Chopin Etude C major op. 10 no. 1 Harmonic Analysis
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- čas přidán 16. 04. 2021
- #chopin #etude #cmajor #musictheory #figuredbass
Analysis of Frédéric Chopins Etude C major op. 10 no. 1, pianist is Samson Francois.
Inspired by Sylvie-Anne Ménard (but I really cannot draw), please look her up if you didn't already: • Mozart et les fonction...
The analysis method I chose is a combination of scale degrees and general bass (thorough bass) figures: Harmony is the result of the intervals over the bass note (no matter if the bass and the root note are identical). And each bass note is put into relation with the (actual or assumed) key of the phrase, marked in roman numerals.
The results presented in this analysis are neither universal nor do they claim to be the only correct solution. But as one can see, it really works well with the piece for the most part, which corresponds with the fact that Frédéric Chopin grew musically up in a surrounding where general bass thinking was still a quite common teaching and analysis method.
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This is the absolutely best harmonic analysis I have ever seen! I'm still laughing at the facial expressions haha 10/10
This helped me a lot on op.10 no.1!!
Ein Bild sagt wirklich mehr als tausend Worte! :)
c'est magnifique!!!!
brilliant thank you for posting the chords
You made me laugh like a maniac from something else other than comedy. I felt great.
This is fantastic! May I show it to illustrate sonic colours and textures to my tutees!? Love it. I can think of a series of facial expressions shown without sound and viewers asked to guess the piece from the facial expressions as chord progressions/changes occur!
Thanks for your feedback. Sure, go ahead!
I laughed. So creative. Bravo!!
Bravo! That was great. I was looking for something just like this and I found it. Just looking to see how you calculated some of those Roman noodles but I see you have an explainer that's awesome.
Thanks for your response! Yes, I made the video back when I didn't care of analyzing arabic numerals but writing them in Roman. 😆
What in the hell is a roman noodle?
Haha this is so funny and useful! ❤
nice
This is amazing. Loving those faces! :) :)
For the IV#7, don´t you think a viiº7/V (which turns to V6/V on the last beat of the measure) would do more justice to it?
Thanks for your feedback. :)
You are referring to f.e. 0:08, right? (7 becoming 6 spotted right, I overlooked that.) I can understand your perspecitve totally fine; since I don't hear a shift to G major at that point, describing it from the perspective of C major does it more justice in my opinion / perception. Accordingly (haha, get the pun^^), I did II-#-7 (0:11) from the same perspective.
I also think that Chopin would have thought from this perspective, which is one thing I try to grasp with my scale degree analyses.
@@jonaswolfmusic1775 haha great yes, there is definitely not a modulation at that point. I was thinking more of a secondary dominant. But both approaches are absolutely correct. Great job ❤️
While I sort of understand the faces as fitting for each individual chord, and even though I'm sure that was all you intended to do and there is plenty of value in that in and of itself, I want to say that it's clear the faces don't take into account the context of the chord around other chords. I would be curious to see you do a real time continuous series of facial expressions over the piece, emulating it's emotional journey more naturally.
Thanks for your comment!
Only to make sure that I understand it correctly: what do you mean when you say that you perceive it that each face stands for a "chord"? Do you read it like e.g. this face stands for C major and that for F major and so on? Because this is indeed mot what it was intended to show, rather that e.g. the I chord has a certain face/emotion etc., the IV chord has another, the V chord etc. Especially the V chord is a good example here because it shows tension that wants to be released, which it very well does when going to the one etc. Of course,the perception of "tension" can make a different imagination for each of us, and I am very clear that the faces shown are my very personal reading that might not agree with what everybody else is thinking.
Does that match what you wanted to say, or is it something different? Thanks again for bringing this up, I'm always curious how it relates to other people! 😊
@@jonaswolfmusic1775 Unfortunately not. I am familiar with roman numeral analysis. To clarify, I mean that the harmony of, for example, scale degree V can have a different emotional feel when preceded by a IV as opposed to a II. I observed in your video very abrupt emotional changes owing to the fact (I believe? correct me if I am wrong) that the emotional feel of the scale degrees were all analyzed out of context and then stitched together. I would be curious what a more continuous emotional analysis would look like, which progresses smoothly from one emotion to the next by taking into account the context of the scale degree--i.e. the surrounding chords or even note length.
Thank you so much for the video it helped me a lot, just one question, on measure 19 isn't the chord E ?
Yes, it's E7 in first inversion.
That "come to me" expression with the dominant chords is priceless haha
I would rather think of IV#7 as V65/V though (as it leads to it)
Thanks, I actually "stole" the idea from zvianes excellent video on Mozart's Lacrimosa.
V65/V in Roman numeral is the same as my IV#7 declaration, but from a different perspective.
@@jonaswolfmusic1775 yes, I know that video. I immediately remembered it as I came across yours. Keep up the great work!
@@jonaswolfmusic1775 and I meant V65/V only for the 4th beat in the 4th measure at 0:09 as it contains a D rather than an E (F# A C D), it's a secondary dominant chord which is missing, different than IV#7.
Yes, the change within the bar is missing, I only noticed it after uploading. With my analysis method, I can stay with IV# anyway since the key is C major (which is again just the same what you said, but from a different perspective). ☺️
@@jonaswolfmusic1775 the video is still great anyways and it inspired me to practice the etude with reduced chords just to have a better sense of the harmony than the long fast arpeggios! I would like to see more of your content in the future. Please keep uploading!
Thanks! Would you consider Analyzing this piece by way of the Harmonic Series?
Is this a secret formula I haven't heard of?
(harmonic series = yes!
'way of the harmonic series' = ???)
I only just discovered this recently. But Leonard Bernstein believed there was a "Universal Grammer" of Music, much like Noam Chomsky believed about Languages. Watching your Video it struck me that Chopin was actually showing how to use all those Strange Notes in the Harmonic Series in a Musical Way, so the Etude is as Much an Etude for the Ears as it is for the Fingers. I'm sorry I'm not well educated Musically. The Schools here in America, from my own experience, are not at all familiar with the German Texts, many of which have not even been translated. Composition is taught mostly by Criticism and not by Teaching how to write a Two Part Invention or even a Cannon. As a Violinist it has occurred to me that we are all Hard Wired to the Harmonic Series and are stumped to find out we are playing out of Tune. Maybe we Are in Tune, but with the Natural Tuning of the Harmonic Series and not Equal Temperament. So I think it could provide some insight as to Chopin's Musical Process. He was the first Composer for me that Pointed out the Beauty of the Flat 6, Like No Other. So maybe a Way, Yep!@@jonaswolfmusic1775
I think I'm getting behind what you're saying. If by "strange notes in the harmonic series" you are referring to #11, b13, #9 (which I consider b10) --> yes, they definitely play a very important role in Chopin's melody making.
Thanks for this video! It is very helpful for people like me who studies piano by myself. Straight to the point, I'm quite confused, isn't b.11-b.12 IV6 IV6#5 ??
And also b.17 ? Your harmonic reduction clearly shows that it's IV65...?
And b.18 second beat vii2 ??
Thanks for your response! Your description of b. 11 - 12 refers to Roman Numeral analysis, where it would translate to IV6 (bar 11) --> vii°7/V (bar 12). The system that I used here (though meanwhile I am getting away from it) refers the Roman letters to the real bass note, which not necessarily is the same as the root note. If you want to see it used more consistently, check out my video on Liszt's Liebestraum, where the Roman letters are replaced by Arabic numerals.
About bar 17: Just the same as said in my previous comment, you are referring to Roman Numeral analysis, where it would translate to IV65, yes.
Bar 18: Same as before, in terms of Roman Numeral analysis you're completely right. I am very open to a discussion whether the bass note on beat two is just a passing note anyway.
I dont understand. pls tell me where to find how figure bass signature works😅
en.wikipedia.org/wiki/Figured_bass
@@jonaswolfmusic1775 thank you
Da hast du ein neuen Abonnent gewonnen.
Das freut mich. :)
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