Gorgeous AND Fascinating. Once again, Bach breaks a cardinal rule of part writing--and not only gets away with it, but gets praised for it. Methinks the instructor is biased...but then, so am I. Wonderful video. Thanks!
Hearing this got me to play Christus der, uns selig macht on the pipe organ I built a few years ago. There's something cathartic playing Bach on a real organ. Bach's works are unique in the world of music.
Don't change the title for this series, but really this is more 'outside the mind of Bach'. Your perceptive and clear explanations serve to illustrate how hard it is to comprehend the scope of Bach's achievement (and the 'inside' of his mind). I find his bass line particularly extraordinary and even more extraordinary how well it works.
I think you should also show the text when analysing Bach, because the harmonies in his music are always closely linked to the text and the choices of harmonization can only be understood that way. The harmonization of this chorale for instance comes closely to the 11th movement in St. John Passion, therefore it can be taken that the same words apply here. I believe the special harmonies at the end of these two phrases relate to the words "who has *struck* you" and "...with *torments* ..." respectively "I, I, and my *sins* ", "that are as many as grains".
@@BaldPerspective True, of course. But it's nice to return to the 'simpler' harmonic/melodic structures as outlined here. Far too often, as (modern) jazz musicians imo, we overly focus on the use of diminished scales, whole tone scales, diminished whole tone scales etc. This was a refreshing re-exploration of incorporating modal concepts over more fundamental scales and chords.
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That "accented passing note" in bar 2 looks also suspiciously similar to a suspension. If you ignore the soprano and alto for a moment, you have a pair of d's (prepare), then the d/c dissonance, which is resolved down by step to the b. It's not canonical, because its not the d moving down (as its supported by the soprano and alto), but the c. But it certainly has the feeling of a suspension.
I really love your videos, thank you for making them. As for surprise modulations, how about the mother of them all … the chorale Leit Uns Mit Deiner Rechten Hand from BWV 90. It gives me chills every time, and shows off not only Bach’s invention, but his mastery of word painting with music.
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@@MusicMattersGB my word that was quick! I shall be looking forward to it, and I do hope you already had it done and didn’t go to any extra trouble for me!
To look at the last measure I would think it’s in three, not the time signature of 4/4. Is this allowed because of (1) the pickup measure, (2) the fermata that ends the second phrase, or (3) am I not reading that last measure correctly?
@@MusicMattersGB Yes - from an 'intellectual, academic' perspective you are quite correct. Thought - it is very common for the ear to fill in the blanks, which is why we can voice many chords without its fifth for example. Similarly, voicing a chord without its root can still imply the chord whose root is missing - a point of which I'm sure that a man of Bach's intelligence was fully aware. And a technique used across many genres of music throughout the ages. So - to reiterate my point - to my ears, it sounds more like a common i-IV-V7 progression. 😁
I completely agree. In particular VII can sound very much like V7 so the two can easily interchange but as you acknowledge if the tonic of the V7 isn’t there we have to describe it as VII. I think Bach was very aware of the close link between the two chords.
I'm sorry but I would not consider this sample as modulation. It's rather DEVIATIONS into 1) related minor A-f# : first sentence is ending on HALF cadence C# = Dominant to f#. Second sentence however is a HALF cadence into initial key of A.
Sorry, my friend, you're wrong. Bach learnt to cram modulation examples into the exercise book he wrote. He then, as usual, reworked many snippets for his 'vast output'. A very practical and dour man, he was NOT being artistic in any way.
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Gorgeous AND Fascinating. Once again, Bach breaks a cardinal rule of part writing--and not only gets away with it, but gets praised for it. Methinks the instructor is biased...but then, so am I. Wonderful video. Thanks!
You’ve rumbled me!
Hey, which cardinal rule do you mean?
How soothing to drown oneself in the beauty of Bach's "O Welt", when the rest of the world as we know it, is in shambles.
Absolutely
The greatest music seems to have something to say even in the most dire of situations.
So true
@@ImpulseGenerator ^
😀
You're right -- it's completely fascinating. And it demonstrates how much more I have to learn.
😀
There are 389 chorales. I look forward to watching everyone of your videos.
Merci beaucoup.
😀
Hearing this got me to play Christus der, uns selig macht on the pipe organ I built a few years ago. There's something cathartic playing Bach on a real organ. Bach's works are unique in the world of music.
Absolutely
There’s something of homecoming in Bach’s resolutions here. Moments of bliss after the hard work of all those suspensions!
Absolutely
Don't change the title for this series, but really this is more 'outside the mind of Bach'. Your perceptive and clear explanations serve to illustrate how hard it is to comprehend the scope of Bach's achievement (and the 'inside' of his mind).
I find his bass line particularly extraordinary and even more extraordinary how well it works.
😀
I think you should also show the text when analysing Bach, because the harmonies in his music are always closely linked to the text and the choices of harmonization can only be understood that way. The harmonization of this chorale for instance comes closely to the 11th movement in St. John Passion, therefore it can be taken that the same words apply here. I believe the special harmonies at the end of these two phrases relate to the words "who has *struck* you" and "...with *torments* ..." respectively "I, I, and my *sins* ",
"that are as many as grains".
Certainly the words and the music are closely related
As a jazz musician, I find your analysis of Bach both interesting and incredibly familiar. Thank You
A pleasure
Well, Jazz Theory does comes from this kind of Theory.
@@BaldPerspective
True, of course. But it's nice to return to the 'simpler' harmonic/melodic structures as outlined here.
Far too often, as (modern) jazz musicians imo, we overly focus on the use of diminished scales, whole tone scales, diminished whole tone scales etc.
This was a refreshing re-exploration of incorporating modal concepts over more fundamental scales and chords.
@@MrBoybergs Totally!
@@MrBoybergs It’s always interesting to compare one musical genre with another. One tradition has so much to glean from another.
Thank you for another wonderful lesson. Brightened the day for many people 👍👋
It’s tremendous music. Hope you’re well.
If you did this for every measure Bach wrote I would watch every minute of it
That’s great
Music theorists and historical performers are the real composers.
😀
Gorgeous, exactly squeezing the juices out.
It’s wonderful music
Yeeeeessss....the beeessttt...thank's
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Amazing grace! 🙏
😀
Bach's the best.
Absolutely
Great video !
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Thank you so much... beautiful lesson.
That’s most kind
That "accented passing note" in bar 2 looks also suspiciously similar to a suspension. If you ignore the soprano and alto for a moment, you have a pair of d's (prepare), then the d/c dissonance, which is resolved down by step to the b. It's not canonical, because its not the d moving down (as its supported by the soprano and alto), but the c. But it certainly has the feeling of a suspension.
😀
Oh nice, my favorite chorale!
Fabulous
So so insightful, thank you!
That’s most kind.
I really love your videos, thank you for making them.
As for surprise modulations, how about the mother of them all … the chorale Leit Uns Mit Deiner Rechten Hand from BWV 90. It gives me chills every time, and shows off not only Bach’s invention, but his mastery of word painting with music.
That’s a really fabulous example.
@@MusicMattersGB Worth including in a video about word painting? ☺️
Good point
Bark sounds like a great composer!
He’s great!
Excellent thanks.
A pleasure
Beautiful.
Agreed.
Great stuff as always!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I found this harmonisation under BVW 395.
😀
Thank you so much
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Interesting bass line in the beginning a descending D maj scale.
Absolutely
👏
😀
I know it isn’t Bach, but any chance you do an analysis of Dido’s Lament?
It’s recorded and in the pipeline.
@@MusicMattersGB my word that was quick! I shall be looking forward to it, and I do hope you already had it done and didn’t go to any extra trouble for me!
Don’t worry. We recorded it a few weeks ago!
@@MusicMattersGB excellent! Clearly great minds think alike, but yours is a little ahead of mine!
@@InceyWincey 😀
nice
😀
To look at the last measure I would think it’s in three, not the time signature of 4/4. Is this allowed because of (1) the pickup measure, (2) the fermata that ends the second phrase, or (3) am I not reading that last measure correctly?
It’s simply that the next phrase (not given here) starts on the 4th beat.
@@MusicMattersGB Thank you: I thought I was losing it!
😀
Sounds more like a 2nd inversion Dom7 rather than a 1st inversion 'chord vii' - to my ears at least.
Sounds very similar but the root of the V7 is missing so that makes it a VII
@@MusicMattersGB Yes - from an 'intellectual, academic' perspective you are quite correct.
Thought - it is very common for the ear to fill in the blanks, which is why we can voice many chords without its fifth for example. Similarly, voicing a chord without its root can still imply the chord whose root is missing - a point of which I'm sure that a man of Bach's intelligence was fully aware. And a technique used across many genres of music throughout the ages.
So - to reiterate my point - to my ears, it sounds more like a common i-IV-V7 progression. 😁
I completely agree. In particular VII can sound very much like V7 so the two can easily interchange but as you acknowledge if the tonic of the V7 isn’t there we have to describe it as VII. I think Bach was very aware of the close link between the two chords.
How was called the modulation in 18th century?
Same word
I'm sorry but I would not consider this sample as modulation. It's rather DEVIATIONS into 1) related minor A-f# : first sentence is ending on HALF cadence C# = Dominant to f#. Second sentence however is a HALF cadence into initial key of A.
As you rightly say there is a cadence in another key - the circumstances required to confirm a modulation.
Still sounds like a hymn! I don't have anything against hymns but I'm glad we've moved on from it!
It’s great that we have so many different styles and genres.
Sorry, my friend, you're wrong. Bach learnt to cram modulation examples into the exercise book he wrote. He then, as usual, reworked many snippets for his 'vast output'. A very practical and dour man, he was NOT being artistic in any way.
A very cynical view of such a great composer!
He had many examples in his exercise book from which to choose, but he chose the ones he did to create the work he wished to. This is artistic choice.
@@InceyWincey 😀
True art is practical.
可惜英语水平太差了🥺
😀