Lovely playing - Oh, ARTHUR GRUMIAUX ! with harpsichordist Riccardo Castiglione - No wonder it is absolutely beautiful, delightfully perfect intonation and articulation. YES !
Because even if there was obviously already tonal sensitivity, at the time the musical theory was still modal, so for example the pieces in D minor were considered an "A minor piece with the phrygian mode", so every B was marked as flat in the score This also appears in various baroque pieces such as the Bach's sonatas and partitas for solo violin, if you look at the first sonata in G minor you'll see that it has only one flat marked in key signature, and every E is marked as flat in the score.
@@francescofgr Not accurate. It's in D-minor and this grows directly from a parallels between earlier dorian melodic practices and emerging solidification of Major / minor system. This has zero association to Phrygian accept for the use of a N6 chord later in the piece. Renaissance music (and even earlier practices) was already rife with modal alterations for cadences and avoidance of the tritone (Dufay et al). It has its roots in similarities D-minor drawing from melodic practices of dorian so we often see raised 6th in combination with the leading tone. Again: definitely NOT Phrygian. But yes... we see this often in early baroque as the notational & harmonic style develops and signatures become standardized. But yes, In Bach's cello suite (and violin partitas etc) in G major, The g-minor movements display one flat in the signature and the music is in g-minor while visually referencing Dorian, not Phrygian.
Merci pour le partage! Très agréable de suivre avec la partition :)
Lovely playing - Oh, ARTHUR GRUMIAUX ! with harpsichordist Riccardo Castiglione - No wonder it is absolutely beautiful, delightfully perfect intonation and articulation. YES !
thanks you very much!!!!I remember My Men,My Love!13:55h04/11/23
Gracias. Recién te descubro. Violinista en ratos libres. Saludos cordiales desde Madrid /España!! 😅😮🎉
Nice❤❤❤
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Why no key signature on this one? No b?
Because even if there was obviously already tonal sensitivity, at the time the musical theory was still modal, so for example the pieces in D minor were considered an "A minor piece with the phrygian mode", so every B was marked as flat in the score
This also appears in various baroque pieces such as the Bach's sonatas and partitas for solo violin, if you look at the first sonata in G minor you'll see that it has only one flat marked in key signature, and every E is marked as flat in the score.
Fascinating, thank you for the insight.@@francescofgr
@@francescofgr Not accurate. It's in D-minor and this grows directly from a parallels between earlier dorian melodic practices and emerging solidification of Major / minor system. This has zero association to Phrygian accept for the use of a N6 chord later in the piece. Renaissance music (and even earlier practices) was already rife with modal alterations for cadences and avoidance of the tritone (Dufay et al). It has its roots in similarities D-minor drawing from melodic practices of dorian so we often see raised 6th in combination with the leading tone. Again: definitely NOT Phrygian. But yes... we see this often in early baroque as the notational & harmonic style develops and signatures become standardized. But yes, In Bach's cello suite (and violin partitas etc) in G major, The g-minor movements display one flat in the signature and the music is in g-minor while visually referencing Dorian, not Phrygian.
@@derekhurst3499 If there was a counter of how many dicks you've sucked, this answer would make it overflow
@@francescofgr😂😂😂