical competence and the ability to play an instrument, but it has nothing to do with understanding and feeling the music.
@@andsalomoni Liking or not liking something is available to everyone at the first listen. But to understand the feeling, it does take a bit more knowledge. Yes, it's not just musicians that understand that, but they pick up on it more easily. I'm talking about myself, I wouldn't be able to say what feeling the pieces played in this video were portraying
@@auricia201 Musicians understand more easily because they play and listen all the time. A non musician who listens all the time, understands like a musician.
@@andsalomoni Yes, exactly, musicians understand better because they play. But a non musician doesn't put the knowledge into practice. They can understand and appreciate phrasing, but a musician that is used to practice it and experiment with different phrasings, will appreciate the work of other musicians more deeply
I would say music, like all great art, is ultimately in some mysterious way about the depth and profundity of the human soul. Great composers can capture this in aural form and reflect it back to the audience in a way that brings into a greater light, some deep appreciation and awareness of this. It's a kind of revelation of some aspect of the seemingly endless ocean of truth about what it is to be human.
I write electronic dance music and not classical music at all, but this video really helped me think about ideas I've danced (...) around for a long time. Thanks.
Great video. I would love a video where you interview pianists about what they are thinking in the moments before they perform, both before going on stage and the moments before they begin a piece. I often see pianists pause before starting a piece and wonder what they might be thinking, whether something technical about the piece or a thought that gets them in the right emotional mindset.
I like how you immediately had a picture in mind based on the emotion you felt. For years my 7-year-old daughter and I have listened to classical music in the car on the way to and from school. And we play a game where we listen to the music, decide how it makes us feel and create a story based on the song. Each song is different, and so too is each story she and I create 🙃
I love how you answered this question. I want to know more about how you define and see crystallization in music, and why you find it useful even though it is mysterious and kind of abstract to me. keep up the incredible work!
You always get to the essence of things and every point is made concisely and clearly. I would love to hear you explore Bartok and the influence of Hungarian folk elements in his music. I also loved your exploration of flamenco. It was one of your best clips although it’s impossible to pick a favourite. Thankyou for your inspirational work.
Really well done! Your examples were excellent and I loved how the small changes you chose illustrated your point perfectly. I remember being tortured as a young pianist playing Carl Czerny's pieces, which superficially sound very much like Mozart or Haydn and asking "What is the DIFFERENCE? Why is one composer considered 'Great' while the other is simply workmanlike?" What I think is wonderful about your approach is that it is a tonic to the "Amadeus" school of thinking about "Greatness" which is "you know it when you hear it," which is kind of reductive and comes from the viewpoint (In my opinion) of a non-musician. Your theory is well defended and as good as any other. I hope you have read Leonard Bernstein's The Joy of Music especially Bull Session in the Rockies, where he discusses why Beethoven is considered "Great." It changed my whole perception of how to judge music or any other art. Although it goes back to Aristotle, Bernstein's theory that "greatness" involves both surprise and inevitability (which is completely shown especially in your example from the Appassionta") might be something worth exploring in a future video...
@@NahreSol One of many voices here! I do come back to your videos to read the comments from others! You strike such a great balance for your audience between those who have loved this music for (cough) decades and those who might be just discovering it because of you! (lucky them!) Happy New Year, BTW! (I think I already used up my exclamation point ration for the year in this comment...)
Oh this is a very interesting comment. The wonderful thing about music is that it is so multi-faceted but also so very universal to humanity. I think there really isn't a 'right' or 'wrong' way to theorise about it. Your explanation of Bernstein's theory is very interesting (I haven't read The Joy of Music, yet) and I too think it's worth exploring in a future video.
You've been brainwashed like every other classically trained musicians. Who are the greats? Of course, Beethoven, Bach, Mozart and other German composers or people that we want to consider German. If you don't understand your own biases how can you can say you really like something.
@@alvodin6197 normally I don't engage with this sort of foolishness but I feel the need to point out the obvious. Nowhere did I say the 'greats' had to be German. This is something you're reading into my comment. Of course I could name dozens of composers from every country in Europe, each one 'great in their own way. And then there are the ones from the Americas and Asia, etc. etc. I am not familiar enough with the music of Africa and Asia to speak to their traditions, or even whether the idea of "greatness" is universal. Perhaps you are. Nahre chose to stay within the classical pantheon because it is the one most familiar to her viewers (I'm guessing). She also chose all White male composers. And if you watch any of her other videos you'll see that she holds no bias there either. I do hope your comment wasn't addressed to her as she used Ravel as an example. So no brainwashing here. It's a fascinating topic for discussion- I'd hate to see it sidetracked by comments like this.
You are such a talent Nahre. Some of your videos have complexity beyond my comprehension, but this one really hit the mark with me. It was so interesting, entertaining and informative. You have been blessed with a natural talent not only in your piano playing abilities, but in your way that you communicate at all levels. I was blown away by the way you Changed up pieces of music to communicate your message. These videos must take a lot of time and effort. Thank you for sharing!
I think everything you said resonates with me, in terms of the idea of crystallization. That said, I do feel that we tend to put composers and musical pieces on a pillar, in that of course a particular piece by Bach or Mozart or Beethoven couldn't be written any other way and still be as good, and therefore they almost end up defining the concept of crystallization in a way that I feel isn't necessarily that useful aside from reinforcing the pillars that they're on. And while I do agree the modifications you made to those passages "break" the overall feel, I think we're also so familiar with them and the associations we've already made that it's hard to imagine a change that wouldn't be jarring, and thus it sort of only serves to paint that music as being compositionally "perfect". Perhaps I'm more interested in crystallization from the point of view of Beethoven going through a couple lousy drafts of a passage and approaching the crystalline ideal rather than defining crystallization through the final product that we all inherently accept as a finished work. I think a more useful exploration of the concept of crystallization would be to take two pieces of a particular composer and compare their relative effectiveness, why one is perhaps more successfully crystalized than another, thereby reducing the gods versus mortals aspect of analyzing music. Of course, publicly critiquing music can be a minefield, so I understand if there's hesitation, but hopefully you understand where I'm coming from in terms of wanting to dive deeper into your concept.
I think your point brings necessary notice to romanticizing a given piece. Sure, they are great as they are known, but behind doors, under the ink and pen, where they pruned and polished as it took form, or was a perfect one-off as we are oft to believe? I incline for the former, especially when you consider these composers wrote literarly hundreds and hundreds of pieces, yet their most well known pieces are probably in the dozens. I am in awe to many of these greats, but it is important to recognize that behind master pieces there were also many student works and discarded drafts. Genius is nourished, not pulled from a crystal ball.
Weirdly I had the SAME reaction as @Eric C and @__ posts ~ (went away for a day - thought / "Thunk" about it for a bit ) THEN watched the video a second time and NOW I kinda lean in on @Nahre Sol 's beginnings of a "Thesis" a focal theory*. Honestly what these "Greats" (as such) had was this core need to take (for their respective times) pretty gigantic leaps and (most importantly) near massive RISKS and yet at the same time make the listener feel included and important; from personal human resonances to the near EPIC - from personal internal reflections and partcular facets of the human psyche seemingly scaled up to monumental truths. In this respect the listener is made to feel important and included in spite of works wrought by some of the most awkward, difficult, pig headed and cantankerous people that any contemporary would ever be likely to meet. "They" - literally could not help themselves but BE who they are in spite of the "Norms" of their own respective times - hence the challenging and groundbreaking nature of their most significant works. Beethoven's 9th being a great example of a very MUCH beloved total trainwreck. ___________________________________________________________________________________________________________________ * However I suspect the need for the illusion of immediacy probably comes from the fact they ALL had excellent teachers, C.P.E Bach, "Papa" Hyden, etc. AND hand in hand having the need to also TEACH for a living really forces one to figure out what IS important to communicate, given that time is always limited. Teaching / coaching forces one to constantly seek out ever more impactful and efficient ways to get the point across ~ unlike this post. ** Interesting parallel is Miles Davis' take Autumn Leaves with an introduction that pulls out a very particular sensibility and set of human facets in a very brave new way - not unlike the cited piece of Mozart (as above Nahre's Vid ). ruclips.net/video/tguu4m38U78/видео.html ^^^ If you don't know it definitely check it out :-)
You are a gift. I'm just in awe of someone expressing these thoughts I unconsciously felt but did not have the expertise or experience to express. It's an honour to learn from someone as capable and enthusiastic as you. I'm in awe of how on point you are, and how I can get access to all this crystallised knowledge for free. I'm a professional writer actually, so I felt honoured when you compared the magic of music with that of poetry and stories. 💛 Stay blessed. I love your teaching! 💖
Aside from the great discussion of the music, your speech rate was so much better than the recent fad of people talking too fast. Not everyone can take in words delivered at Mach 2. I have learned from you, after over seventy years of playing, and learning, the piano.
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Just wanted to say thank you. So much to digest.. I'd love more examples of great pieces made "less great" by changing something simple. And of course more ideas about what make great composers great would be wonderful. Thank you so much!
This video truly opened my eyes! I felt that I already knew a lot about interpretation in music but I've never thought of playing a piece with a slight alteration which even more shows the beauty of it. Thank you, this is really valuable :)))
Maybe I have watched too much of your videos, but actually I got right both of your examples of how interpretation and articulation could change the perception of who the composer is. We also owe it a lot to how you helped to crystallize their work in your previous videos 😊
If you put the notes together ,the rhythm and every last bit of information about the piece and then look at it and get into the head of the composer you can create that magic that is so elusive
The crystallization is a great point. The comp prof I had would say, "Compose something everyday"- he wanted us to get into the a pattern of crafting a work. That then put the reason the orchestra director would correct people, "don't call it a "piece", it is a work of music". Like a gem cutter, a composer will pull the music from what other wise would be unorganized noised. And then we learned to enjoy unorganized noise too! Love it al!
I simply love your videos. Even as just a hobbyist pianist, this inspires me so much that I wish I could make my thoughts fly into a score and smash the pentagram with at least half of your understading of music and it's depth. It is out of the box, and I thank you infinitely for sharing it.
Yeah I have also noticed that a lot of the classical music I love has this extra "life" - for want of a better way to put it - to it, that I have not been able to really figure out. I think you are on to something!
I wish I could buy a book with a glossary of all the wonderful words you use to describe musical sounds, like "chattiness" and "punctual" to describe Bach. You always find the perfect words to describe how music sounds and feels.
your ability to put across ideas with the visualisations is so good, thanks for your videos. They always makes me want to play piano, I am self taught and never took it seriously but I am naturally skilled with music
I would very much enjoy more videos like this. I particularly enjoyed the final point you made, about the importance of purpose in driving the gelling of elements during composition - it helps me understand why I completed the two pieces that I have seen through and why I've abandoned so many others that I have started!
My professor recommended Henle. I had to scan each and every Henle scores( for my preference), as I couldn't find any digital format, or I feel I couldn't afford to buy those. It's very welcoming to see this urtext on your channel
I've called this aspect 'having a coherent emotional program'. As opposed to what we think of as program music, which has one correct interpretation, an emotional program is one abstracted to a point that it can bring to mind all triumphs, or all heartbreak, or all young love, depending on the listener's experiences.
Ha, ha, ha! I thought I was good at analysing, but your insights are brilliant, and not only that, you are a great pianist! I have a Masters in Music, but have already learned more from your videos than I did from most of my music classes! Thanks, Nahre! PS, it’s great that you are sponsored by Henle. Their scores are so beautiful to use.
You are doing absolutely wonderful work, teaching us all in multiple enjoyable and articulate ways. Sometimes as i watch I am struck by the artistic/musical composition of the video itself.
I agree completely that the whole communicative effect of great music cannot be broken down into analyzable elements. But, that said, there's more to the Beethoven passage than meets the eye. I found this descending scale (actually scale+1) difficult to memorize until I realized that each time the 8-note pattern is repeated over the 9 eighth notes which constitute 3 beats in a 12/8 measure, it outlines a new octave which descends in a beautiful and ominous hemiola from Fflat->Eflat->Dflat->Cflat over 3 bars, leaving the whole of the last bar of the phrase to an inevitable Bflat...Eflat/Aflat! That's, in my opinion, why the pattern works perfectly this way and not at all any other way. In general, I think that a consensus is slowly (too slowly!) being arrived at that those of us from a classical music background were taught to study pitch and harmony much more than rhythm, to the detriment of our understanding. The great composers were more sophisticated and powerful in their use of rhythmic structures than the lesser lights were, and some of these differences can be specified if we look for them. By the way, this applies just as well to your Mozart example...
Amazing and insightful as usual, I think this is the most difficult thing to learn and teach about performance, not only how to articulate, enunciate or inflect, but also what is the purpose, the idea or the feeling behind a piece. Have you thought about making a video on intervals and the different feelings they can inspire?
". . . they all wrote great music." - I totally loved it! This definitely encouraged me to work a lot harder at really refining my interpretation, and not stopping at "I've got all the notes right"!
Hell, yes! Let's dig deeper! Your videos are always amazing. So interesting. I (a musician) watch them often with my wife (a music afficionada - listens to music with the score in her lap, for instance). Your videos are accessible and totally enjoyable to both of us.
This may be one of the most important subjects you have tackled. And indeed, one cannot quite define exactly what all composers had in common, since one of the thing they had in common is that they were unique and original. But I'm always reminded of a saying that goes something like "Do not seek to imitate what the composers did. Seek what they sought". It's like, all these composers (and creators) are all seeking for something, and it's that search/quest that defines their process. If you ask them, they may tell you that no, they actually never quite found it. So I think a lot of it is that search, that never feeling quite happy with the result and always being like "I'll get it next time". Another thing I notice about great composers is that they do two things very well 1) Absorb the influences from previous composers and manage to integrate a lot of the elements that they brought, while at the same time, doing so in a way that is unique , 2) Find a creative way to break the rules. Composers such as Beethoven and Debussy are good examples of this.
This is right on point. The space in-between the notes, the loudness or softness, the holding or quick releasing creates a sort of sonic animation. Victor Wooten talks alot about these same concepts.
Superb presentation, thanks. It's so refreshing to have a discussion about "what makes music..." that stays away from the meaningless cliches, but rather, engages the subject with authentic, thought-provoking curiosity and first-rate creative intelligence.
Please please please dive deeper into this topic. I feel like a whole new musical world has opened up to me. I've hit a wall in composing and this feels like keys to new doors and pathways. Thank you so much Nahre.
Brilliant! Thanks a lot for your hard work and insights, Nahre! Yours videos are always eye-opening! If you can, please dig deeper into the “art” aspect of composition that you mentioned in this video. I think all good composers are like method actors but for music. They can feel the emotions of their subjects/characters (which are often themselves) and through the mastery of their craft they are all able to convey the same feelings (and/or tell the story) to their audience.
Music and the human ability to appreciate music is a miracle. The ability to hear and process sound is very much hard-wired in the human brain’s “emotional centers”. Not all folks have the same connections to ‘feel the music’. In some lucky folks, the sensation of sounds are also connected with visual senses. Imagine, one recognizes a favorite tune within a few notes. On one day, upon hearing the tune, one can instantly feel ecstasy/joy; on a different day, the same few notes can elicit profound despair or sadness. Goosebumps, chills, tears. Memories of a first love, the last dance, the long goodbye, the death. Absolutely love Music…..as a listener, as an amateur pianist.
Very well analyzed, and interesting concept of crystallization! I agree especially about those little details in rhythm. Also when I am composing, I often experience the difference it makes in feeling to repeat a certain measure or to take out part of it, like in the appassionata example. 🤩 🎹
I really enjoyed your very thoughtful analysis of the music of such great composers. I would love to see more of this, even though my knowledge of music theory is barely above beginner level. You are a great pianist.
i had a very good composing teacher who said that making great sounding music wasnt as hard as one may think. creating great sounding passages as those illustrated here is not as challenging as finding the right place for them. so its not about how the music sounds but rather about the narrative, the form of the whole. what all great composers had in common was their ability to put the structure of the piece to the service of the music
💯
YEEEEES!!! Absolutely agree! Thats why I always disagree when my fellow composer-friends or anyone tells me thats its only about harmony.
The form, orchestration, develompent, motiffic work... these are the true tools for writing great music ! Not only the harmony, altough its not less important.
This is a crucial point. Obviously you must know counterpoint, harmony, invention, and all that; but without being able to actually "compose" it all into an effective whole, you get little more than an interesting comp exercise. Yet, once you can grasp the long-range form and the "story" to be "told", then you will "form" something that will "speak" to people.
The same goes for performance as well. Sometimes a passage has to be played less-beautifully, so that the piece as a whole can be more beautiful in its total effect.
Profoundly true.
Nahre you are one of my prime inspirations as a autodidact in music. I learn a lot of theory, but your view of music helps me learn to use the heart tovturn it from theory robot to actual music. Thank you
Thanks to a much older brother, I have listened to this music for 65 years and Nahre Sol is an absolute genus. Her videos are utterly revelatory. I am so grateful to your presence on youtube.
Thank you so much…! ☺️🙏🏻
Thanks to me you will come even a bit closer to heaven :-)
@@NahreSol yooo Nahre I would love to meet you one day! You’re my favorite pianist!!
Idk about a genus, maybe a species. Hard to say.
@@hoosas5998 genus and species for the sake of precision. Let's add genius for the sake of accurate description.
Your channel is like music appreciation for musicians. Thank you Nahre.
Thank YOU!!
Very well put! It's great to hear someone who does so much research explain their findings in the language of a practicing musician instead of a traditional researcher. The metaphoric or synaesthetic vocabulary may not be the most accessible approach for non-musicians, I guess, but for musicians this channel feels, like said above, highly appreciative. Please keep it this way.
I would have to agree with @Eric Gross. She is a genius. I've learned more from her videos and garnered a deeper understanding of musical style, history and theory than all my college courses. I've taught music for 28 years now. Thanks, Nahre Sol, and keep up the good work.
Awesome, thank you! Here are my takeaways:
• Having EMOTIONS as a PRIMARY FOCUS
• Paying ATTENTION TO how each technical DETAIL can AFFECT these emotions
• Not hesitating to USE BASIC ELEMENTS (with purpose, these basic elements will convey unique emotions).
Those are great reminders, especially when we lose track of them due to a lack of inspiration.
You have crystalized a very important point that most musicians recognize but had no words. Beautiful efficiency.
I’ve literally had composition lessons going over these exact topics. Your ability to combine performance techniques with composition techniques is truly brilliant and would revolutionize music schools.
You are articulating the gestalt of a musical piece. The very fact of our humanity, and hence our unique nervous system, lends attack, hesitation, and strength changes, as well as an interpretive signature to whatever we play. This is the reason I have intolerance for music that has “fixed” all of the “mistakes” in pitch and time. Happy holidays, Nahre ❤🙏
I would love for you to do a video going over the music of Camille Saint-Seans. His piano works especially, mazurkas, waltzs, op 72 etc, it's all incredibly complex and scattered, yet very simple ingredients how you describe, and it comes together like a Michelin star meal!
You’re right, I haven’t covered Saint-Saëns yet 😅 I really love some of his pieces!
@@NahreSol He's very difficult to play 😭 I love and hate him mostly love.
@@none5020 he was also an alleged pedophile so yano.
@@NahreSol OMG.....Check out Respighi's musical genius.
@@_rstcm Respighi doesn't get enough love and respect. Dude was really, really good and his music still resonates today.
The description of Bach''s style at 8:01 is one of the most interesting insights in music I have ever heard.
So nice! I like how you point out that any little change to a great piece will likely just kinda ruin it. I feel like composing your best piece is like building a house of cards. Care and delicacy for the emotional story 💯 or it’ll collapse to a flat stack.
Thanks Cuckoo!! I agree - “building a house of cards” is a great way of putting it…!! ☺️
I find Brahms does this so well. His recapitulations are achingly touching, because of that care for the emotional story you're talking about.
Actually I think that’s kind of the brilliance of jazz-endless variations (that work) in realtime on a theme. You could argue that the same logic applies for the original composition, but the interpretation of the composition is at least as important as the original in this case..finding out just how many related stacks of cards you can make from that particular deck, if you want to say.
this video is genius, this is probably what separates a great musician from a good musician. Super informative and affects how I think about music and practising. I always imagine how it would be like if I have a professor like you when I was an undergraduate🙇🏿♂️🙇🏿♂️🙇🏿♂️
This makes me think that there is less of a gulf between us improvisors and composers overall! I had always thought that composing was more of an intentional matter of taking theoretical elements of music and using them to "paint a picture" with a known palette of theory and technique. It seems that the idea of "just letting it flow" applies to both!
Thank you for this comment!! This is seriously such a great point to consider 🙏🏻
A weird thing about improvising into an audio recorder, with the intent to listen back later and keep the better stuff... I started to hear instances of "oh wait, that should be like THIS" moments, where I'd be in the middle of a jam and play something almost good, and then immediately afterwards a better version of that same phrase, and then continue with the rest of the jam. IOW, while I was playing, subconsciously I'd set it up so I could go back and edit out the bad phrase. And the timing and cuts almost always worked out perfectly, if done in the moment like that.
I think that developed because previously, I had to go back later and punch in, and all my excessive little micro-timings would be different, and it was so obvious it was edited. The weird thing is that it was a subconscious development. I'm not quick or observant enough to notice a poorly played but good phrase, and fix it, consciously, well enough so that the edit will work later.
Therefore, if other people are like that, then your realest and best music is probably improvised... And with our audio and MIDI recording tools (even just onboard digital pianos) it makes sense to build compositions around improvisations, even for people who consider themselves to be composers first. Not if it's a procedural compositional method etc, but if you're conveying emotions? Of course! Improv is the most direct way to get emotions out musically, so... yeah.
@@GizzyDillespeean online jazz teacher said many classical composers actually improvised like jazz musicians, even in performances. I thought was so cool
I have often felt that great music and great literature are the same, in how they are intricately build worlds subject to an endless exploration. A great story always feels right; you don't feel like changing a single word, let alone a scene. Your analysis reminded me of that idea. Thanks for the great work as always Ms. Sol. Looking forward to more insights like these.
Yes, please! I would love for you to explore this topic deeper! I agree with you on the importance of conveying a particular emotion with music. It's a tricky thing to explain, so I think these types of videos are SUPER valuable
❤ Thanksgiving a ton for your lovely support for piano lovers ❤.
Exactly right Ms Sol. All compositional decisions need to be guided by a very clear emotional intention directing the musical storytelling and every detail of rhythm, melody, harmony, texture, colour etc. Without emotional clarity there can be no musical clarity or consistency in either composition or interpretation. Musicians young and old need to hear this every day! Thank you for your wonderful work. I love your pianistic skills and the workings of your creative and analytical musical mind.
Dear Nahre, I am so grateful for you! ☺ You have a gift for conveying knowledge in a wonderfully warm and appealing manner. I am a professional pianist and, without fail, learn from your presentations; yet, they are just as accessible and enjoyable to amateur music lovers, young and old, of all levels. Kudos! Keep up the fine work! 👍
I totally agree with the others calling Nahre Sol a genius! The feeling that is created by certain works of music by certain composers is a familiar but abstract concept, which she's somehow articulated in a concrete way that makes so much sense. I've been watching her videos for years now and I have to say that this is my favourite channel on RUclips :)
First time listener-your approach is professional, informative and entertaining. Thanks
Nahre. You are a wonderful human being. Thank you for caring about us and sharing your knowledge and excitement about music.
For me great music not only conveys emotions but the more you listen to it, the more you like it. Great music grows on you, it's not the most accessible.
Composition is a lot of decisions made, and combination is the right word to explain those decisions derived.
It think all musicians kind of now that. You can sense the presence of greatness
Like Hans Zimmer said in one of his interviews, don't just write music but tell a story. And I think that's the genius in all the music. Each one has a unique story to tell, using their own "voice " and vulnerability they expose themselves through their music. Holding to their own, each one of them made a "language" so unique to them and us, as their listeners, recognize their sound very distinctively.I think these "voices" are lost or silenced now because of too many standards the are imposed where in fact, these standards are just merely uniqueness.
Ngl, I actually hate music that "tells a story".
@@SkyCloudSilence all music "tells a story".. So what do you mean?
@@SkyCloudSilence that’s fair, although imo every composer would like to tell a story with their music. And even though i think most people miss it when it comes to music without lyrics, most of them also end up, like you said, projecting their own stories into the music, just like we do with every piece of art. But i do understand your point, I just believe that all composers do tell a story with their compositions because that’s what makes a composer great aside than many other abilities. But then again, this is just what i think personally and there is no evidence to prove my point, and I think this discussion can end with us realizing that almost everything about music is subjective, to me, a music might have a story, to you, it might not, who is right in that case? No one, because there is no right or wrong when it comes to music.. Thank you for this lovely discussion!
@@mel4340 Yea, for sure! 👍
said simply, the difference is a master knows when (s)he's said exactly enough.
Nahre, you do this a lot better than Leonard Bernstein in his TV lectures on music, over 50 years ago, IIRC. Constant smile on my face. Thank you.
Memorable & thoughtful content as always!
Truer words have never been said about crystalization being an art and not a science which is why it's beauty varies from composer to composer and reaveals why everything Nahre creates doesn't sounds like any other.
i think this video is also a great example of how important sheet music is. sheet musc standards allows for nearly every intricacy to be communicated even to someone who has never heard the piece before. without even just a few missing notations, lots of this crystallization can be lost in translation.
To your point about interpretation: I have recently realized that the greatest gift we musicians acquire is Sensibility. This gift, as you say is an art rather than a science, we can only get through years of immersing ourselves in music and more than allowing us to perform better, I think it also makes just the act of listening to music more enjoyable too. Should I ever lose the ability to play my instrument, I will still have my musical sensibility.
I love this channel! I'm not that much of a musician but I do love the piano, and you breaking down the complexity of learning about the technical aspects of music is so interesting and captures my short attention span unlike any book of lecture would do. Thank you so much! I actually think I'm learning something! You're awesome!
So cool to show examples where you modify one element at a time, it makes things so clear!
In theatre dance we talk about "finding the breath" of a choreography. It's pretty much the same concept. And you can hyperhanalyse it into constituent parts (accents, dynamics, single notes/movements etc) or keep the focus on the general intention, but breath (influencing both your psychological and physical states) ties it all together. However, more than one kind of breath might work for a piece (see Bernstein on Gould's interpretation, and yet it moves).
As an offshoot, towards another musical world, but from this perspective, check out how Victor Wooten talks about music.
The plug of your sponsor was very tasteful and non-invasive, and also works for ppl listening to the video on audio only. Well done!
It's great to see a pianist who is truly a musician, I've come to see music as a living person, a woman with moods, hard to understand, but truly worth getting to know well... thank you for your work in this field...
Nahre sol you are a great piano teacher
This was super interesting! I'm just a classical music listener, and I feel I'm missing a lot compared to musicians, which are able to appreciate the music more deeply because they understand the feeling, the techniques, and all that. These kind of analysis help a lot, I specially liked the small changes you made to the pieces to show how it makes the mood change!
Thanks for your hard work, looking forward to more videos like this!
A listener can perfectly understand all that counts in a musical piece.
What can lack is the strictly technical competence and the ability to play an instrument, but it has nothing to do with understanding and feeling the music.
@@andsalomoni Liking or not liking something is available to everyone at the first listen. But to understand the feeling, it does take a bit more knowledge. Yes, it's not just musicians that understand that, but they pick up on it more easily.
I'm talking about myself, I wouldn't be able to say what feeling the pieces played in this video were portraying
@@auricia201 Musicians understand more easily because they play and listen all the time.
A non musician who listens all the time, understands like a musician.
@@andsalomoni Yes, exactly, musicians understand better because they play. But a non musician doesn't put the knowledge into practice. They can understand and appreciate phrasing, but a musician that is used to practice it and experiment with different phrasings, will appreciate the work of other musicians more deeply
I really love how Nahre articulates herself
I would say music, like all great art, is ultimately in some mysterious way about the depth and profundity of the human soul. Great composers can capture this in aural form and reflect it back to the audience in a way that brings into a greater light, some deep appreciation and awareness of this. It's a kind of revelation of some aspect of the seemingly endless ocean of truth about what it is to be human.
Love your channel! As a composer this is exactly what we strive to do and is so difficult to achieve. You described and illustrated it so well.
Always enjoying, and always joyful. Thank you from the heart.
I write electronic dance music and not classical music at all, but this video really helped me think about ideas I've danced (...) around for a long time. Thanks.
Great video. I would love a video where you interview pianists about what they are thinking in the moments before they perform, both before going on stage and the moments before they begin a piece. I often see pianists pause before starting a piece and wonder what they might be thinking, whether something technical about the piece or a thought that gets them in the right emotional mindset.
Me encanta la forma en la que expresas lo que piensas, y lo reafirmas al momento de tocar. Gracias Maestra.
I like how you immediately had a picture in mind based on the emotion you felt. For years my 7-year-old daughter and I have listened to classical music in the car on the way to and from school. And we play a game where we listen to the music, decide how it makes us feel and create a story based on the song. Each song is different, and so too is each story she and I create 🙃
I love how you answered this question. I want to know more about how you define and see crystallization in music, and why you find it useful even though it is mysterious and kind of abstract to me.
keep up the incredible work!
This is such a valuable video Nahre. It just got better with every section. Bravo!!🎉👏
You always get to the essence of things and every point is made concisely and clearly. I would love to hear you explore Bartok and the influence of Hungarian folk elements in his music. I also loved your exploration of flamenco. It was one of your best clips although it’s impossible to pick a favourite.
Thankyou for your inspirational work.
The insights you offer astound me every time.
Thank you so much for these wonderful videos!
Really well done! Your examples were excellent and I loved how the small changes you chose illustrated your point perfectly. I remember being tortured as a young pianist playing Carl Czerny's pieces, which superficially sound very much like Mozart or Haydn and asking "What is the DIFFERENCE? Why is one composer considered 'Great' while the other is simply workmanlike?" What I think is wonderful about your approach is that it is a tonic to the "Amadeus" school of thinking about "Greatness" which is "you know it when you hear it," which is kind of reductive and comes from the viewpoint (In my opinion) of a non-musician. Your theory is well defended and as good as any other. I hope you have read Leonard Bernstein's The Joy of Music especially Bull Session in the Rockies, where he discusses why Beethoven is considered "Great." It changed my whole perception of how to judge music or any other art. Although it goes back to Aristotle, Bernstein's theory that "greatness" involves both surprise and inevitability (which is completely shown especially in your example from the Appassionta") might be something worth exploring in a future video...
Thank you for your comment!! It’s so interesting and helpful to read your take and insights on this :)
@@NahreSol One of many voices here! I do come back to your videos to read the comments from others! You strike such a great balance for your audience between those who have loved this music for (cough) decades and those who might be just discovering it because of you! (lucky them!) Happy New Year, BTW! (I think I already used up my exclamation point ration for the year in this comment...)
Oh this is a very interesting comment. The wonderful thing about music is that it is so multi-faceted but also so very universal to humanity. I think there really isn't a 'right' or 'wrong' way to theorise about it. Your explanation of Bernstein's theory is very interesting (I haven't read The Joy of Music, yet) and I too think it's worth exploring in a future video.
You've been brainwashed like every other classically trained musicians. Who are the greats? Of course, Beethoven, Bach, Mozart and other German composers or people that we want to consider German. If you don't understand your own biases how can you can say you really like something.
@@alvodin6197 normally I don't engage with this sort of foolishness but I feel the need to point out the obvious. Nowhere did I say the 'greats' had to be German. This is something you're reading into my comment. Of course I could name dozens of composers from every country in Europe, each one 'great in their own way. And then there are the ones from the Americas and Asia, etc. etc. I am not familiar enough with the music of Africa and Asia to speak to their traditions, or even whether the idea of "greatness" is universal. Perhaps you are. Nahre chose to stay within the classical pantheon because it is the one most familiar to her viewers (I'm guessing). She also chose all White male composers. And if you watch any of her other videos you'll see that she holds no bias there either. I do hope your comment wasn't addressed to her as she used Ravel as an example. So no brainwashing here. It's a fascinating topic for discussion- I'd hate to see it sidetracked by comments like this.
Great music has the ability to linger on our minds because its linked to a certain emotion.
You are such a talent Nahre. Some of your videos have complexity beyond my comprehension, but this one really hit the mark with me. It was so interesting, entertaining and informative. You have been blessed with a natural talent not only in your piano playing abilities, but in your way that you communicate at all levels. I was blown away by the way you Changed up pieces of music to communicate your message. These videos must take a lot of time and effort. Thank you for sharing!
I think everything you said resonates with me, in terms of the idea of crystallization. That said, I do feel that we tend to put composers and musical pieces on a pillar, in that of course a particular piece by Bach or Mozart or Beethoven couldn't be written any other way and still be as good, and therefore they almost end up defining the concept of crystallization in a way that I feel isn't necessarily that useful aside from reinforcing the pillars that they're on. And while I do agree the modifications you made to those passages "break" the overall feel, I think we're also so familiar with them and the associations we've already made that it's hard to imagine a change that wouldn't be jarring, and thus it sort of only serves to paint that music as being compositionally "perfect". Perhaps I'm more interested in crystallization from the point of view of Beethoven going through a couple lousy drafts of a passage and approaching the crystalline ideal rather than defining crystallization through the final product that we all inherently accept as a finished work. I think a more useful exploration of the concept of crystallization would be to take two pieces of a particular composer and compare their relative effectiveness, why one is perhaps more successfully crystalized than another, thereby reducing the gods versus mortals aspect of analyzing music. Of course, publicly critiquing music can be a minefield, so I understand if there's hesitation, but hopefully you understand where I'm coming from in terms of wanting to dive deeper into your concept.
I think your point brings necessary notice to romanticizing a given piece. Sure, they are great as they are known, but behind doors, under the ink and pen, where they pruned and polished as it took form, or was a perfect one-off as we are oft to believe? I incline for the former, especially when you consider these composers wrote literarly hundreds and hundreds of pieces, yet their most well known pieces are probably in the dozens. I am in awe to many of these greats, but it is important to recognize that behind master pieces there were also many student works and discarded drafts. Genius is nourished, not pulled from a crystal ball.
Weirdly I had the SAME reaction as @Eric C and @__ posts ~ (went away for a day - thought / "Thunk" about it for a bit ) THEN watched the video a second time and NOW I kinda lean in on @Nahre Sol 's beginnings of a "Thesis" a focal theory*.
Honestly what these "Greats" (as such) had was this core need to take (for their respective times) pretty gigantic leaps and (most importantly) near massive RISKS and yet at the same time make the listener feel included and important; from personal human resonances to the near EPIC - from personal internal reflections and partcular facets of the human psyche seemingly scaled up to monumental truths. In this respect the listener is made to feel important and included in spite of works wrought by some of the most awkward, difficult, pig headed and cantankerous people that any contemporary would ever be likely to meet. "They" - literally could not help themselves but BE who they are in spite of the "Norms" of their own respective times - hence the challenging and groundbreaking nature of their most significant works. Beethoven's 9th being a great example of a very MUCH beloved total trainwreck.
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* However I suspect the need for the illusion of immediacy probably comes from the fact they ALL had excellent teachers, C.P.E Bach, "Papa" Hyden, etc. AND hand in hand having the need to also TEACH for a living really forces one to figure out what IS important to communicate, given that time is always limited. Teaching / coaching forces one to constantly seek out ever more impactful and efficient ways to get the point across ~ unlike this post.
** Interesting parallel is Miles Davis' take Autumn Leaves with an introduction that pulls out a very particular sensibility and set of human facets in a very brave new way - not unlike the cited piece of Mozart (as above Nahre's Vid ).
ruclips.net/video/tguu4m38U78/видео.html
^^^ If you don't know it definitely check it out :-)
I was thankful that Nahre had the wit and skill not to trash the jazz standard Autumn Leaves (Kak-handedly) to prove her point😂
Idolisation is tiresome as it's not about the music but about the ego of the listener.
You are a gift. I'm just in awe of someone expressing these thoughts I unconsciously felt but did not have the expertise or experience to express. It's an honour to learn from someone as capable and enthusiastic as you. I'm in awe of how on point you are, and how I can get access to all this crystallised knowledge for free. I'm a professional writer actually, so I felt honoured when you compared the magic of music with that of poetry and stories. 💛 Stay blessed. I love your teaching! 💖
your videos are the epitome of great videos idk what else to say really :)
also you make really good analogies 🤔
We are very lucky to have this content for free
Aside from the great discussion of the music, your speech rate was so much better than the recent fad of people talking too fast. Not everyone can take in words delivered at Mach 2. I have learned from you, after over seventy years of playing, and learning, the piano.
Just wanted to say thank you. So much to digest.. I'd love more examples of great pieces made "less great" by changing something simple. And of course more ideas about what make great composers great would be wonderful. Thank you so much!
This video truly opened my eyes! I felt that I already knew a lot about interpretation in music but I've never thought of playing a piece with a slight alteration which even more shows the beauty of it. Thank you, this is really valuable :)))
It is interesting how I find correlations with this exact idea in other artistic fields.
Maybe I have watched too much of your videos, but actually I got right both of your examples of how interpretation and articulation could change the perception of who the composer is. We also owe it a lot to how you helped to crystallize their work in your previous videos 😊
You have to open that sixth sense and be willing to let yourself go and follow the piece where it must
Excellent video, thanks. Very useful analysis, very engagingly presented. You are a great communicator about music.
Very interesting and insightful. Thanks!
If you put the notes together ,the rhythm and every last bit of information about the piece and then look at it and get into the head of the composer you can create that magic that is so elusive
The crystallization is a great point. The comp prof I had would say, "Compose something everyday"- he wanted us to get into the a pattern of crafting a work. That then put the reason the orchestra director would correct people, "don't call it a "piece", it is a work of music". Like a gem cutter, a composer will pull the music from what other wise would be unorganized noised. And then we learned to enjoy unorganized noise too! Love it al!
Love the little sound effects at the beginning, really nice!
I simply love your videos. Even as just a hobbyist pianist, this inspires me so much that I wish I could make my thoughts fly into a score and smash the pentagram with at least half of your understading of music and it's depth. It is out of the box, and I thank you infinitely for sharing it.
Art conveys a story,people, places and feelings,the importance of good art in culture is paramount.
Yeah I have also noticed that a lot of the classical music I love has this extra "life" - for want of a better way to put it - to it, that I have not been able to really figure out. I think you are on to something!
I wish I could buy a book with a glossary of all the wonderful words you use to describe musical sounds, like "chattiness" and "punctual" to describe Bach. You always find the perfect words to describe how music sounds and feels.
your ability to put across ideas with the visualisations is so good, thanks for your videos. They always makes me want to play piano, I am self taught and never took it seriously but I am naturally skilled with music
You open that poetic emotion space I never experienced in music. I'm so grateful find your channel !! 👍
I would very much enjoy more videos like this. I particularly enjoyed the final point you made, about the importance of purpose in driving the gelling of elements during composition - it helps me understand why I completed the two pieces that I have seen through and why I've abandoned so many others that I have started!
My professor recommended Henle. I had to scan each and every Henle scores( for my preference), as I couldn't find any digital format, or I feel I couldn't afford to buy those. It's very welcoming to see this urtext on your channel
Very insightful explanation on why generally a performer should study the composer’s style and follow the score markings in detail.
Thanks!
I've called this aspect 'having a coherent emotional program'. As opposed to what we think of as program music, which has one correct interpretation, an emotional program is one abstracted to a point that it can bring to mind all triumphs, or all heartbreak, or all young love, depending on the listener's experiences.
Ha, ha, ha! I thought I was good at analysing, but your insights are brilliant, and not only that, you are a great pianist! I have a Masters in Music, but have already learned more from your videos than I did from most of my music classes! Thanks, Nahre!
PS, it’s great that you are sponsored by Henle. Their scores are so beautiful to use.
You are doing absolutely wonderful work, teaching us all in multiple enjoyable and articulate ways. Sometimes as i watch I am struck by the artistic/musical composition of the video itself.
I agree completely that the whole communicative effect of great music cannot be broken down into analyzable elements. But, that said, there's more to the Beethoven passage than meets the eye. I found this descending scale (actually scale+1) difficult to memorize until I realized that each time the 8-note pattern is repeated over the 9 eighth notes which constitute 3 beats in a 12/8 measure, it outlines a new octave which descends in a beautiful and ominous hemiola from Fflat->Eflat->Dflat->Cflat over 3 bars, leaving the whole of the last bar of the phrase to an inevitable Bflat...Eflat/Aflat! That's, in my opinion, why the pattern works perfectly this way and not at all any other way. In general, I think that a consensus is slowly (too slowly!) being arrived at that those of us from a classical music background were taught to study pitch and harmony much more than rhythm, to the detriment of our understanding. The great composers were more sophisticated and powerful in their use of rhythmic structures than the lesser lights were, and some of these differences can be specified if we look for them. By the way, this applies just as well to your Mozart example...
So brilliant of you to demonstrate your hypothesis by using substitution!
Amazing and insightful as usual, I think this is the most difficult thing to learn and teach about performance, not only how to articulate, enunciate or inflect, but also what is the purpose, the idea or the feeling behind a piece. Have you thought about making a video on intervals and the different feelings they can inspire?
". . . they all wrote great music." - I totally loved it! This definitely encouraged me to work a lot harder at really refining my interpretation, and not stopping at "I've got all the notes right"!
7:13 That Bach, and especially your tune, sounds like Autumn Leaves 🍁
Hell, yes! Let's dig deeper! Your videos are always amazing. So interesting. I (a musician) watch them often with my wife (a music afficionada - listens to music with the score in her lap, for instance). Your videos are accessible and totally enjoyable to both of us.
This may be one of the most important subjects you have tackled. And indeed, one cannot quite define exactly what all composers had in common, since one of the thing they had in common is that they were unique and original. But I'm always reminded of a saying that goes something like "Do not seek to imitate what the composers did. Seek what they sought". It's like, all these composers (and creators) are all seeking for something, and it's that search/quest that defines their process. If you ask them, they may tell you that no, they actually never quite found it. So I think a lot of it is that search, that never feeling quite happy with the result and always being like "I'll get it next time".
Another thing I notice about great composers is that they do two things very well 1) Absorb the influences from previous composers and manage to integrate a lot of the elements that they brought, while at the same time, doing so in a way that is unique , 2) Find a creative way to break the rules. Composers such as Beethoven and Debussy are good examples of this.
Good start to the video. You get to your point fast and do not build up a 'mystery' and save the crystallisation idea of the last minute.
This is right on point. The space in-between the notes, the loudness or softness, the holding or quick releasing creates a sort of sonic animation. Victor Wooten talks alot about these same concepts.
5:40 LOL... I didn't see that coming (neither did the marble, I'm sure)... lovely video!
Superb presentation, thanks. It's so refreshing to have a discussion about "what makes music..." that stays away from the meaningless cliches, but rather, engages the subject with authentic, thought-provoking curiosity and first-rate creative intelligence.
Definitely made me look back on my compositions - thanks much Nahre!!
Please please please dive deeper into this topic. I feel like a whole new musical world has opened up to me. I've hit a wall in composing and this feels like keys to new doors and pathways. Thank you so much Nahre.
I love your videos, especially when you dissect aspects of the music like you did here. It’s like a lesson without a lesson.
This is a great conversation. Yes, dig deeper into this.
Nahre, you are the best on youtube!!! Your videos are all about the psychology of music, which is the most important and unexplored topic.
Brilliant! Thanks a lot for your hard work and insights, Nahre! Yours videos are always eye-opening! If you can, please dig deeper into the “art” aspect of composition that you mentioned in this video. I think all good composers are like method actors but for music. They can feel the emotions of their subjects/characters (which are often themselves) and through the mastery of their craft they are all able to convey the same feelings (and/or tell the story) to their audience.
Music and the human ability to appreciate music is a miracle. The ability to hear and process sound is very much hard-wired in the human brain’s “emotional centers”. Not all folks have the same connections to ‘feel the music’. In some lucky folks, the sensation of sounds are also connected with visual senses. Imagine, one recognizes a favorite tune within a few notes. On one day, upon hearing the tune, one can instantly feel ecstasy/joy; on a different day, the same few notes can elicit profound despair or sadness. Goosebumps, chills, tears. Memories of a first love, the last dance, the long goodbye, the death. Absolutely love Music…..as a listener, as an amateur pianist.
Very well analyzed, and interesting concept of crystallization! I agree especially about those little details in rhythm. Also when I am composing, I often experience the difference it makes in feeling to repeat a certain measure or to take out part of it, like in the appassionata example. 🤩 🎹
I really enjoyed your very thoughtful analysis of the music of such great composers. I would love to see more of this, even though my knowledge of music theory is barely above beginner level. You are a great pianist.