Everything is so nicely put together and loved the fact that you're giving all the relevant information while keeping it short and straightforward. Thank you so much, looking forward to seeing more videos like this from you! Kudos 👍🏻
Thank you so much for these videos. I compose music at age 16 and have had piece played for schools. These videos greatly summarize the characteristics of types of music. I really admire the complex of the structure in pieces that seem so simple. I played a Scherzo by Schubert, and now being able to understand the structure makes me feel excited about music.
These videos are wonderful and have helped me so much to understand where the music I play came from, as well as how to play it, to the extent that calling them "informative" would be a criminal understatement! It's amazing to understand how Sonata and Symphonic form were borne from the minuet, or rather underwent a Darwinian evolution into the Symphony and instrumental Sonata. As far as I was concerned until now, they materialized out of thin air, but it makes so much sense that the lively Minuet became the 2nd movement (Scherzo) and the softer, lyrical expressional Trio evolved into the 3rd Movement. Phenomenal and fascinating work! :)
Many thanks for your video! What a great content, precise and well served. I also really appreciate your voice delivering these notions as if it were a confidence. Subscribed!
As we are talking about a dance, I think it would have been important to mention the menuet step (pas de menuet). The steps follow this rythm, beginning by the right foot: blanche, noire, noire, blanche. The baroque minuet mesures should then be taken as pairs, as the complete one minuet step. The emphasis is put one the first measure since it's starts the step. If you, the reader of this comment, is interested in the link between music form and danse, I urge you to look at renaissance Bransles. Things really are intertwined here has a cadence with a passing 7th often indicate a type of step (pieds en l'air)
Thanks for your work! Slow parts are harder to listen to unless you realize the structure and the logic behind it. I would appreciate it if you provided a couple of examples, if possible, of some well-known works to demonstrate the structure of their form.
I have always thought of the Minuet and Scherzo of having a similar surface, but contrasting details. The similarities include Form, Key Contrast, and Texture, but the details of each are quite different. In the Minuet, the ternary form is only in the large structure, the contrasting key is generally the dominant regardless of whether the tonic is major or minor, and the texture is polyphonic throughout the piece, even if it’s homorhythmic in areas, the melody is different. In the Scherzo, it’s generally in a complex ternary form or Ternary within Ternary as I sometimes describe it, the contrasting key is generally minor for a major key scherzo and major for a minor key scherzo, often the parallel key is used, but sometimes the relative key is used either instead of or alongside it, and the texture, while being polyphonic in areas, tends to collapse to a homophonic texture near cadences or dynamic climaxes, which just doesn’t really happen with the Minuet.
Historically speaking no, theoretically speaking why not….. Forms are just guidelines, and fusing forms or aspects of those forms is how many compositional innovations came into being.
I personally notate minuet-and-trio form as: *|: A1 :||: A2 :||: B1 :||: B2 :|| A1 || A2 |* That's just my preferred personal shorthand, but if it helps anybody, great!
Have a listen to the minuet in E-flat written (from the ‘Concerto o sia Divertimento a 8’ K. 113) by the 15-year old prodigy named Wolfgang Amadeus Mozart in Milano for a soirée concert (Nov 1771) after the premiere of ‘Ascanio in Alba’ - the delicate elan of such delightful Menuetto dance-music is incomparable and is stunning coming from the pen of a young teenager- If you study 18th century dance music you will find that their effect & sheer musical beauty is greatly enhanc’d by the spectacle of actually performing the dances themselves, preferably in 18th century dress… To dismiss such ‘serviceable music’ as jejune is …well, just plain ignorant… If you’re bored one day, have a very careful look at the score of Great Menuetto in F (and later in G) and a professional performance found in the Finale of Act I of D: Giovanni - the second repeat of which uncannily combin’d 2 other separate dance numbers (one each extra for the middle & lower classes) to be performed SIMULTANEOUSLY and in 3 different metres !! What composer to-day could pull THAT off without producing a load of ‘musical mush’ ?
Everything is so nicely put together and loved the fact that you're giving all the relevant information while keeping it short and straightforward. Thank you so much, looking forward to seeing more videos like this from you! Kudos 👍🏻
Thank you so much for these videos. I compose music at age 16 and have had piece played for schools. These videos greatly summarize the characteristics of types of music. I really admire the complex of the structure in pieces that seem so simple.
I played a Scherzo by Schubert, and now being able to understand the structure makes me feel excited about music.
These videos are wonderful and have helped me so much to understand where the music I play came from, as well as how to play it, to the extent that calling them "informative" would be a criminal understatement! It's amazing to understand how Sonata and Symphonic form were borne from the minuet, or rather underwent a Darwinian evolution into the Symphony and instrumental Sonata. As far as I was concerned until now, they materialized out of thin air, but it makes so much sense that the lively Minuet became the 2nd movement (Scherzo) and the softer, lyrical expressional Trio evolved into the 3rd Movement.
Phenomenal and fascinating work! :)
YESSSSSS!!!! Long time, nice to see you back!!
Many thanks for your video! What a great content, precise and well served. I also really appreciate your voice delivering these notions as if it were a confidence.
Subscribed!
I think I better understand the minuet after this video than after reading Fundamentals of music composition xD
Thank you for these explanation videos on form. I'm writing grade 6 music theory in a month and these videos are nicely in detail.
Great explanation! Thanks!!
Oh, the minuet a lot used in the video is the one in f from anna magdanela book, i studied it. Good video thank you from France.
had to watch this in music class 😘😘✨✨
As we are talking about a dance, I think it would have been important to mention the menuet step (pas de menuet). The steps follow this rythm, beginning by the right foot: blanche, noire, noire, blanche. The baroque minuet mesures should then be taken as pairs, as the complete one minuet step. The emphasis is put one the first measure since it's starts the step.
If you, the reader of this comment, is interested in the link between music form and danse, I urge you to look at renaissance Bransles. Things really are intertwined here has a cadence with a passing 7th often indicate a type of step (pieds en l'air)
Really marvelous 👍☺️👍. I often watch your channel
Love these vid, glad I found this channel
I f*** love this channel! Thanks!!!
Thanks for your work! Slow parts are harder to listen to unless you realize the structure and the logic behind it. I would appreciate it if you provided a couple of examples, if possible, of some well-known works to demonstrate the structure of their form.
Chopin Op 4 Mvt 2, very beautiful piece of music.
Thanks for the video, it was very helpfull, but, what are the sources of the video?
Enlightening!
you mentioned the romantic era minuet, is there any difference or is it just scherzo at that point
👏🏾👏🏾👏🏾👏🏾
I have always thought of the Minuet and Scherzo of having a similar surface, but contrasting details. The similarities include Form, Key Contrast, and Texture, but the details of each are quite different. In the Minuet, the ternary form is only in the large structure, the contrasting key is generally the dominant regardless of whether the tonic is major or minor, and the texture is polyphonic throughout the piece, even if it’s homorhythmic in areas, the melody is different.
In the Scherzo, it’s generally in a complex ternary form or Ternary within Ternary as I sometimes describe it, the contrasting key is generally minor for a major key scherzo and major for a minor key scherzo, often the parallel key is used, but sometimes the relative key is used either instead of or alongside it, and the texture, while being polyphonic in areas, tends to collapse to a homophonic texture near cadences or dynamic climaxes, which just doesn’t really happen with the Minuet.
New videos!!!
So, theoretically, could a trio be attached to any dance? An allemande and trio, a waltz and trio, etc?
Historically speaking no, theoretically speaking why not….. Forms are just guidelines, and fusing forms or aspects of those forms is how many compositional innovations came into being.
@@MusicaUniversalis Interesting. Yeah, it wouldn't be historically possible, but it could be possible now.
There is a waltz and trio by Beethoven in Eb WoO 84, but overall you'll mostly just see minuets or scherzos and trios
Can you talk about the nocturne
I personally notate minuet-and-trio form as:
*|: A1 :||: A2 :||: B1 :||: B2 :|| A1 || A2 |*
That's just my preferred personal shorthand, but if it helps anybody, great!
your voice is very satisfying 😃😃
A new pronunciation of minuet (?)
No just the German pronunciation that leaked through.
I’m the 666th like
woah
Minuets have got to be what makes Mozart annoy me the most lol. But i mean mostly the simplified childish tunes.
Have a listen to the minuet in E-flat written (from the ‘Concerto o sia Divertimento a 8’ K. 113) by the 15-year old prodigy named Wolfgang Amadeus Mozart in Milano for a soirée concert (Nov 1771) after the premiere of ‘Ascanio in Alba’ - the delicate elan of such delightful Menuetto dance-music is incomparable and is stunning coming from the pen of a young teenager-
If you study 18th century dance music you will find that their effect & sheer musical beauty is greatly enhanc’d by the spectacle of actually performing the dances themselves, preferably in 18th century dress…
To dismiss such ‘serviceable music’ as jejune is …well, just plain ignorant…
If you’re bored one day, have a very careful look at the score of Great Menuetto in F (and later in G) and a professional performance found in the Finale of Act I of D: Giovanni - the second repeat of which uncannily combin’d 2 other separate dance numbers (one each extra for the middle & lower classes) to be performed SIMULTANEOUSLY and in 3 different metres !! What composer to-day could pull THAT off without producing a load of ‘musical mush’ ?
I ain't watching allat 😂😂
🙂 You're more a fan of the Teletubbies dance?