I honestly expected the Rite's famous chord to be the very last one- the one that spells out "DEAD" when The Chosen One dies. But I was pleasantly surprised! I had no idea the Eb7/Fb3 chord was used so often in the piece. And I had no idea it sounded so interestingly beautiful when broken down to its root chords. I absolutely LOVE The Rite of Spring, and your analysis helped me understand it better from a fellow musician's perspective! Thanks so much, this is awesome!
Thanks! It seems that the Dominant split 9 sound, (which can also be thought of as A7 superimposed with C7, for example) is a harmonic thread that shows up in variations through the whole piece. It's not the only defining harmony of the ROS, but it's one of them. I'm glad you enjoyed it!
This is so much funky - fun to dissect this iconic chord in this way. It is on my Music Literature final tomorrow. My job is simply to identify this as Stravinsky’s Rite of Spring , but your explanation of these crazy cool chords is excellent. I just sent this video to my Professor. I think he’ll love it. I know I do. Thanks!
Fo shizzle my bizzle, that split 9 drizzle has sizzle...😂😉😎 Love the explanations, exercises, and engaging presentation of the material on your channel. Thank you, again.
How is actually the John Williams version for Star Wars? For example, for a New Hope - Resque of the princess. It sounds really similar but somehow a bit easier.
Listening now - the opening has a Bb minor triad with a D (maj 3rd) in the bass. So it's similar but the thirds are reversed. Then he adds an A minor triad above that. This opening should be a Chord of the Week! Was that the spot you were thinking?
I found the spot you're talking about - at 2:05. It sounds like E-Bb-C-Db-F in the string ostinato. Bbm add9/E with a few interjections in the timpani (Dd-G) and basses (A)
Interesting but I don’t personally think this is the right interpretation of that chord: it’s a too jazzy approach. Having read also Roman Vlad dissertation on the argument, that one musical object is a juxtaposition of triads in the typical style of Stravinskij (similar to what he did in Petrushka). Otherwise thinking in thirds you could think it as a Aflat minor 13th chord but this is far probably from the compositional concept Stravinskij had in mind.
Thanks for your thoughts! It helps me personally to conceive of this chord in this way. I don't think there is a right or wrong way to label it - whatever helps further one's understanding. You're right about his pattern of juxtaposing chords. The repeating harmony throughout ROS that I think of as dominant 7 split 9 comes from his juxtaposing of A7 with C7. It's fun for me to consider using those voicings found in ROS as functional dominants for use in my own music. Could you share a link to the Roman Vlad dissertation? It sounds interesting.
@@Keith_Horn i think it's in Italian but I hope there's also an english version so that you too can access the reading :) In Italian it's titled "Architettura di un capolavoro: analisi della sagra della primavera".
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I honestly expected the Rite's famous chord to be the very last one- the one that spells out "DEAD" when The Chosen One dies. But I was pleasantly surprised! I had no idea the Eb7/Fb3 chord was used so often in the piece. And I had no idea it sounded so interestingly beautiful when broken down to its root chords. I absolutely LOVE The Rite of Spring, and your analysis helped me understand it better from a fellow musician's perspective! Thanks so much, this is awesome!
Thanks! It seems that the Dominant split 9 sound, (which can also be thought of as A7 superimposed with C7, for example) is a harmonic thread that shows up in variations through the whole piece. It's not the only defining harmony of the ROS, but it's one of them. I'm glad you enjoyed it!
This is so much funky - fun to dissect this iconic chord in this way. It is on my Music Literature final tomorrow. My job is simply to identify this as Stravinsky’s Rite of Spring , but your explanation of these crazy cool chords is excellent. I just sent this video to my Professor. I think he’ll love it. I know I do. Thanks!
@@denaraptis3716 I'm so glad you liked it! Best of luck on your final and thank you for sharing my video.
Couldn’t have said it better myself, even with A.I. Haha. Great comment AND great content‼️
It is also every note of the Ab harmonic minor scale
I never noticed that! Thanks!
Fo shizzle my bizzle, that split 9 drizzle has sizzle...😂😉😎
Love the explanations, exercises, and engaging presentation of the material on your channel. Thank you, again.
Ha! The split 9 does have some sizzle. Thanks for watching!
One day, hopefully twenty years ago, this will make sense to me.
Thank you. Liked that.
Just joined. That was great, thanks.
Thanks for watching!
I am learning so much from this channel, wow! Thank you :)
Thanks for watching!
Seriously this is a goldmine, so much more than I could learn at my university!!
I think of the Eb7/Fb as a Emaj13#9#11! But I can see that is a quite complicated way of looking at it…
That's another way of labeling it, for sure!
Love this! I’ve hammered about it a lot but I have melophobia of this piece and breaking it down like this really helps.
Thanks! Glad I'm helping you face your fears!😉
ha ha you got me with the vocoder exercises disco vamp... subbed
Thanks!
How is actually the John Williams version for Star Wars? For example, for a New Hope - Resque of the princess. It sounds really similar but somehow a bit easier.
Listening now - the opening has a Bb minor triad with a D (maj 3rd) in the bass. So it's similar but the thirds are reversed. Then he adds an A minor triad above that. This opening should be a Chord of the Week! Was that the spot you were thinking?
Oh wait - I was comparing this to the ET opening chord which is A major/C.
I found the spot you're talking about - at 2:05. It sounds like E-Bb-C-Db-F in the string ostinato. Bbm add9/E with a few interjections in the timpani (Dd-G) and basses (A)
Viennese trichord next ? 🙂
Maybe! I'd have to dig around for specific usages of it. I could relate it Slonimsky.
Interesting but I don’t personally think this is the right interpretation of that chord: it’s a too jazzy approach. Having read also Roman Vlad dissertation on the argument, that one musical object is a juxtaposition of triads in the typical style of Stravinskij (similar to what he did in Petrushka). Otherwise thinking in thirds you could think it as a Aflat minor 13th chord but this is far probably from the compositional concept Stravinskij had in mind.
Thanks for your thoughts! It helps me personally to conceive of this chord in this way. I don't think there is a right or wrong way to label it - whatever helps further one's understanding. You're right about his pattern of juxtaposing chords. The repeating harmony throughout ROS that I think of as dominant 7 split 9 comes from his juxtaposing of A7 with C7. It's fun for me to consider using those voicings found in ROS as functional dominants for use in my own music. Could you share a link to the Roman Vlad dissertation? It sounds interesting.
@@Keith_Horn i think it's in Italian but I hope there's also an english version so that you too can access the reading :)
In Italian it's titled "Architettura di un capolavoro: analisi della sagra della primavera".
@@GuyVignati Grazie! I'll look for it.
What's the craziest/most dense chord youve heard played on a guitar? Im hungry
Hmmm - on guitar? Maybe something from Holdsworth or Steve Vai's Flexable
Will check em out, thanks!@@Keith_Horn
🙏
Double sharps are a pestilence! I still bear the scars.
HA!
1:24 is that an electronic keyboard?
No it's an upright with poor recording quality. It does kind of sound like an EP though, doesn't it?
@keith_horn. I just subscribed to your channel. Love your stuff! Thank you for the informative and entertaining breakdown.
Thank you for watching!