"It's a French 6th. How about that? Well, he did move to France." 😄 I'd never heard of Bergmuller. That was lovely, like a light piece of French pastry.
Thank you. That was very clear and helpful. It makes me realise the benefit of trying first to analyse a piece before attempting to play it. With this sort of analysis, the piece would be much easier to learn.
Absolutely. That’s one of the main reasons for undertaking this kind of analysis. It enables you to get to the heart of what’s going on rather than simply to learn/ process notes.
Great video! I must have heard this piece somewhere because I found the melody thoroughly predictable. The construction of the piece, however, is far from predictable. Thanks so much for the analysis. Clearly, there is much to learn.
uah! bravo maestro, cantabile in italiano con buona voce, uah! video molto interessante... agitato con fuoco... 💥💥💥😄🎹🎹🎹🐻👍 ciao dall'Italia 🏛️ 🎄🇮🇹🇮🇹🇮🇹...
Good morning. Generally speaking, is there any reason to choose to harmonize a melodic line a particular kind of chord design ie something like not a rule but conventions depending of the melody itself to prefer at one place a massive chord or an arpeggio or crotchets etc? Or is it only opened to the composer's decision to not say the hazard?
I agree it’s unconventional but I think the composer is drawing attention to the fact that the opening quaver is the bass line and the other notes are a kind of tenor part in the texture.
That F#dim chord really caught my eye (and ear). Instead of analyzing it as VII/V (which would be a half diminished chord), I see it as VII/IV/II (which would be a fully diminished chord). Tertiary chords just don't get the love that they deserve.
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What level is this in terms of piano playing?
Post G5
"It's a French 6th. How about that? Well, he did move to France." 😄 I'd never heard of Bergmuller. That was lovely, like a light piece of French pastry.
Yes it’s a charming piece
You are such a great tour guide on these musical journeys.
😀
Thank you. That was very clear and helpful. It makes me realise the benefit of trying first to analyse a piece before attempting to play it. With this sort of analysis, the piece would be much easier to learn.
Absolutely. That’s one of the main reasons for undertaking this kind of analysis. It enables you to get to the heart of what’s going on rather than simply to learn/ process notes.
Awesome! This was a great lesson! Thanks for what you do.
A pleasure. Glad it’s helpful
Your channel is the best!
That’s most kind. Much more at www.mmcourses.co.uk
Love it. Thank you.
A pleasure. Much more at www.mmcourses.co.uk
I hope we can also have a Composer Insight on Clara Schumann ✨
We could do that
Great video! I must have heard this piece somewhere because I found the melody thoroughly predictable. The construction of the piece, however, is far from predictable. Thanks so much for the analysis. Clearly, there is much to learn.
You’ve probably played the piece somewhere along the way. Charming work.
Excellent
That’s most kind. Much more at www.mmcourses.co.uk
Nice, simple, well crafted piece, belonging to its time.
If we write such a piece nowadays, it will be qualified as "cheesy", I guess...
Possibly but there’s still room for post-Romantic composers.
That’s the style I like to compose
Go for it!
uah! bravo maestro, cantabile in italiano con buona voce, uah! video molto interessante... agitato con fuoco... 💥💥💥😄🎹🎹🎹🐻👍 ciao dall'Italia 🏛️ 🎄🇮🇹🇮🇹🇮🇹...
A pleasure
Good morning. Generally speaking, is there any reason to choose to harmonize a melodic line a particular kind of chord design ie something like not a rule but conventions depending of the melody itself to prefer at one place a massive chord or an arpeggio or crotchets etc? Or is it only opened to the composer's decision to not say the hazard?
It’s really up to the composer to decide on a preference of chord and how to organise the texture. That’s the really creative part of the process.
I would love to hear this piece played but there are no recordings sadly.
It’s a lovely piece
Where can I find this op 100? The only op 100 of Burgmuller I know is the one that starts with La candeur. This piece is not in that book.
it is not Op 100
It’s from the op.100 set
Where? imslp.org/wiki/25_%C3%89tudes_faciles_et_progressives,_Op.100_(Burgm%C3%BCller,_Friedrich)
@@MusicMattersGB are you sure?
Or perhaps it's from another composer?
@@MusicMattersGB No 1?
why are the left hand quavers grouped in the weird way they are? surely it should be two groups of three
I agree it’s unconventional but I think the composer is drawing attention to the fact that the opening quaver is the bass line and the other notes are a kind of tenor part in the texture.
❤
😀
May not be complicated “ ear wise “ but looks very complicated on the page 😢.
Yes but once you see the patterns on the page it begins to be easier to navigate
1882... Hard to think this was composed when Liszt was composing La Lugubre Gondola.
Amazing!
That F#dim chord really caught my eye (and ear). Instead of analyzing it as VII/V (which would be a half diminished chord), I see it as VII/IV/II (which would be a fully diminished chord). Tertiary chords just don't get the love that they deserve.
😀
HELLO SIRR
Hello
His brother (Nobert Burgmüller), was a more serious and interesting composer, but died aged 26.
😀
He left two fine symphonies (the second unfinished).
Indeed