Vielen Dank für das Video! Ein Hinweis zur Übersetzung: Paralleltonart heißt auf englisch "relative key". "parallel" bedeutet im Englischen "Varianttonart", also C-Dur und C-Moll
Danke, Sie haben vollkommen recht! Mich wundert, dass noch kein Muttersprachler protestiert hat! Aus meinerAngabe der Quintebenen (0, +1, - 1) bzw. der neighbour/secondary keys sind die korrekten Tonarten abzuleiten! Aber sorry: beim nächsten Video wird das korrigiert!
A standard formula in fugual improv is to construct the counter subject based on the chordal treatment of the subject. Generally, you just need to remember one counter subject for the entire improv piece and then rely on sequences for the transitions and filler materials. This is also one the main reason I try to avoid relying on sequences as a crutch in composition. They are too formulaic. They are generally not very interesting harmonically, but they are easy to construct and play because of predetermined formula. That's also one thing I've noticed in Baroque composers, some rely on sequences more than others. As a result, I thought of a good fugal writing challenge. 1. Compose a fugue that has no sequence in it whatsoever. That means when the second instance of the sequence begins, you need to break off the second half of the sequence into something new or different, thus avoiding having an actual sequence (i.e. the repeat of a previous bar motif exactly the same except a step down, either diatonically or chromatically). For instance Bach will often only repeat the sequence instance twice while Vivaldi will more often than not do the standard 4 sequences of 3, 2, 1, 7 or 5, 4, 3, 2 and cadence on 1. On a side note, drum fillers and bass drops both serve similar functions of transitioning to a cadence. You can hear similarly rhythmic treatment in Baroque music. Sequences sort of serves that function, but generally it's the V-I cadence that has the soprano voice doing interesting stuff that you will find in most baroque music that functions like this. 2. The second challenge is to compose a fugue that's made up of entirely sequences. This means that you can have at most one bar in the piece that is not a sequence in any voice. To avoid monotony, you can have one voice doing the sequence thing while the other voices do other interesting stuff. Of course, the most stereotypical sequence is when all voices are doing the sequence thing. After these two exercises of extremes, you will gain a better understanding of harmonic progression and treatment, and mix and match the techniques you have used in these two challenges in new pieces.
I'm really glad that you start making videos in english, for non German-speaking viewers! Than you Mr. Stoiber
there are already some videos in English!
@@franzjosefstoiber4935 Sorry, I'm new on this channel and I didn't notice that 😅
Thank you, very helpful!
Great as always!
Thank you so much for making this video in English.
It’s fantastic!! Thank you!
With pleasure!
Vielen dank Stoiber! Welche Video ist die erste, wenn ich mit improvisation anfangen soll?? beste Grüsse aus Dänemark
Grundlagen der Orgelimprovisation!
English! Yes!
Please recommend my Channel English speakers: so I have motivation to make more videos in English!
Vielen Dank für das Video! Ein Hinweis zur Übersetzung:
Paralleltonart heißt auf englisch "relative key".
"parallel" bedeutet im Englischen "Varianttonart", also C-Dur und C-Moll
Danke, Sie haben vollkommen recht!
Mich wundert, dass noch kein Muttersprachler protestiert hat!
Aus meinerAngabe der Quintebenen (0, +1, - 1) bzw. der neighbour/secondary keys sind die korrekten Tonarten abzuleiten!
Aber sorry: beim nächsten Video wird das korrigiert!
A standard formula in fugual improv is to construct the counter subject based on the chordal treatment of the subject. Generally, you just need to remember one counter subject for the entire improv piece and then rely on sequences for the transitions and filler materials. This is also one the main reason I try to avoid relying on sequences as a crutch in composition. They are too formulaic. They are generally not very interesting harmonically, but they are easy to construct and play because of predetermined formula. That's also one thing I've noticed in Baroque composers, some rely on sequences more than others. As a result, I thought of a good fugal writing challenge. 1. Compose a fugue that has no sequence in it whatsoever. That means when the second instance of the sequence begins, you need to break off the second half of the sequence into something new or different, thus avoiding having an actual sequence (i.e. the repeat of a previous bar motif exactly the same except a step down, either diatonically or chromatically). For instance Bach will often only repeat the sequence instance twice while Vivaldi will more often than not do the standard 4 sequences of 3, 2, 1, 7 or 5, 4, 3, 2 and cadence on 1. On a side note, drum fillers and bass drops both serve similar functions of transitioning to a cadence. You can hear similarly rhythmic treatment in Baroque music. Sequences sort of serves that function, but generally it's the V-I cadence that has the soprano voice doing interesting stuff that you will find in most baroque music that functions like this. 2. The second challenge is to compose a fugue that's made up of entirely sequences. This means that you can have at most one bar in the piece that is not a sequence in any voice. To avoid monotony, you can have one voice doing the sequence thing while the other voices do other interesting stuff. Of course, the most stereotypical sequence is when all voices are doing the sequence thing. After these two exercises of extremes, you will gain a better understanding of harmonic progression and treatment, and mix and match the techniques you have used in these two challenges in new pieces.
These things you explain are well known. My intention is to offer students sure ways when learning Improvisation.
You are so right! The best way to learn piano is to start with Chopin Etudes 😉 Sorry!
Bien sur, c'est evident.,et merci! @@franzjosefstoiber4935