Hi! My educational content is available for free so that anyone can learn and study music analysis and composition. If you enjoy what I do, please consider supporting me on Patreon: www.patreon.com/composition-class. There, you'll also find options to access PDF files of my analyses, receive feedback on your compositions, and join my group and individual classes. Thank you!
Hi, @alexcao7502! Thank you for your wonderful comment. I’m thrilled you discovered the channel and found this analysis engaging. Beethoven’s Sonata No. 1 is indeed a gem to explore. I hope you enjoy more content on the channel-welcome aboard!
I hope to make more people want to study music. My intention is to do all movements of all Beethoven's sonatas although I might need to think of what might be the best format
Yes, I am so often disappointed to hear remarks like "I can't read music," or "I don't see the need for music theory." This attitude flourished in the age of pop music, when indeed, many recording stars, studio guitarists and drummers were episodically successful with no formal music education. But their creativity, of course, would only have improved with academic study of theory, history, composition, orchestration and performance.
I had courage to compose a sonata after watching this video, and I kind of figured out some themes i wanna use. thanks sir, this content is very beneficial.
This is wonderful. This is exactly what this channel is made for. I plan in the future to have some videos where I provide feedback on student's work. Would you be interested in me reviewing your sonata?
Thank you so much! I’m really glad that you found the video helpful. It’s great to know that the details resonate with you. Let me know if you have any questions or need clarification on anything! What is your musical background or level of studies? Do you write music?
@@syroyid-class Hello and thank you for the questions! I am primarily a Catholic musician and specialize in Gregorian Chant. I have no music degree but have been studying chant and sacred polyphony at my parish for over 5 years and have more recently been trying to self-teach myself organ. I practice a lot of piano at home as it helps improve my overall keyboard skills. I have technically composed before (very basic music) but I know so little about harmony that I can never write satisfying accompaniment for the beautiful melodies I like to imagine
I would like to encourage you to compose more. I understand the challenge of composing accompaniments for melodies you create-it can be tricky to find the right harmony to bring them to life! Here are a few tips for adding chords to your melodies: 1.- Start with basic triads. For each note in your melody, identify what chords fit that note. 2.- Understand cadences. Cadences are important for creating a sense of closure in your music. 3.- Focus on chord inversions. When you're writing accompaniment, using different inversions of chords can make the harmony feel more connected to the melody. F 4.- Use pedal tones. Especially when composing for organ, holding a pedal tone (a sustained note in the bass) can add richness and depth to your accompaniment. 5.- Practice simple progressions like I-IV-I-V-I, or I-V-vi-ii-V-I. These progressions provide a strong foundation for most melodies. As you continue to practice, you can move into more advanced techniques.
@@syroyid-class I suppose I can compose more little by little but I'm not so sure I see a reason for it! I appreciate the tips though and I will try them out
@@syroyid-class I´m a noob in composing. I love classical music so i´m practising in a DAW with Symphonic Libraries and orchestration of some easy things like Bachs Riemenschneider chorals. I´m not a "real" musician, i do it just for fun and joy but still trying to know as much as possible about music theory, so content like yours is GOLD
At the beginning of the transition of the exposition, isn't it more likely that the Cm harmony that opens the passage is indeed serving as the v chord of Fm (albeit with a chromatic alteration in B natural), and once that "resolves" to Fm at mm. 11, Fm also acts as a pivot chord to Ab (in this case, vi of Ab maj), with the Db in the melody being an anticipatory note for the next measure instead of being the root of the underlying harmony? (Or perhaps I'm just not used to hearing dissonant major 7th inversions :P) Also, when you pick out these 'hidden melodies' (e.g. scalar lines obscured and whose notes often not appearing on the same beats) or these really obscure harmonies, how do they translate to what we actually hear or how we perceive them? Is it sort of like the way the public treats cadences; not hearing them explicitly (much less able to describe them theoretically) but still able to sense it? Is it the same way with these hidden structures, where an untrained ear might not be able to perceive them directly, but feel like they're making the piece "make sense", and "more coherent and organic," distinguishing from "amateur" pieces?
You can certainly view at as an anticipation, but this that chord is remarkable. The melodies give direction, there basically two types: scales (going up or down) and circles of fifths (that give from the harmonic perspective direction the music) They certainly give coherence to the music and prove that Beethoven didn't improvise something random but thought carefully about the composition.
Thank you. Feel free to support the channel on patreon.com/composition-class also, please, share these videos with people that might be interested in music analysis and composition. All the best, Bohdan
@@syroyid-class I'm from São Paulo, Brazil. I studied composition as an undergrad and moved on to philosophy of music and historical musicology in my post-grad work (both at the University of São Paulo)
@syroyid-class I hope your videos travel far and wide! My dissertation was on the concept of expression in Theodor Adorno's philosophy of music. I tried to show how it stems from his experience of the music of Schoenberg, how it relates to different conceptions of musical expression found throughout history, and how it informs his critique of the post-WW2 avant-garde. I also attempted a kind of "Adornian" interpretation of the music of Morton Feldman, emphasizing how he differs from most of his post-WW2 avantgardist peers and drawing on parallels between his late work and the writings of Samuel Beckett. I am now working on a project dealing with the historiography of music, where my main goal is to flesh out the philosophy of history implicit in mainstream music history and propose an alternative model inspired by the philosophy of history of Adorno and Walter Benjamin.
Thank you so much for the kind words! Your dissertation sounds absolutely fascinating-Adorno's philosophy of music, especially his thoughts on expression and his critique of the avant-garde, is such a rich area for exploration. Your current project on the historiography of music is interesting. Do you have any publications you could share? Exploring the underlying philosophy of history in mainstream music history and developing an alternative model with inspiration from Adorno and Benjamin could offer such fresh perspectives. Best of luck with your work-I’d love to hear more about it as it progresses!
@@syroyid-class yes, I am a piano teacher. I love to learn how to analyze pieces with the structure and harmonies. That's how we know how to interpret the pieces. There's much more for me to learn. Thank you for your channel and the info. I feel learning music is endless.
I'm glad that you found it useful. I would like to hear from you as a music creator, what are the most important lessons that you would take from Beethoven for yourself?
@@syroyid-class Prelude and Fugue: No. 4 in C-Sharp Minor, BWV 849. I'm fond of Richter's performance of this piece ruclips.net/video/x1x57omCE8s/видео.html
Изумительный разбор! Пишу Вам из Москвы, учусь гармонии и сольфеджио в музыкальном училище. Обязательно расскажу своим однокурсникам на уроке о Вас! Нет ли у Вас возможности отправить мне ноты с Вашими пометками?
Я рад узнать, что мой анализ полезен. Вы можете найти все партитуры с аннотациями на Patreon www.patreon.com/composition-class но я не уверен, доступен ли Patreon в России. Если он недоступен, вы можете написать мне на мою электронную почту bohdansyroyid@gmail.com
Hi! My educational content is available for free so that anyone can learn and study music analysis and composition. If you enjoy what I do, please consider supporting me on Patreon: www.patreon.com/composition-class. There, you'll also find options to access PDF files of my analyses, receive feedback on your compositions, and join my group and individual classes. Thank you!
What a hidden gem i just came across!!
Hi, @alexcao7502! Thank you for your wonderful comment. I’m thrilled you discovered the channel and found this analysis engaging. Beethoven’s Sonata No. 1 is indeed a gem to explore. I hope you enjoy more content on the channel-welcome aboard!
Underrated channel. But the sad fact is that people don't want to really study music. Please do this on more Beethoven sonatas.
I hope to make more people want to study music. My intention is to do all movements of all Beethoven's sonatas although I might need to think of what might be the best format
Wow! Can't wait!@syroyid-class
Yes, I am so often disappointed to hear remarks like "I can't read music," or "I don't see the need for music theory." This attitude flourished in the age of pop music, when indeed, many recording stars, studio guitarists and drummers were episodically successful with no formal music education. But their creativity, of course, would only have improved with academic study of theory, history, composition, orchestration and performance.
I had courage to compose a sonata after watching this video, and I kind of figured out some themes i wanna use. thanks sir, this content is very beneficial.
This is wonderful. This is exactly what this channel is made for. I plan in the future to have some videos where I provide feedback on student's work. Would you be interested in me reviewing your sonata?
@@syroyid-class wow! That would be absolutely great! Maybe i can send you the sheet music per e-mail after I'm done with it?
absolutely
90 minutes of details and it's hard to disagree with anything you said! Really helpful for my level of music knowledge
Thank you so much! I’m really glad that you found the video helpful. It’s great to know that the details resonate with you. Let me know if you have any questions or need clarification on anything! What is your musical background or level of studies? Do you write music?
@@syroyid-class Hello and thank you for the questions! I am primarily a Catholic musician and specialize in Gregorian Chant. I have no music degree but have been studying chant and sacred polyphony at my parish for over 5 years and have more recently been trying to self-teach myself organ. I practice a lot of piano at home as it helps improve my overall keyboard skills.
I have technically composed before (very basic music) but I know so little about harmony that I can never write satisfying accompaniment for the beautiful melodies I like to imagine
I would like to encourage you to compose more. I understand the challenge of composing accompaniments for melodies you create-it can be tricky to find the right harmony to bring them to life! Here are a few tips for adding chords to your melodies:
1.- Start with basic triads. For each note in your melody, identify what chords fit that note.
2.- Understand cadences. Cadences are important for creating a sense of closure in your music.
3.- Focus on chord inversions. When you're writing accompaniment, using different inversions of chords can make the harmony feel more connected to the melody. F
4.- Use pedal tones. Especially when composing for organ, holding a pedal tone (a sustained note in the bass) can add richness and depth to your accompaniment.
5.- Practice simple progressions like I-IV-I-V-I, or I-V-vi-ii-V-I. These progressions provide a strong foundation for most melodies.
As you continue to practice, you can move into more advanced techniques.
@@syroyid-class I suppose I can compose more little by little but I'm not so sure I see a reason for it! I appreciate the tips though and I will try them out
Thank you very much for your work and passion.
You are welcome! I would love to hear more about your musical background? Do your perform or compose?
@@syroyid-class I´m a noob in composing. I love classical music so i´m practising in a DAW with Symphonic Libraries and orchestration of some easy things like Bachs Riemenschneider chorals. I´m not a "real" musician, i do it just for fun and joy but still trying to know as much as possible about music theory, so content like yours is GOLD
At the beginning of the transition of the exposition, isn't it more likely that the Cm harmony that opens the passage is indeed serving as the v chord of Fm (albeit with a chromatic alteration in B natural), and once that "resolves" to Fm at mm. 11, Fm also acts as a pivot chord to Ab (in this case, vi of Ab maj), with the Db in the melody being an anticipatory note for the next measure instead of being the root of the underlying harmony?
(Or perhaps I'm just not used to hearing dissonant major 7th inversions :P)
Also, when you pick out these 'hidden melodies' (e.g. scalar lines obscured and whose notes often not appearing on the same beats) or these really obscure harmonies, how do they translate to what we actually hear or how we perceive them? Is it sort of like the way the public treats cadences; not hearing them explicitly (much less able to describe them theoretically) but still able to sense it? Is it the same way with these hidden structures, where an untrained ear might not be able to perceive them directly, but feel like they're making the piece "make sense", and "more coherent and organic," distinguishing from "amateur" pieces?
You can certainly view at as an anticipation, but this that chord is remarkable.
The melodies give direction, there basically two types: scales (going up or down) and circles of fifths (that give from the harmonic perspective direction the music)
They certainly give coherence to the music and prove that Beethoven didn't improvise something random but thought carefully about the composition.
I am so glad RUclips sent me to your channel! It is amazing!
Thank you. You are very welcome. If you speak Spanish I am starting a brand new channel with more analysis but in Spanish.
love these. please keep them coming. very informative thanks !
Thanks! Today I released one on Bach
Very enjoyable, well explained and detailed analysis. Thank you!
I'm glad to read this. Thanks for commenting!
spectacular thank you
Thank you. Feel free to support the channel on patreon.com/composition-class also, please, share these videos with people that might be interested in music analysis and composition. All the best, Bohdan
Thank you for your musical analysis.
This is wonderful
Many thanks! My new video on what makes a good melody is up today!
Thank you so much
You're most welcome. What are your musical background? I see in your channel math videos...
Amazing! 👌
Many thanks! Are you a musician? What is your level of musical studies?
Great video!
Thank you for watching. Where are you from? What is your musical background?
@@syroyid-class I'm from São Paulo, Brazil. I studied composition as an undergrad and moved on to philosophy of music and historical musicology in my post-grad work (both at the University of São Paulo)
What are your main areas of research and interest? I'm glad to read that these videos are reaching new audiences in Brazil. Greetings from Spain!
@syroyid-class I hope your videos travel far and wide!
My dissertation was on the concept of expression in Theodor Adorno's philosophy of music. I tried to show how it stems from his experience of the music of Schoenberg, how it relates to different conceptions of musical expression found throughout history, and how it informs his critique of the post-WW2 avant-garde. I also attempted a kind of "Adornian" interpretation of the music of Morton Feldman, emphasizing how he differs from most of his post-WW2 avantgardist peers and drawing on parallels between his late work and the writings of Samuel Beckett.
I am now working on a project dealing with the historiography of music, where my main goal is to flesh out the philosophy of history implicit in mainstream music history and propose an alternative model inspired by the philosophy of history of Adorno and Walter Benjamin.
Thank you so much for the kind words! Your dissertation sounds absolutely fascinating-Adorno's philosophy of music, especially his thoughts on expression and his critique of the avant-garde, is such a rich area for exploration. Your current project on the historiography of music is interesting. Do you have any publications you could share? Exploring the underlying philosophy of history in mainstream music history and developing an alternative model with inspiration from Adorno and Benjamin could offer such fresh perspectives. Best of luck with your work-I’d love to hear more about it as it progresses!
great video
you are welcome. Are you a piano teacher? Have you've played this piece?
@@syroyid-class yes, I am a piano teacher. I love to learn how to analyze pieces with the structure and harmonies. That's how we know how to interpret the pieces. There's much more for me to learn. Thank you for your channel and the info. I feel learning music is endless.
Grate video
I'm glad that you found it useful. I would like to hear from you as a music creator, what are the most important lessons that you would take from Beethoven for yourself?
Thank you for this video. I would like to suggest analysing Bach's chorale prelude in f minor BWV 639 if you you want of course.
I like Busoni's arrangement. Is that the piece you would like me to analyze? imslp.org/wiki/Special:ImagefromIndex/09322/rfpy
@@syroyid-class yeah, correct. It's my, perhaps, second favorite Bach piece if not the first.
@@Atlantis-ik6eq what is the other one?
@@syroyid-class Prelude and Fugue: No. 4 in C-Sharp Minor, BWV 849. I'm fond of Richter's performance of this piece ruclips.net/video/x1x57omCE8s/видео.html
Изумительный разбор!
Пишу Вам из Москвы, учусь гармонии и сольфеджио в музыкальном училище. Обязательно расскажу своим однокурсникам на уроке о Вас!
Нет ли у Вас возможности отправить мне ноты с Вашими пометками?
Я рад узнать, что мой анализ полезен. Вы можете найти все партитуры с аннотациями на Patreon www.patreon.com/composition-class но я не уверен, доступен ли Patreon в России. Если он недоступен, вы можете написать мне на мою электронную почту bohdansyroyid@gmail.com
What website did you use to edit the sheet music
Consider doing Rachmaninoff sonata analysis
I might do a section in the future, as it is very elaborate and larga. The compositional principals are the same.
Great video!
Thank you!