Today we are taking a close look at some of the specific techniques that Bach uses to build Invention No. 1, with a little roman numeral analysis along the way.
This is perfect. Having spent a lifetime with Bach, counterpoint, and theory, this exposition clearly and simply details what Bach is doing as well as what Bach hoped a student could hear. There are many ways to approach analysis, but for Bach this is hand in glove. Very enjoyable.
I am a bassist but I taught myself invention 1. I thought I would learn all the inventions in order. I got as far as invention 1.great to hear your analysis.
About the 16th rest question. My counterpoint teacher would of accepted it as part of the motive. But not integral to it. She would often say: "You can compose with rests just as much as with notes." This became quite an important lesson later on when composing and part writing. Voice (or section) entries and exits, contribute in developing the texture. It can be a great aid in continuing a piece, that would be clunky or not continuable otherwise. Thank you for your video! The comments here show that your work is appreciated.
Merci beaucoup. I'm trying to learn music theory after 65 yoa, and I thought these lectures were boring when I was in school. Very interesting discussion of the Cadential Formulae. Since I'm trying to learn keyboard technique, it seems that this was a prerequisite for a student to pass on to the next level. And you have to learn it in every key. It's like having to write on the blackboard 100 times "I should have paid more attention in music class".
It's quite more than adequate but in the modern age, people are narcissists. Imagine these pedestrian musicians calling Bach's 1st invention "serviceable" and "adequate". Lol, yea ok.
Why is it a cadence? Latin cadere means to fall down. The last beat has D dropping tp D in the bass, and B moving to G in the soprano..both 'falling' down. Also, harmonic rhythm adds to the tension by speeding up as the tonic approaches in the next measure.
Wow, thanks for uploading this, Ben. You're a natural. I felt jealous not to be in the class and doing a music degree - is it first year degree level? I'm torn, though, on the issue of the notation, because I have always disliked and struggled with the diatonic staff, key signatures, accidentals, etc., and have been working on an alternative chromatic system, because (having not stayed with the program for the last 50 years) I now want to learn pieces on the piano as simply as possible. A chromatic staff tells me "which buttons to push when", which is much easier. Theory is wonderful, but can come after. Subbed.
sometimes it looks like bach explored every possible harmonious chordal and melodic intervals and juxtapositions. as you work to the end of each WTC book, each song is far more 'jazzier' and endless chord change tricks (secondary dominiants. chromatic mediant. tritone, relative minor. lots of 'altered' dominant chords and so on) and amazing melody tricks with rhythm (which actually get 'funky' towards the end of those books, in their syncopation) . min9ths, seconds, tritones, etc. no end to possible substitutions. I realize a lot of jazz artists were inspire by those latter chapters of both WTC books. They just get so futuristic and wild, but , as i say in a previous comment, there is some boring and pedantic content in those first chapters, the first book, especially. it goes without saying i could never create something as gloriously boring as bach. i don't consider myself to be a musician, althoug i play
He avoids discussing magic because he knows it doesn’t exist (as does JS Bach). In this lesson, the notion that 'magic isn't real' is explained through a theoretical approach. His final message: transfer understanding from your heart to your mind ;)
@@Dannytyrellstudios He said something very right about the music of the Baroque era, and principally about the genre invention. You don't need to "SEARCH" for a good idea. The idea has to be " good enough" to generated an interesting display of handcraft. The conception of artistical inspiration as a "must be" factor starts with Rosseau, if i am not wrong. It is a lesson: it is about informing the most useful, relevant, or established ideas about the topic. I would just consider the interrupted imitation, not the motive, as the main compositional thought that generates the music. This is the good idea. But the idea that is good enough.
that kinda blew my mind. and i wanna feel that way. regardless, inspiration only comes with work. if you don't do the work, inspiration won't happen. in spiration isn't constant either. just look at bach's works. even in the WTC, some are just mundane and clearly uninspired. whereas others seem divine. that's a normal workflow...
@@LearnCompositionOnline i think there's also a human limitation in 'inspiration' when it comes to masters like bach creating mass volumes of pedagogy, in a very quick fashion. a lot of it will be pedantic. i definitely marked out at least 12 tunes from each book of the WTC that i liked, and most of the others seemed boring, or uninspired to me, perhaps due to an initial dull theme , which , of course, always evolves into great complexity, but the complexity is not a key element, for my tastes. that's egotism, i think. i go by 'feels', even though i know theory etc... My favorite selections for both books of the WTC often seem to be in the same key, and i think that's perhaps because bach, himself, was more conversant in those keys rather than keys like B major or Gbmajor. He seems less able in those keys, to be honest, but it's fair. I have favorite keys that i prefer.
Vague. No harmonic progression or counterpoint explained. Articulation? "Magic word"---come on.... His sequence analysis is so basic "down a third"----no follow through on how Bach manages the ensuing harmony. He's doing a reading/finger-wiggling exercise and calling it analysis. Bizarre. Focussing on the motive (me.5) rather than the counterpoint outlining the harmonic progression completely ignores Bach's plan for the piece. This pseudo/surface analysis is of no help to anyone who wants to use it as a composition template.
This is a class for composition. His students are probably first year undergraduates or high-schoolers. The purpose of this analysis was to point out the chord progression. Chill dude. Free content is free.
It's evident that this is a beginner's lesson, which you seem to have misunderstood. Why not create your own lesson and upload it to CZcams? That would be much more engaging than simply offering easy criticisms.
This is perfect. Having spent a lifetime with Bach, counterpoint, and theory, this exposition clearly and simply details what Bach is doing as well as what Bach hoped a student could hear. There are many ways to approach analysis, but for Bach this is hand in glove. Very enjoyable.
I am a bassist but I taught myself invention 1. I thought I would learn all the inventions in order. I got as far as invention 1.great to hear your analysis.
That was great. I wish i could attend all your classes!
He didn't mention the use of augmentation (playing the theme half as fast) in the left hand.
About the 16th rest question.
My counterpoint teacher would of accepted it as part of the motive.
But not integral to it.
She would often say: "You can compose with rests just as much as with notes."
This became quite an important lesson later on when composing and part writing.
Voice (or section) entries and exits, contribute in developing the texture.
It can be a great aid in continuing a piece, that would be clunky or not continuable otherwise.
Thank you for your video!
The comments here show that your work is appreciated.
Merci beaucoup. I'm trying to learn music theory after 65 yoa, and I thought these lectures were boring when I was in school. Very interesting discussion of the Cadential Formulae.
Since I'm trying to learn keyboard technique, it seems that this was a prerequisite for a student to pass on to the next level. And you have to learn it in every key. It's like having to write on the blackboard 100 times "I should have paid more attention in music class".
This was great, thanks! Hoping for more.
Thank you so much for decoding Bach's intention, it's interesting to know the terms .
So good, Dr. Sabey.
you are amazing! keep it up , hope you find great fortune and that this will grow!
The opening is adequate idea upon which Bach builds a better idea...
It's quite more than adequate but in the modern age, people are narcissists. Imagine these pedestrian musicians calling Bach's 1st invention "serviceable" and "adequate". Lol, yea ok.
Why is it a cadence? Latin cadere means to fall down. The last beat has D dropping tp D in the bass, and B moving to G in the soprano..both 'falling' down. Also, harmonic rhythm adds to the tension by speeding up as the tonic approaches in the next measure.
I know this is Bach et Al but don’t forget the Basie ending. There others in Jazz but that’s the hippest.
Wow, thanks for uploading this, Ben. You're a natural. I felt jealous not to be in the class and doing a music degree - is it first year degree level? I'm torn, though, on the issue of the notation, because I have always disliked and struggled with the diatonic staff, key signatures, accidentals, etc., and have been working on an alternative chromatic system, because (having not stayed with the program for the last 50 years) I now want to learn pieces on the piano as simply as possible. A chromatic staff tells me "which buttons to push when", which is much easier. Theory is wonderful, but can come after. Subbed.
sometimes it looks like bach explored every possible harmonious chordal and melodic intervals and juxtapositions. as you work to the end of each WTC book, each song is far more 'jazzier' and endless chord change tricks (secondary dominiants. chromatic mediant. tritone, relative minor. lots of 'altered' dominant chords and so on) and amazing melody tricks with rhythm (which actually get 'funky' towards the end of those books, in their syncopation) . min9ths, seconds, tritones, etc. no end to possible substitutions. I realize a lot of jazz artists were inspire by those latter chapters of both WTC books. They just get so futuristic and wild, but , as i say in a previous comment, there is some boring and pedantic content in those first chapters, the first book, especially. it goes without saying i could never create something as gloriously boring as bach. i don't consider myself to be a musician, althoug i play
This guy looks like Dwight Schrute.
Jim looks over at Pam with that signature wry look of his...
Fact: He is not Dwight Schrute, however he does look somewhat similar.
2:59 what is this magic of which you speak?
He avoids discussing magic because he knows it doesn’t exist (as does JS Bach). In this lesson, the notion that 'magic isn't real' is explained through a theoretical approach. His final message: transfer understanding from your heart to your mind ;)
2.40 "DONT NEED INSPIRED MELODY?" doesnt resonate with me. I guess we differ here. Very nice presentation but our points of viewing art is different.
some songwriting systems start with chords and thats is another oprion in songwriting. We have both in our culture today.
@@Dannytyrellstudios He said something very right about the music of the Baroque era, and principally about the genre invention. You don't need to "SEARCH" for a good idea. The idea has to be " good enough" to generated an interesting display of handcraft. The conception of artistical inspiration as a "must be" factor starts with Rosseau, if i am not wrong. It is a lesson: it is about informing the most useful, relevant, or established ideas about the topic.
I would just consider the interrupted imitation, not the motive, as the main compositional thought that generates the music. This is the good idea. But the idea that is good enough.
that kinda blew my mind. and i wanna feel that way. regardless, inspiration only comes with work. if you don't do the work, inspiration won't happen. in spiration isn't constant either. just look at bach's works. even in the WTC, some are just mundane and clearly uninspired. whereas others seem divine. that's a normal workflow...
@@Dannytyrellstudios if you're lazy, starting with the melody is a better way.
@@LearnCompositionOnline i think there's also a human limitation in 'inspiration' when it comes to masters like bach creating mass volumes of pedagogy, in a very quick fashion. a lot of it will be pedantic. i definitely marked out at least 12 tunes from each book of the WTC that i liked, and most of the others seemed boring, or uninspired to me, perhaps due to an initial dull theme , which , of course, always evolves into great complexity, but the complexity is not a key element, for my tastes. that's egotism, i think. i go by 'feels', even though i know theory etc... My favorite selections for both books of the WTC often seem to be in the same key, and i think that's perhaps because bach, himself, was more conversant in those keys rather than keys like B major or Gbmajor. He seems less able in those keys, to be honest, but it's fair. I have favorite keys that i prefer.
Vague. No harmonic progression or counterpoint explained. Articulation? "Magic word"---come on.... His sequence analysis is so basic "down a third"----no follow through on how Bach manages the ensuing harmony. He's doing a reading/finger-wiggling exercise and calling it analysis. Bizarre. Focussing on the motive (me.5) rather than the counterpoint outlining the harmonic progression completely ignores Bach's plan for the piece. This pseudo/surface analysis is of no help to anyone who wants to use it as a composition template.
This is a class for composition. His students are probably first year undergraduates or high-schoolers. The purpose of this analysis was to point out the chord progression. Chill dude. Free content is free.
@@marklondon2008 He's a commenter that thinks lesson 1 should overwhelm students. No one would come to his class.
It's evident that this is a beginner's lesson, which you seem to have misunderstood. Why not create your own lesson and upload it to CZcams? That would be much more engaging than simply offering easy criticisms.