This is really stupid. Nothing mysterious about this.
@MartinSoundLabs
3 жыл бұрын
i could listen to you talk about music for hours.... this is a stunning video... miss you... love your Meyer Lemons and Squash though, and the poodles!
@ziphler
10 жыл бұрын
MTM: "this augmented sixth, diminished seventh, whatever you want to call it" ALL from the mind of the one who understands the difference between e flat and d sharp. Great minds are always focused on the places In between
@ziphler
10 жыл бұрын
LOL
@idanshturman
Жыл бұрын
👏🏻👏🏻👏🏻
@НеллиХоцарж
2 жыл бұрын
Великолепный анализ
@ZappaIrl
10 жыл бұрын
Fantastic!
@aaronnelson5694
6 жыл бұрын
Not sure sure what the point of this strange video is, especially since what he plays neatly contradicts what he says. Yes, the e-flat of the melody resolves down. But the e-flat in the harmony resolves up to e-natural, which he demonstrates without seeming to realize it. According to MTT, shouldn't that e-flat be notated as d-sharp, based on it's resolution? Well, of course not, but the point is composers are often forced to compromise between correct melodic and harmonic notation. Unluckily for MTT, he chose this diminished 7th chord (which he inexplicably and incorrectly equates with an augmented sixth chord) to try to illustrate his point. It's a textbook example of the indifferent spelling which "these guys" will often employ.
@mitchellperilla739
4 жыл бұрын
What he's trying to get at is the power of ambiguity and the gravity of the sound. With the dim. 7/aug. 6, this would elude us to drudging on up. But by recognizing this seemingly ominous d# (Darth Vader) as e-flat (Anakin), then we realize Brahms has chosen to find his comfort in gracefully landing down to C major. Ambiguity is art.
@craigkaiser2555
4 жыл бұрын
Mitchell, I have no idea what any of that means but I'm guessing you don't know either. By the way, as Aaron has pointed out, a dim 7 and an aug 6 chord are not equivalent so let's not perpetuate the mistake. It's simply a misreading by mtt. Tilson Thomas is a very gifted pedagogue to the public and I think the Keeping Score series is a extremely well done. But here he's clearly speaking on the fly, hoping no one will really notice.
@mitchellperilla739
4 жыл бұрын
@@craigkaiser2555 You're totally right. I'm not even going to pretend I'm a master at music theory, because I'm not. But what I do know is that music, like language, exists with syntax (structure) and semantics (meaning). The way we structure the notes is based upon systems of scales. Enharmonics, such as D# & Eb, are musical equivalents; they sound exactly the same. And just like a talented poet can play, and even violate structure, a composer does the same thing when notating by playing with these musical ambiguities of enharmonics, etc. So one may say a misread, others will say a misunderstood interpretation. As he says, MTT is throwing aside his old ideas and score markings and trying to listen to the basic essence of this musical "stuff" we call notes and paying close attention to how people like Brahms, Schubert, and Berg play with this musical language. That is how I'm interpreting this video. Thanks.
@craigkaiser2555
4 жыл бұрын
@@mitchellperilla739 One of the benefits of quarantine culture is that we have time to indulge in these things. I'm sure you think you've said something meaningful, Mitchell, but you're way off base here. You don't have the necessary background to assess what mtt is saying, let alone to comment about it, let alone to engage in a discussion with someone who does have the background. First, let's just put this one to bed. A diminished 7th and an augmented 6th are not enharmonic equivalents. That's not open to poetic interpretation, that's just a fact. Mtt made a mistake, no big deal. What is a big deal, in my opinion, is the mistake he makes following that. Brahms "misspells" the harmony in measure 12 as an f# dim seventh chord. That gives him an Eb leading to E natural. Why does he intentionally make that mistake? It's because he wants to favor the spelling of Eb in the melody, which is correct. (Aaron has already explained this). This is not unusual practice. In fact, it's not even particularly interesting. It's music theory 101. But mtt seems completely oblivious to it and acts as if it's something extraordinary. That's what makes this video interesting (and a little disturbing!)
@mitchellperilla739
4 жыл бұрын
@@craigkaiser2555 Thanks for your insight, Craig! I'm not trying to put anyone down here or make a heroic point (apologies if it came off that way!). I'm just trying to create conversation about "Transformational Grammar." Forget the chords, there's so much more at work here than just naming the chords. Linguistic functions like negation, permutation, deletion, embedding, etc. govern the ways these notes interact and they way we perceive them, hence giving us different meanings. To say anyone's interpretation is "wrong" is pretentious and narrow minded because there are innumerable possibilities for interpretation.
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