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Beautiful! Very nice (didactic) intro

Excellent video,thank you,Brian. I have been sending you videos on messenger.

Very interesting analysis, it gives new insight into this ingenious and beautiful piece, thanks!

The last Bb appogiatura in bar 6 of the mahler reduction is playad as a C in the piano. Just wanted to point that out. Nice video! ☺️

Thank you, excellent explanation

Clear as clean water

Brian, I'm always in paradise studying your analysis of opus 6no1.It's like studying the engineering of an exotic machine.I'll meet you in paradise.Thank you.

9:10 - Wouldn’t the standard reading of the chord in mm. 99 be a B Major dominant chord with an 11th and 13th that both resolve downwards in the next measure? Obviously, it spells out an E minor chord that anticipates the return to the global tonic key, but it wouldn’t make sense that the key of E returns before the structural downbeat of mm. 101. Note there’s a similar ambiguity in the preceding two measures as to whether we’re looking at two chords- C Major and A minor- or one chord- a C major chord with a passing tone as the G ascends to B.

Love this! Do you have a textbook that explains this more in depth and more slowly?

Bach was writing music to match string instruments ,that is why they are construted the way they are

To bad the piano examples are full of phasing problems and very unbearable to listen to😢

Thank you!!

Amazing! you just cleared up all my confusion! thank you

Brian, wishing you a very happy Easter.Have a wonderful day. I am, again, studying your analysis of Opus 6 no 1 by Chopin.you are an excellent teacher.Thank you again for your uploads. Peter Dunphy

Boy is this great content! If only an audio-visual presentation this clear and concise had been available to me 20 years ago, when my mediocre piano skills were holding back my progress in harmony! I am going to binge-watch this channel <3

Where, in this video, do we hear the choral?

Thank you!

Excellent analysis! Very well explained.

Reminds me of Stravinsky.

Splendid analysis!!! Thank you soooo much!!!

Thank you, this was incredibly helpful! I have been writing a series of cantatas for the jewish holidays in the style of bach, and I plan to play the organ continuo part when this piece is performed, but while I had simple grasp of figured bass and lots of music theory training (I have also been playing keyboard for 9 years) I didn’t exactly have the most flushed out understanding. This video taught me a lot! But, I do have one question: I have seen a little tail sort of figure attached to other figures like a four. This can be seen in the third measure of the double violin concerto by Bach. I can sort of infer its meaning, but it seems to have a similar function to the figures that are crossed out. What does that mean? Thanks!

I have been struggling with this concept in Bach's Christmas oratorio (particularly in flosst mein heiland ), but I understand it now, thanks very much

This and a few other videos convinced me to buy your theory books. I wish I was young again and taking your courses!

Beautifully explained with fantastic examples of each mode (audio + transcribed melody). I subbed when I saw your first video, and I've been consistently impressed by every video of yours I've seen. Thanks for sharing your knowledge here publicly! I go back even to "basic" concepts to see if you have interesting opinions/interpretations that I could glean (e.g. showing the circle of 5ths in descending, rather than ascending order) Amazing work!

11:09: And then, a miracle occurs. Well, I'll be happy just to learn to play the head. This song has been a favorite ever since the first time I saw "Bringing Up Baby," and that was a very long time ago.

This video class is amazing. Thank you very much.

Such a wonderful explanation and playing🎶🎶👌🏻👌🏻… Thankss for Share

Please do another video about Quartal harmony (Quartal chords)

Which book is that???

Isn't the Neapolitan Chord very unusual AT THIS POSITION? Take notice of the cross relation (A->Ab).

Just got the third book, where do I find the answers / solutions to the exercises?

Great video! Just one thing: I don't really see the advantage of going clockwise when moving in descending 5ths (or call it ascending 4ths) in your model compared to the usual going counter-clockwise when moving in descending 5ths. What's your point here? You actually don't explain why you chose to invert the usual circle of 5ths model :)

Thank you for that informative explanation.

Beautiful arrangement Brian, and a wonderful simple but effective teaching style. One of my favourite tunes also......thank you

Hi teacher Bryan hope you well, I’m almost finishing your second book but I’m stock on the appendix F, with piano Harmonization exercise, I don’t know how to aproach it, I mean I just take the first ex. and play it in the 12 keys and keep going like that or there is a certaint way to do it?

Thank you for your work, but..... too much time without sound and only silent analysis. This one should always be with the music, very slowly to let the ear understand what s happening. If not, that becomes abstract, dry and not efficient.

Excellent content. Subscribed.

Not ready quite ready for the material itself yet but the video itself is very professionally made and everything about it (that i could wrap my head around) was perfect 👌👏👏

Thanks for a great lesson! It's much easier for my to pick out chords when I'm singing then when I'm playing the melody. Is it just harder when your playing (with the coordination and all) or is there a way to make it as easy as when you sing.

This is very helpful! Thank you very much.

Merci beaucoup. This is out of my pay grade but it was very well described. I'm still working to master triads in my fingers. I would rather be good at doing simple stuff instead of being bad at doing complex stuff.

The f minor I think can be looked at as a special case of borrowed chords because it functions like the shadow of a dominant chord. Instead of a leading tone resolving upward you have the A flat and F wanting to resolve downward a half step to resolve on the tonic triad with the tonic note itself already in place and waiting for its two brothers to settle in.

Very Beautiful Selections Enjoyed Listening

Excellent

You actually can resolve it with both chords complete and with both tendency tones resolved if you add a fifth voice as a common tone on 5.

Beautiful. FYI, Rahoon is a cemetery in Galway, Ireland.

The Roman numeral thing should be simplified by saying the 505.2 chord. Chord five of three is the sixth, chord etc.

Thank you Brian for the most informative instruction on Basic Introduction to Figured Bass. I've yet to see it elucidated in such a fine way. I am a senior (age-wise), retired from business, intermediate pianist, composer, and would like to see more videos like this, and I am especially interested in music theory and composition instruction. I need assignments, too. Is there any advice and/or references you might have?

I learned a lot. Can you post more on Bach compositions?

Hi Mr. Kehlenbach hope you well, I have a doubt in the exercise of this chapter, doing the harmonization exercise I'm seeing a pattern of 8ve parallels with I6/4 going to the V and I´m following the harmonization rules that you explained, I'm keeping the bass note from chord to chord, retain the common tone in the upper voices and the remain voices resolving stepwise down, but I'm still seeing the pattern of the parallel 8ve sometimes in the Alto and Bass voices and sometimes in the Soprano and Bass, for the sake of a good harmonization I have to avoid this? or this 8ve parallel patterns are inevitable?