Literally one hour before my test and this is the first time I’ve actually understood the content, THANK YOU
@IntrepidWill
4 жыл бұрын
Thank you for this straightforward but not over-simplified introduction to Figured Bass.
@SethMonahan
4 жыл бұрын
You're welcome-I'm glad you found it helpful!
@Americans4Israel4Ever
Жыл бұрын
Criminally underrated channel.
@SethMonahan
Жыл бұрын
I'm inclined to agree. :)
@bagoftricks6985
9 ай бұрын
I had such a hard time understanding figured bass for some reason, but your explanations are by far the best. This series is literally a high quality university course uploaded for free. Thank you so much Mr. Monahan!
@ktkprincess
Жыл бұрын
I appreciate this instruction because you're combing the book learning portion of figured bass with actual music. I found it easy to understand and awesome! Thank you very much.
@espressonoob
Ай бұрын
It's extremely upsetting this was explained much better from a 20 minute KZitem video rather than my half a grand music theory course in college. Thank you very much for the resources!
@snowboarder12653
Жыл бұрын
Wow, you are a great teacher. This is just the video series I have been looking for. Thanks Seth!
@threethrushes
5 жыл бұрын
Very clear explanation, even for non-musicians (at least the first 10 minutes).
@robinrwanda
4 жыл бұрын
40 years since I studied figured bass! This was very helpful indeed. You said several things I wish someone had said to me when I was in college, like “This is a performance instruction as opposed to an analysis”. Thanks!
@SethMonahan
Жыл бұрын
(1) Nothing I did there changed the inversion of the chord. I was changing the **voicing**, which is different. (2) This is a video about figured bass, which-as I explain in the video-predates the concepts of chord roots by 100+ years. "C/G" means literally nothing to a person who has no concept of a C-major triad. (3) Figured bass doesn't distinguish between (what we moderns think of as) chord tones and non-chord tones. It's not about "chords" in the modern sense at all. Because it's not modern. As explained in the video. If you're curious about why classical musicians don't use lead-sheet notation in general, that's an entirely different question. The reason, in a nutshell, is that analysts of classical music are interested in seeing the relationships between chords, not just the chords' names. "C/G" tells us the root and bass of a triad, but it doesn't relate that chord to the key in which it appears, or to the other chords in that key. It could be I6/4 in C major, V6/4 in F major, IV6/4 in G major, etc. To someone who studies classical music, those chords "mean" very different things-they behave differently, and sound different (!) in context-despite having the same lead-sheet label. (And if you're curious as to how it came to be that we **use** figured bass to show chord inversion, watch Video 7, which goes over that very thoroughly. Teaser: that wasn't what figured bass was designed to do, but it works anyway, based on the way that people thought about chords and bass lines in the 19th century.)
@amadeus27h
Жыл бұрын
Amazing as usual
@wingtheproducer
2 жыл бұрын
This is so great Seth! I've read about Figured Bass in two different textbooks and various online sources and was still pretty confused by it. This simple video with examples made it so much clearer. While it's not as straightforward to our modern brains as roman numerals or chord names on a lead sheet, I'd have to say I appreciate understanding Figured Bass because it really makes you think about harmonic development in a different way, and even makes the concepts of voice leading and counterpoint more clear. Anyway thanks again, I look forward to watching your entire series!
@indigoglitzernschloss4629
4 жыл бұрын
Thank you for the excellent content! This was the most thorough video explanation I've seen for figured bass. Also, your visual and vocal explanations were cristal-clear and supremely concise. Very well constructed overall!
@SethMonahan
4 жыл бұрын
Thanks so much for the kind feedback-I'm glad you liked it!
@raywalsh5414
2 жыл бұрын
Very clear, thanks. I'm new to figured bass and this video dispenses with convoluted references to chord inversions and explains the topic clearly in a nutshell !
@SethMonahan
2 жыл бұрын
Thanks so much, Ray!
@1tymlp123
2 жыл бұрын
Much better lessons taught than the RCM course I am taking now…which I need to pay 500 bucks..Appreciate the efforts!
@SethMonahan
2 жыл бұрын
Glad you find it useful! If at any point, you're inspired to send ME 500 bucks, I wouldn't object... :)
@robbes7rh
7 ай бұрын
Absolutely. I want to know how Bach approached writing music. His counterpoint is so inventive, cohesive, and comprehensive. He's working with the same seven notes in a scale that we are, but he does things that blow my mind. Like 'how the Hell did he think of that?'
@davidbuderim2395
3 жыл бұрын
6:20 I've watched several videos on figured bass. This is the first one that makes cler that WHERE the notes are played is performer's choice. All the others conflate the notes to be played and inversions. Good job.
@user-jw2ko7hw5q
Жыл бұрын
i saw so many videos, and this was the one that made it clear. Thanks
@SethMonahan
Жыл бұрын
You're welcome!
@VictoriaKwanorz
4 жыл бұрын
A good video!! Please keep making these theory lessons!!
@intijimenez2871
2 жыл бұрын
Your videos are AMAZING!!! Thanks to you I have learned a lot of theory for my master ❤️
@jermelkidd3575
2 жыл бұрын
Your master?
@dittles
3 жыл бұрын
I seem to always find myself coming back to these lessons....
@user-xe4rl5re5g
3 ай бұрын
Amazing and super clear vid. Thanks!
@SethMonahan
3 ай бұрын
Glad you liked it!
@dijonstreak
4 жыл бұрын
awesome !!.. i am SO happy ( thrilled that a most daunting subject " has been clarified SO admirably.....thank YOU SO much !!
@SethMonahan
4 жыл бұрын
You're welcome-I'm glad you found the video useful!
@dijonstreak
4 жыл бұрын
@@SethMonahan very useful to the point that i'm buying a NEW music notebook so's i can watch your video...pause, stop rewind and write such great stuff'cause actually this is pretty heady stuff and i wanna make a hard-copy-workbook that i can notate. add, and play aroun' with....i subscribed and i'm definitely gonna be a very regular user....thanx again...FANTASTIC VIDEO presentation your effort and design paid-off immensely !!
@umalihorne8513
3 жыл бұрын
Gonna try to test through some major core classes and these are the only well made videos on the exact topics I need to study!
@SethMonahan
3 жыл бұрын
Awesome-glad to help!
@0biWanJacobi
4 жыл бұрын
Whoa, figured bass is like tablature for keyboards
@lawrencetaylor4101
Жыл бұрын
Merci. I understood most of it, and then it went out of my pay grade. I'm still earning my chops so I'll catch up later.
@curtpiazza1688
2 жыл бұрын
Great stuff! Thanx! Great historical perspective!
@guillaumelavigne2054
4 жыл бұрын
Thank you so much Seth, excellent content as always :)
@RudrakshaChandel
Жыл бұрын
Turn your lessons into a playlist so the lessons get book marked and we can save the entire playlist at once. Thanks for the lesson.
@conforzo
3 жыл бұрын
I may not read continuo fluidly, but when you know what it all means it becomes easier to improvise on your own music as well.
@caterscarrots3407
4 жыл бұрын
My mom said that she might want to go back to playing the flute and that she might want to learn the Flute part of Orchestral Suite no. 2 by Bach. That just happens to be my favorite out of Bach's orchestral suites as a whole, though granted, I love all his suites. Thing is, there is like a ton of figured bass in there. And some I have not even seen like 5/# It's going to be a challenge going from bass line + Figured Bass to a piano version that sounds good *and* is playable by myself, because getting the chords is one thing, but making sure that they don't fall outside that 9th interval limit(that's as far as I can reach is a ninth), that's tough. Thankfully, for the most part it seems, I can play the Violin II and Viola parts both in the right hand, with only a few areas where I have to use the left hand for the Viola part(Mainly the Fugue part of the Overture(which is really 2 fugues, a fast fugue and a slow fugue that seamlessly flow into one another)).
@vadimzitsermusicianvlogcha3870
3 жыл бұрын
Amazing gift of explanation. Thank you!
@BryanKujawa1
3 жыл бұрын
Excellent video, very well explained, great graphics! - from a band director
@gregfolland8452
4 жыл бұрын
Very nicely done! 👍
@SethMonahan
4 жыл бұрын
Thanks, Greg!
@nealwright3075
4 жыл бұрын
These videos are awesome, thanks for making these!
@DityaSangGita
3 жыл бұрын
Thank you for thorough explanations for this. I still prefer the notated figured bass though. Numbers are crazy difficult. Seems I'll visit this video time and again because I am a church organist, and when it comes to baroque sacred chorals understanding figured bass is a must. I wonder if you also have some analysis videos on baroque choral music? I would be endlessly gratefull.
@BazColne
Жыл бұрын
Thank you so much.
@ChowMeinWarrior
3 жыл бұрын
Thank you, Professor Monahan!
@gemnox
3 жыл бұрын
3:40 the space between the 2 staves really threw me off for a second
@2JohJoh2
3 жыл бұрын
So a sus4 is noted as 5/4, sus2 as 5/2, how would you note a triad with a 9 (or 2) ? "9" ("2") - since 3&5 assumed - or rather "9/5/3" ("5/3/2") ?
@SethMonahan
3 жыл бұрын
It's a slightly tricky question, since composers in the figured bass era would typically have avoided including a ninth and a third at the same time (too dissonant). But the very rarity of such a chord would probably have warranted the most specific possible figures, so probably "9/5/3"?
@2JohJoh2
3 жыл бұрын
That makes a lot of sense ! From what I've learned from your video, Figured Bass was "invented" and used as a means of communicating to a performer (and not a theoretical tool), therefore it would be logical to (only) make assumptions within the (then) normal harmonic context - and make explicit what falls beyond... BTW : I've only seen two YT lessons on your channel yet, watching a third one now - but the educational quality (eg going from example to theory and back, contextualisation , etc) is exceptional ! With most YT educational videos, my attention fades out at 5 min or something, now I'been watching for 3/4 hour - that’s a pretty significant difference... And thanks for making time to answer my question (and this quickly) !!
@SethMonahan
3 жыл бұрын
@@2JohJoh2 Thanks so much for the kind feedback! I've tried to make the kinds of videos that I myself would've loved to encounter when I was still learning this stuff. (Not that there was KZitem back then, but still...) I figure that *somebody* has to cater to people who are capable of paying attention in more than 5-minute bursts. :)
@2JohJoh2
3 жыл бұрын
@@SethMonahan 😂👌
@jakobhedman836
Жыл бұрын
Great!
@pianoremindervideos4699
3 жыл бұрын
Excellent teaching.
@enzocypriani5055
2 жыл бұрын
Thank you so much!
@SethMonahan
2 жыл бұрын
You're very welcome!
@blueblimp
2 жыл бұрын
Aside from the details of notation, it's quite similar to a modern lead sheet, isn't it? Except that the figured bass gives more detail about the bassline (by specifying the octave and passing notes).
@SethMonahan
2 жыл бұрын
Great question, and definitely yes! Like lead sheets, figured bass tells you what notes to play (1) with complete freedom as to how you actually lay them out, (2) without fussing over the question of what key you're in, and (3) without asserting any kind of relationships between the chords themselves (as Roman numerals would). There are differences too, though. Lead sheets give three kinds of info that figured bass lacks: they (1) assign each chord a root; they (2) divide chords into classes based on "chord quality"-i.e., the interval structure above that root (dominant seventh, minor seventh, and so on); and (3) distinguish between chord tones and non-chord tones. Figured bass does none of those. It also asks much less of the performer in terms of prior knowledge. In theory, you can "learn" to decode figured bass in like five minutes; it's just about counting intervals. It takes more study to decode symbols like "D7b9b13."
Best concise figured bass explanation I have found so far. Great Job......German Laboratory.....it's something that evolved first in Italy, no? Did Bach actually change something himself (I understand the method was evolving prior to Bach)?
@SethMonahan
3 жыл бұрын
Composers of Bach's generation were probably the last to use figured bass consistently in their works. You see it in early Haydn and Mozart, e.g., but it's gone by the time those composers reached their maturity. So the figured bass story starts in Italy and ends in the second half of the 1700s. (And Bach himself wasn't, to my knowledge, any kind of innovator vis-a-vis figured bass-though other people know more than I do!)
@gamingmusicandjokesandabit1240
4 жыл бұрын
Plot twist: If the figured bass numbers point to the same note names as some other instrument(s), the figured bass simply says to play the same note names as those instruments (without numbers).
@orb3796
2 жыл бұрын
Amazing video, I don´t think there can be enough praise for this! I have a question though, it isn´t neccessarily related to the topics covered in the video, it relates to how Figured Bass compositions would treat the leading tone. I know that the leading tone would usually be followed up by a step up to Do in the ***same voice*** (e.g. Alto B goes to Alto C). I also know that this doesn´t need to happen, that if the leading tone is in an inner voice it can progress down by step to sol which would be called a "frustrated leading tone". My question is, does the stepwise descend from Ti to Sol need to happen in one voice (e.g only the alto voice), or can the descend be made out of multiple voices who just happen to form a descent from Ti to Do (e.g. Alto B goes to Tenor A goes to Tenor G)?
@auscomvic9900
2 жыл бұрын
Thanks
@armansrsa
3 жыл бұрын
Thank you for the information.. it is very well presented. In the figured bass analysis you did of the church sonata, where it has 7 in the figured bass symbol, shouldn't a 5th be played there too. you said earlier on in the video that the 5th and 3rd are implied, however, in this analysis you say "the keyboardist would know to play a 3rd" but you don't say anything about the 5th.
@SethMonahan
3 жыл бұрын
Fantastic question! The answer is actually *no*, for this reason: the 18th-century continuo player would recognize that 7-6 over a stationary bass note (in this case C-natural) wouldn't have a fifth included. In modern terminology, that figured bass indicates a first-inversion triad with some kind of non-chord tone in the mix when it arrives. In the Corelli example, it corresponds to a first-inversion A minor triad with a non-chordal B arising via suspension from the previous chord. (This all seemed like a bit much to explain outright in the video-though kudos to you for noticing!)
@armansrsa
3 жыл бұрын
@@SethMonahan Ok thanks for the explanation. But wouldn't there be a case where the composer wanted you to play the 5th for the 7 chord and then remove it for the 6 chord or should I assume that whenever you see a 7 - 6 figured bass it is refering to a 6 chord with a non chord tone on the first beat?
@ludwigvanbeethoven8164
3 жыл бұрын
On 19:13 , how would you know there were eighth notes that accompanied the violins? Would the organist get the score of both the violins also?
@SethMonahan
3 жыл бұрын
If you're the continuo player in Corelli's time, you actually *wouldn't* know what the violins were doing in advance, since your part was just the bass line and figures. You can see an edition of these works from the 1680s at IMSLP: imslp.org/wiki/12_Trio_Sonatas%2C_Op.1_(Corelli%2C_Arcangelo)
@jk996music
4 жыл бұрын
Love your videos! Really clear and very informative. I thought that if nothing was written in the figured bass then instead of defaulting to 5/3 you would default to rule of the octave ?
@SethMonahan
4 жыл бұрын
Great question, jk. Figured bass practices varied quite a bit during the 16th/17th centuries. And while I'm no expert, my understanding is that the further back you go, the more likely it is that certain things were simply to be understood by the performer. And in those contexts, I think that the rule of the octave would indeed been a guiding principle (i.e., that you'd default to 5/3 chords over tonic and dominant but 6/3 chords over the other scale degrees). It's not the sort of thing I'd include in an introductory video. But it does turn up on Video 28, about the lament bass (where we find many early 17th-century basses entirely unfigured).
@jk996music
4 жыл бұрын
Thanks so much for your reply Seth! I look forward to learning so much more from the rest of your videos :)
@OumiKapilaMusic
4 жыл бұрын
Thank you Seth. In the section just before 18:00, would not the addition of the 3 in parentheses be redundant, given your earlier instruction that the 3 is in fact implied when we see the 6 or 7?
@SethMonahan
4 жыл бұрын
Hi Oumi! You're absolutely right: strictly speaking, the parenthetical "3" in bar 3 is redundant.
@FeonaLeeJones
4 жыл бұрын
super helpful!!!!!!!
@felixfourcolor
4 ай бұрын
11:53 indeed, "the student" (me) freaks out because that part doesn't make any sense. So far the intervals are applied on top of the bass note; but now it's actually applied on top of the would-be bass note had there not been any accidentals on it?
@SethMonahan
4 ай бұрын
First, I think you're talking about 14:53, not 11:53. Second: the point is simply that it doesn't **matter** whether there is (or isn't) an accidental on the bass note. Students who overthink these things-maybe you've encountered one at some point?-worry needlessly that an accidental on the bass note could/must **change** something about the notes that the figured bass puts above it. It doesn't. IF you can successfully realize the figures above a bass note with no accidental, then you know all you need to know. The bass accidental doesn't change anything except the actual note played in the bass.
@felixfourcolor
4 ай бұрын
@@SethMonahan/videos Thanks. And yeah... I messed up the timing. I think I get it, but I still don't think it makes sense.
@SethMonahan
4 ай бұрын
@@felixfourcolor If you'd care to explain WHAT, precisely, "doesn't make sense" here, I can try to explain further. What do you think SHOULD happen when there's an accidental on a note with bass figures?
@felixfourcolor
4 ай бұрын
@@SethMonahan/videosThe intervals should be applied on top of the bass note, regardless of what it is. A 4th above C is F, a 4th above C# is F#. If there's an accidental on the bass note, the whole chord should slide up/down accordingly. Or so is what I think would make more sense and easier to remember.
@SethMonahan
4 ай бұрын
@@felixfourcolor Thank you for this clarification. Now read carefully, because I'm not going to sugar-coat free advice: *you don't understand how intervals work,* and if you need to learn figured bass for some reason, it's essential that you understand this more basic concept first. I'd recommend the earlier video in this series. But I'll also give you a quick rundown here. How do I know that you "don't understand how intervals work"? Because you wrote "a fourth above C is F." Not true. A "fourth" is a "generic" interval size; it's actually a family that includes several "specific" interval sizes-namely "*diminished* fourths," "*perfect* fourths," and "*augmented* fourths." So ANY note with the letter name F is some kind of fourth above C. Fb is a diminished fourth above C; F-natural is a perfect fourth above C; F# is an augmented fourth above C. Now, ironically, it's important for you to understand the difference between "generic" and "specific" interval sizes because **figured bass doesn't care about the latter.** The video explains this at around 11:44. When you see a "4" in the bass figures, that means "play whatever note IN THE CURRENT KEY lies SOME KIND OF FOURTH above the given bass note." That might be a perfect fourth, but it might be some other kind as well. But here's the good news: you don't have to think about it. If you just follow the key signature, you don't even need to know, in any given instance, whether that fourth is "diminished," "perfect," or "augmented." In sum: you seem to believe that all fourths are perfect fourths (five semitones wide). If that were true, adding an accidental to the figured bass note would indeed require the upper voices to change. But it's not the case. Figured bass is a system designed to keep you in a single major or minor key most of the time, and it does this by being flexible with interval sizes.
@christianragland8981
2 жыл бұрын
Thanks, I hate this. In all seriousness- very helpful video!
@caterscarrots3407
4 жыл бұрын
I have tried to realize figured bass from Bach's Brandenburg Concerto no. 5 and I see 3 different figured basses used for the same chord, those being 6/3, 6, and 3. I realize that figured bass is not consistent and that 6 is an abbreviation for 6/3, but seeing a lonesome 3 is a bit confusing. However, there is no preceding fourth that would suggest a suspension being resolved, so I just assumed that what Bach meant is 6/3. Am I right in assuming that if I see a lonesome 3 in the figured bass with no preceding fourth to suggest a suspension, that it is a 6/3 chord? And just so you know what part of the piece I am talking about, I'm talking about the introductory measures of the first movement before it goes into the first soloist moment.
@SethMonahan
4 жыл бұрын
Movement and bar numbers, please? I just paged through the first two movements and didn't see (a) any 6/3 chords or (b) any "3" figures that weren't preceded by a "4." (Though in the Dover edition, the weird typeface makes Bach's "6/5s" look like "6/3s." I cross-checked against the critical edition, though, and they're definitely 6/5s.)
@caterscarrots3407
4 жыл бұрын
@@SethMonahan I see that lonesome 3 figure in the first beat of bar 6 of the first movement. I am using the Dover edition, mainly because it is the only edition I have found on IMSLP that (a) shows the figured bass and (b) doesn't show a preexisting voicing of the harmony
@SethMonahan
4 жыл бұрын
That's actually a "5," not a "3." I'm assuming that Bach used it because he's about to commence a long chain of 6/3 chords and wants to make it very clear where it starts. You can see the figures MUCH more clearly in the critical edition, the "Bach neue Ausgabe." It's on IMSLP: ks.imslp.net/files/imglnks/usimg/2/26/IMSLP565023-PMLP82083-Bach_-_Brandenburg_Concerto_No.5_in_D_Major,_BWV_1050_-DVfM,_1956-.pdf
@samulesaxo
3 жыл бұрын
What I find a bit confusing is that the Corelli example at 16:13 is played a semitone lower than notated, but your analysis of it, starting at 17:07, is not.
@samulesaxo
3 жыл бұрын
Same for the Bach examples at 1:19 and 2:56
@SethMonahan
3 жыл бұрын
The Corelli and Bach are performed on historical instruments. Those ensembles often play in historical tuning schemes as well, and these are usually a quarter- to half-step lower than modern concert pitch.
@samulesaxo
3 жыл бұрын
@@SethMonahan I didn't think of that, thanks!
@composersss
4 жыл бұрын
Is there any way of removing a note from a chord, for example: Bass note is C, and I want the player to only play C and E?
@SethMonahan
4 жыл бұрын
Hi Servando. I'm no expert on figured bass practice. But I believe that if you simply write "3," without a "5," it communicates this to the player. (I'm basing this on what I've seen in Corelli. Corelli's bass figures often reproduce the notes performed by the melodic instruments very precisely. And when the upper voices all have an octave or a third over the bass-i.e., with no fifth-he typically just writes "3.")
@composersss
4 жыл бұрын
@@SethMonahan Ok, thank you.
@armansrsa
3 жыл бұрын
don't they say not to double 3rds in a 6/3 chord?
@SethMonahan
3 жыл бұрын
Some teachers actually say this-which is sad, because it's completely wrong. It's true that you can't double the third of a V6 chord, because it's the leading tone. But there are 6/3 chords whose chordal third is often doubled (I6, IV6) and also those whose chordal thirds are nearly *always* doubled (ii6, viio6).
@armansrsa
3 жыл бұрын
@@SethMonahan Thanks for the reply. Yes the leading tone doubling is a no-no but the reason for avoiding doubling 3rd in first inversion of major triad lays in the area of overtones. As we know, the 5th overtone is major 3rd of the original tone. and doubling a tone also amplifies its harmonics. These two facts leads to amplifying the major 3rd TONE of the bass. But for major chord we have minor 3rd above the first 3rd - 5th of the chord. As a result we get a half-tone dissonant interval between normal 5th (of chord and "#5th" from overtone. For the first inversion of minor chord the 5th overtone of bass is the same TONE as 5th of the chord because both of them are major 3rds of 3rd of the chord. what do you think about this reasoning?
@ludwigvanbeethoven8164
3 жыл бұрын
Its better to read it bottom up
@Koropokel
Жыл бұрын
if the inversion doesnt matter why dont we just write the damn chords name???
@SethMonahan
Жыл бұрын
Kindly tell me where in the video I say that "inversion doesn't matter."
@Koropokel
Жыл бұрын
@@SethMonahan 4:12 I mean if you can switch those notes however you like except the bass note why not simpy write C/G or something like that?
@SethMonahan
Жыл бұрын
(1) Nothing I did there changed the inversion of the chord. I was changing the **voicing**, which is different. (2) This is a video about figured bass, which-as I explain in the video-predates the concepts of chord roots by 100+ years. "C/G" means literally nothing to a person who has no concept of a C-major triad. (3) Figured bass doesn't distinguish between (what we think of as) chord tones and non-chord tones. It's not about "chords" in the modern sense at all. Because it's not modern. As explained in the video. If you're curious about why classical musicians don't use lead-sheet notation in general, that's a different question. The reason, in a nutshell, is that analysts of classical music are interested in seeing the relationships between chords, not just the chords' names. "C/G" tells us the root and bass of a triad, but it doesn't relate that chord to the key in which it appears, or to the other chords in that key. It could be I6/4 in C major, V6/4 in F major, IV6/4 in G major, etc. To someone who studies classical music, those chords do different things and sound very different from each other in context, despite having the same lead-sheet label. (And if you'd like to know why it is that analysts of classical music eventually adopted figured bass as a code for chord inversions-something that it wasn't designed for!-watch Video 7.)
@Koropokel
Жыл бұрын
@@SethMonahan to me this is just a very old and outdated system with little to no logic we have new and better systems for describing this stuff! I don't feel like I gain anything from learning this system... everything could be described in a more logical and more intuitive way through roman numerals I get that they didn't have a good system back then, but we do, so why do I have to learn this crap as a drummer living in 2023 so I can study music? this seems like gatekeeping I don't see anything I gain from this. I feel like I chose the wrong instrument and it would be way way easiert for me to pass if I would be a church organist.
@SethMonahan
Жыл бұрын
1. Figured bass is perfectly "logical" given what it sets out to do, and given the knowledge system available to musicians at the time. The fact that you don't find it useful doesn't make it less "logical." 2. If you think Roman numerals are more "logical," then I presume you also endorse using figured bass to show chord inversions, as is customary? Well, experience suggests that most students-including high-level graduate students in conservatories-don't actually know WHY figured bass can be a shorthand for chord inversion. I'm catering to intellectually curious classical musicians who want to fully understand the tools they use. 3. Why in the world are you complaining to ME about any of this?!? I'm certainly not "making you learn this crap." Nor am I part of some international gatekeeping conspiracy. I'm a random guy who makes videos online for people who care. If you don't care, maybe just go watch something else?
Пікірлер: 109