This idea, that any short sequence of random notes can sound good if you set them into a certain context, is something I have been convinced of and fascinated by since I was young.
@Momo-vl7ly
2 жыл бұрын
They are not really random then are they?
@BigParadox
2 жыл бұрын
@@Momo-vl7ly Not sure I understand how you mean. Let's say that we with a random method (dice for example) generate four notes within one octave. My claim would then be that it is always possible to create a context for them so that it sounds good. Are you saying that this is not always possible? Or are you saying that it is possible but that once you have managed to do that, then those four notes are not random anymore? Please let me know more in detail how you mean.
@Joseh-le4yl
2 жыл бұрын
@@BigParadox Well, there are different amounts of randomness. Like you could choose notes out of multiple octaves, or every note could be a sixteenth note. Limiting it to 4 notes in one octave is nitpicking. I agree with your original comment though.
@BigParadox
2 жыл бұрын
@@Joseh-le4yl I don't think "limiting it to 4 notes in one octave" is nitpicking here. I originally said "short sequence of random notes" and I think 4 is a good example of a short sequence. And the context of my claim, namely the video itself, deals with such short squences. Even 5 would be ok here, I am sure. Also, in the examples of the video the notes are limited to one octave, and that is typical when you deal with experiments like this.
@Joseh-le4yl
2 жыл бұрын
@@BigParadox Ah, I wasn’t paying attention. Nevermind then. I was referring to randomness in general when I made that claim, not selective randomness. But if you were to limit general randomness to 4 notes in a bar using one octave then it would only be selective randomness.
@mr.va77ey63
2 жыл бұрын
Bach also uses this motive in some canons of “Vom Himmel hoch da komm ich her” (BWV 769a)! For example at the end of the canon “alla seconda” and at the end of the “Canon per augmentationem”.
@BernardGreenberg
2 жыл бұрын
Another way of dealing with irregular entry notes is to supply an independent bass, happens all over the Cantatas, the B Minor mass, etc, (even though those subjects are largely "regular").
@JacobGran
2 жыл бұрын
Yes indeed!
@BernardGreenberg
2 жыл бұрын
@@JacobGran I suspect you might like my channel....
@JacobGran
2 жыл бұрын
@@BernardGreenberg I"ve just subscribed! Hats off, truly. You're compositions sound like they could be genuine 18th century forgeries (in a good way).
@BernardGreenberg
2 жыл бұрын
@@JacobGran Thanks. I want them to sound like genuine "me", though....there are tutorials/writings too, on my linked site.
@ApplestreamRuben
2 жыл бұрын
I'd harmonize the Bach motive in C minor, treating the A as part of F major, creating this dorian sound, and making the "H" part of the G Major dominant chord
@JacobGran
2 жыл бұрын
That sounds like a perfect plan. I will have to check, but I think that is exactly what Bach does in BWV anh 110!
@ApplestreamRuben
2 жыл бұрын
@@JacobGran I gave it a listen, it seems you remember correctly!
@Tylervrooman
2 жыл бұрын
Theses are great videos...been listening to Emerson String Quartet play Art of fugue. So good.
@ShredmasterScott
2 жыл бұрын
this video was lit 🔥
@nicolasfrancotango
2 жыл бұрын
Gracias por poner subtítulos en español!!!🙏❤️ Sería genial si se pudiera hacer con los otros vídeos que no tienen! Gracias!🙏
@user-fu7zf4ck9z
2 жыл бұрын
Don't forget that the C-Sharp Minor fugue from the WTC 1 has the same BACH subject (with different tones of course because of the key)
@christophemarois5423
2 жыл бұрын
Fascinating!!!
@JacobGran
2 жыл бұрын
Glad you like it!
@OfficialDanieleGottardo
2 жыл бұрын
What a great lesson!!!
@JacobGran
2 жыл бұрын
Thank you!
@Photologistic
2 жыл бұрын
Jacob, these are really interesting, but I’m a bit lost in some parts. Sounds like the playlists are the way to go, but which should I start with? Thank you.
@JacobGran
2 жыл бұрын
Great question. I would start at the beginning of the Tonal Voice Leading playlist, which covers counterpoint and keyboard harmony, and then move on to this playlist on Imitative Counterpoint.
@msw1174
2 жыл бұрын
Lovely
@treypoling
2 жыл бұрын
Where did you find information on Simon Sechter's memorial? I really want to listen to the full version but I can't find anything about it on the internet other that old books saying that it exists.
@JacobGran
2 жыл бұрын
I found it published in an appendix to Alfred Mann's The Great Composer as Teacher and Student. I really wish more of Sechter's music was published and recorded, I like what little of it I have come across on imslp, etc.
@bigprovola
2 ай бұрын
May I argue that the syllables Fa and Mi show that this subject is not actually chromatic? In chromaticism, where a minor third transmutes into a major third, there is no change of syllable, so what is H and sung Mi in the subject would instead be B# and sung Fa.
@DanielSilva-gc4xz
2 жыл бұрын
13:09 anywhere I can hear this complete? I haven’t found it on KZitem
@JacobGran
2 жыл бұрын
I don’t know of any recording, unfortunately. True of most of Sechter’s music.
@DanielSilva-gc4xz
2 жыл бұрын
@@JacobGran do you have the full score though? It sounded so good.
@JacobGran
2 жыл бұрын
@@DanielSilva-gc4xz If you have access to a library you may be able to get it through inter library loan. I found it published in an appendix of a book by Alfred Mann called The Great Composer as Student and Teacher
@maurilio1294
2 жыл бұрын
2:38
@igeeklabs
2 жыл бұрын
Y desde cuándo el si natural es representado por la letra H? 😼😼😼😂😋😋😋😋 El comienzo si lo creo, B - A - C, pero de dónde sale la ¿H?
@juliocanche7822
2 жыл бұрын
En el vídeo explica que si natural y si bemol ambos aparecen en los hexacordios de tónica, dominante y subdominante, así que los músicos alemanes que le dieron nombre a las letras del motivo BACH llamaron H al si natural y B al si bemol
@chessematics
7 ай бұрын
Bruh my name has only an S and H that can be used as a musical note....my papa gave me a tritone.
@a.f.4248
2 жыл бұрын
The supposed « Bach motif fa mi soft/fa mi hard » is erroneous. There are absolutely no mi or fa or soft or hard or F or G in the Bach motif. There is only ONE Bach motif : English : B flat / A / C / B - French : si bémol / la / do / si. - German : B / A / C / H
@juliocanche7822
2 жыл бұрын
Fa - mi is used in the context of hexachords, where "fa - mi" notes mean notes that resolve downwards. In this case, the fa - mi notes are B and A in the subdominant hexachord, and because the space between notes is a step, the resolution isn't as strong, and that's why the first two notes are called "fa - mi soft"; next there's a chromatic alteration to this, because in the third and fourth notes, the hexachord used to build them is the dominant hexachord. Because the distance between those two notes is shortened thanks to the alteration, there's a stronger feeling of resolution, and that's why he calls that subset of notes a "fa - mi hard" motif.
@TheRealAudioDidact
2 жыл бұрын
like
@themoonfleesthroughclouds
2 жыл бұрын
Okay
@mercy2409
2 жыл бұрын
@@themoonfleesthroughclouds hey
@themoonfleesthroughclouds
2 жыл бұрын
@@mercy2409 me when
@ImJumber
2 жыл бұрын
A. S. C. H. - H. C. S. A.
@Der.Kleine.General
2 жыл бұрын
People who mispronounce the name Bach deserve to be deaf.
Пікірлер: 47