Elaborating Harmony (Bach Chorale Music Analysis) - Inside the Mind of Bach
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- čas přidán 1. 06. 2024
- A look at how Bach elaborates a chord progression in one of his chorale harmonizations. We examine the choice of harmony, chromatic chords, secondary dominants, borrowed chords. and modulation, the part writing, the use of inessential notes and suspensions, plus other features of the Bach Chorale style. Useful for anyone wanting to improve their ability to write harmony, to analyse harmony, or to understand the detail of Bach’s style. Join us on this exciting journey to delve inside the mind of the great J.S.Bach.
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🕘 Timestamps
0:00 - Introduction to the chorale
0:52 - Playing the chorale
1:37 - A look at the first phrase
11:21 - Analysing the second phrase
18:25 - Conclusion
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For some reason Gareth's comments never show an alert on my account, so I only see the comments if I revisit a video. I do not know if it is a problem on my end or his.
Worth checking your system
And once again, Bach proves that he was, is, and always will be THE Master of chorale writing. If I double the third in a major chord, it's wrong ... but Bach doubles the third and it's absolutely correct ... usually not because of one accepted exception to the rules of four-part harmony writing , but due to multiple acceptable exceptions to the rules. Thank you, Gareth, for yet another delightfully entertaining and incredibly educational video. I am learning more from your videos (at age 62) than I learned in university 40+ years ago (at age 20).
Bach is the absolute master. I never tire of the Chorales despite decades of living with them. Absolute gems.
Its actually okay in 4 part writing, if the third is in the bass and in the soprano (for instance C-major chord as e-g-c'-e'). Bach uses this pretty often.
A tonic major chord is really good in this style, if it is followed by III7 chord to modulate into vi or VI.
Try it out and tell me how you like it. :)
😀
Me Too!
How do you get that music note after your name?
I’m blown away by how beautiful this chorale is. I hope this series never ends
It’s in another realm.
Great video, great explanation. Bach was a Genius! Secondary dominant chords, diminished sevenths, four borrowed from parallel minor, key change - all in 6 bars! So cool!
Yes. It’s incredible. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Loving this series on composers! Thank you very much Gareth! ❤️
A pleasure.
Gareth, you are a genius and we are lucky to have access to your musical analysis. I’m hoping that some day you might break down my favorite of Chopin’s Nocturnes; Opus 9 no. 1. Bb minor is such a solemn key.
Give tchaikovsky’s 6th symphony a listen and find its background… you won’t be disappointed
The Chopin and the Tchaikovsky are both very fine works.
@@MusicMattersGB Agreed. I have a deep appreciation for many composers, from Bach to Rachmaninoff and beyond. However I have a special affinity for Chopin. To me his music was the most relevant and unique of the entire Romantic Era. His genius went beyond the norms of the day. I believe he must've given his incredible ear for music precedence over theory and mathematics. Within his music, I hear the subtle and fragile roots of modern music, such as Jazz, Blues, and Rock. For example, the next to the last note in the 3rd bar of Opus 9 no. 1 is an Eb. Played in it's context with the immediate surrounding notes, it is a blue note or flat 5 sound that is common in blues music. I would love to see you do a video on this great work. I have it memorized on guitar and play a heavy rock lead over a backing track I created. It sounds great to me and people love to hear me play it! I also do his prelude in E minor. Jimmy Page did this one as well, but unlike him, I prefer to keep it true to the notes without deviation. Please do a study on Opus 9 no. 1. I will be most interested in what you have to say about it, including your opinion on the "Blue Note" I mentioned above. Answer me this. Can you think of an earlier example of the blues scale with a flat 5 played by any composer earlier than this??? No later than 1831 huh?
Love this new series, they are amazing. Thanks for all the hard work you put on the channel Garret, best wishes from Argentina!
This gentleman is smart explains things excellent.
You’re most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin
Fantastic as always! So thorough & entertaining too. Many thanks!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin
We need more people like you in the world my brother
You’re very kind. Much more to assist you at www.mmcourses.co.uk
I've bought a Bach Chorale sight-reading book, and BMW 59 is not in it. But I'm just starting out, and your description of chords is confusing, but I'm not lost. I just started lessons with an in the flesh teacher, and he likes that I can talk about basic music theory already. That's because I've been learning from your videos, Gareth. Even though they're too advanced, I want to push myself. It doesn't hurt to watch the same lecture several times.
That’s great. Keep going. Much to help you at
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It's amazing to see absolutely simple things being done so masterfully
That’s most kind. Much more at www.mmcourses.co.uk
Excellent! Would definitely love to see more Romantic composers in this series as well. There’s so much to learn from these masterminds.
I agree!
We have other videos covering the Romantics. More to come.
Brilliant as always Gareth ❤️❤️❤️ and as you know , my very favourite topic ❤️🎹
Glad you’ve enjoyed it.
Thanks for this Gareth. I always enjoy your videos.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
this is absolutely incredible, Bach is an absolute genius, thank you for the analysis!
A pleasure. Much more at www.mmcourses.co.uk
Thank you for this wonderful lesson and I hope there will be more analysis of Bach's music. Thank you!
There will be.
One of the best theory lessons ever. So much information concentrated on a few bars! Thank you once again
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Superb analysis.
Thank you!
A pleasure. Much more at www.mmcourses.co.uk
Thank you, Sir. You're a beautiful inspiration to me. This piece makes me weep, wonderful to ponder -- including the theological implications.
Like most of his music it’s incredible.
Very impressive - so skilfully presented. I wish I had your ear. Thanks so much
That’s kind of you.
I love the way how it is explained... very usefulll
A pleasure
So beautiful!
It’s an amazing piece. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin
Brilliant, informative and entertaining. Thank you!
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What a lesson! Very excellent explanation and analysis. Using borrowed chord, use of seventh diminished chord, modulation, non chord tones, contrary motion btw sop and bass... Makes four part amazing. Thanks for opening our mind. Thanks alot...
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
Gareth, such a lovely man and great teacher. Really enjoyed this. I’ve sung this Chorale many times (tenor) and always fascinated by its beauty. Now I know why.
You’re very kind. Glad the video connects with your practical experience.
Always brilliant - thank you
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Fantastic class! Cheers from Brazil!
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An excellent adjunct to the Bach Chorale course - thanks Gareth
Glad it’s helpful
Bach was a singular genius and a miracle of music and of human achievement
Absolutely
Amazing! I feel delighted by this knowledge, thank you! I love Bach and I analyze his chorals, but I never noticed certain things as you have, amazing!
Like when you were analyzing the third chord and you said it feels like tension and then it resolves, I never noticed that as now, It became clear is what I'm trying to say, I heard people talking about this, but seeing you playing now made me really understand, thank you! This will help me greatly because many times I don't know what's the best way to name something, is this chord or is that other chord, but now I understood that subtle detail.
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Thank you, Gareth 👍👏
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Brilliant, cheers Gareth. Bach's way isn't the only way; there are plenty of other, lesser ways.
Of course, which further enhances the brilliance of Bach.
This is GREAT!!! - I sat down and wrote out all of the changes you are going over (only in Am/C instead of Gm/Bb) and labled how he did each change. Some of it I already do, like the 7/dim of the dominant, but the Eb section was new to me…. THANK YOU!!!!!
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Excellent explained ... thank you :-)
A pleasure
Wonderful, thank you sir.
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Thank you. Very helpful！❤
Glad it’s useful. Much more at www.mmcourses.co.uk
It's amazing to see and Bach ever the Love and Divinity of life. I guess Johan Joseph Fux definitely might have learnt this and documented in his Gradus Ad Parnassam. Sir could you please help us to understand the cantus firmi and the counterpoint movement in your upcoming video analysis of Bach's music. Thanks much for your time and efforts!!
Okay. Will add to the list.
That is the best chorale I have ever heard
It’s fabulous.
You're doing the Lords work Gareth!!
That’s really kind. Sorry for the delayed response.
I used to HATE harmonising Bach chorales when I was doing music A-level. This video has made it very interesting and makes me want to revisit the whole thing!
That’s great
I've sung this many times. It is so calm, yet forceful because the intricate harmony. Every part feels like they are singing a smooth and beautiful line, and phrasing is always very natural. The feeling of it is very yearning and sacral, and very conversational, like a personal prayer to God.
Somhow, when singing his passions and the Weinachtsoratorium the chorals always seem like the highlight.
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As a retired music theory teacher, I can appreciate your clarity and thoroughness. Of course I know exactly what you're talking about. I wasn't always as effective in explaining what I knew to my students. Were I to get back in the classroom I would put more emphasis on the many ways Bach's harmonization is an improvement over the simplest "correct" harmonization.
It’s a wonderful life time study.
Third time watching, started with you over a year ago. And I followed along and almost was seeing the chords jump out at me. Well, actually they stumbled a bit, but I'm improving my sightreading.
Excellent
wow i like the taste of music im hoping that i can read soon about notes i really love making music thanks for your sharing more knowledge to me .....
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Love it thanks a bunch
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thank you maestro! you've seriously lost some weight there since the last video i saw of yours, i wish you good health in these trying times!
A pleasure. Yes, intentional weight loss. Trying times indeed - keep smiling.
¿?, lehjakeyboo. You have made an observation that is not at all related to counterpoint but to aspects of Mr. Green's private life.
Nice 🙌🏾👏🏽
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Finally someone who is able to guide me into the mind of my favourite composer. I usually get headaches when I try to analyse what Bach had written, and especially when I am asking myself: "Why, the hack!?"
You are such a good presenter, teacher and thorough scholar - I simply love to follow your explanations. It is very, very illuminating how you show us the secrets of the art of composition. You do merit some medal, I would say, for enlightenment of mankind. 😃
You’re very kind. Glad it’s helpful. Much more at www.mmcourses.co.uk
Hi Gareth . Fascinating , considering the all the great composers output - surely they must of had some kind of system /pre- conceived plan . I doubt most was heard before hand . Who knows . ? Those few bars sounded quite modern to me . I love the brandenberg concertos , always reminded me of a small swing ensemble - he was way ahead . Thank you for your insights , always interesting .
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Thank you ❤🙂
A pleasure. Thanks for your support
Hermosa obra. Me pregunto, ¿Que sentirían los miembros del coro del maestro cuando entonaban por primera vez estos corales, que sentimientos florecían durante su ejecución y el impacto que tenía en los fieles y audiencia en general?
Muchos estaban perplejos por la música porque estaba adelantada a su tiempo. La música de Bach no fue completamente apreciada hasta después del resurgimiento de Mendelssohn después de 1829.
One of the most impressive examples of this style of writing in an Instrumental Context is the first part of the fugue of Max Reger's op. 135b Fantasy & Fugue in d minor.
I would be glad if you could analyze this music in one of your Videos.
Thank you
Great piece!
Thanks for this - would like to see more. This is great from a relative pitch point of view- is it not important also to make good sounding pitches? I'd love to see analysis of Bach's Mass in B minor, Mathaus -Passion , etc.
Not sure what you mean by ‘good sounding pitches’ but glad it’s helpful.
Thanks!
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Thank again Mr. Green for the video. I hope you are healthy and everything is perfect with you.
A pleasure. All is very well thanks. I hope you too are well
I would really enjoy your analysis of the opening chorus of Bach's St John Passion. I find it almost hypnotic.
Beautiful work
I waited this for years
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Thank you
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I think this is the perfect mediation of harmonic colour. I'd quite like to suggest that as a video topic. Basically the idea of how often you use the 'colour' chords and basic diatonic chords and is there such thing as over doing it.
Good suggestion
In that first bar it seems like it’s possible to say that it just moves from a iidim chord on beat 2 to a iv chord on the and of two. Seems like you could still feel the former as a dissonance and the later as a consonance, but with a more detailed analysis. It’s a common enough occurrence in Bach to move from iv7 to iihalf-dim7 by dropping the seventh a half step to give it that specific a name (essentially dealing with that complexity consciously) rather than leave it as an undefined “non-harmonic” tone. Of course, what you’re actually doing with the analysis is going to be the ultimately determining factor. So just my 2 cents.
Fascinating stuff to think about and consider. Bach has wonderful ambiguities that are always worth engaging in dialectic about.
Thanks for a great analysis of some ridiculously beautiful harmony. I’ll look forward to checking out the rest of the series!
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Just today I received the fantastic spiral bound book by Christopher Czarnecki, JS BACH 413 Chorales Analyzed
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A-level stuff right here.
😀
Hi Gareth ! Can you please make a series of "Inside the mind of Liszt" too ?
Sure
Danke!
Es ist ein Vergnügen. Ich hoffe, es geht dir gut.
Hi Gareth, all good. You will get an emal at the weekend. Congarts that all the work is so well received.
Wow, that was so excellently and clearly explained, thank you!! One question though - what does the b,c,d at the end of your chord description refer to ? To the inversion ? If so, what is inversion 'd' ? Best regards from germany !
Yes. Inversions. a is root position, b is first inversion, c is second inversion, d is third inversion (applicable to 7th chords).
@@MusicMattersGB Thank you so much for the clarification 💌 (i thought that first inversion would be 'a' 🥴).
@thesaint7380 😀
Amazing! Great explanation! It's sad you didn't do the third line lol because it's really interesting too.
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Your insights are always brilliant sir. However, I have a question. Since I used to study Bach's chorales some years ago, I remember that my teacher used to give us a melody taken from these chorales and we had to harmonize it in the style of Bach. Although I knew the general rules of how to harmonize four part chorales (and I mean things like resolving the sevenths in dominant chords or which notes to double and so on...), I remember that my biggest issue was how to get that smooth and "perfect" sound. When my teacher corrected my harmonization I vividly remember that his version of the chorales always sounded better than mine. So I think studying the rules is not enough to get that pleasant effect to the ear and there might have been something I was missing. What do you think I should practice in order to achieve this level of mastery when it comes to harmonizing nicely other than applying the rules? Thank you!
One tip is this - when you have a note in common between one chord and the next try to repeat it in the same part. Also play Chorales and analyse them so you can replicate the sound and the look of them. See our Bach Chorale course at www.mmcourses.co.uk
This is news to me. I did not know that Bach was using Minor 7th chords.
Subscribed, thank you!
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You don't have to look further than his C major prelude to find plenty of minor 7th, major 7th and diminished 7th chords.
@@MaggaraMarine true enough! 😅 i guess i thought of it melodically rather than harmonically but you can definitely hear the 7th colors as the notes sustain.
Yes. Plenty of 7ths in Bach.
You look like you lost a lot of weight, Gareth? Hope all is alright. Please do keep on with these excellent videos, extremely lucid and interesting.
The weight loss is intentional but thanks for your concern. A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin
8:33 wow I never made that connection between harmonic minor for harmony and melodic minor for melody lol thanks😅
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hi, what is that harmonic description system you're using? what tradition is that and how does it work?
It’s the Roman Numeral system that’s pretty standard in the Classical tradition. We have videos that explain the system.
Hi there, I got another view on the opening chord progressions I-IV7-IVb which I tends to interpret the last one as II7c chord. Because the 7th note, Bb in IV7 would then be able to resolve to the A, which is the harmony note of II7c. The 7th note, G of the II7c then resolve to the F# of the next chord, V. The reason of dissonance note A which you considered as accented passing note can be interpreted as the dissonance sound from the II7 chord, which is half diminished 7th chord.
However, if we interpret the last chord as IVb, the 7th note, Bb will then goes to the accented passing note A, which is a non harmony note and therefore IV7 was not been resolved.
😀
@@MusicMattersGB so, what do you think? It look like you argreed, aren’t you? 😅
I don’t entirely see it that way for the reasons explained in the video but it’s possible to view some corners in more than one way. For example at the start I think you have to regard those chords as II rather than IV because the harmony notes are BDF.
@@MusicMattersGB I am not sure if I get what you mean….. no offence. Did you mean the 2nd chord from opening is II rather than IV7 at opening?
I agreed with what you said in the video that it is a IV7 chord.
I can’t see BDF until the dominant with F#. And BDF isn’t the II chord, but a III in G minor, isn’t?
III in G minor is BbDF#
Good to see you again sir, You lost weight; You look good my friend. God Bless and Keep you.
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Thank you. Curious why the F# dim and A,C, F#,A are not thought of as inversions of D7 and D7b9? They sound like V-I.
Of course F# dim is almost a D7 chord so one easily replaces the other.
@@MusicMattersGB Yes it's a D7b9 (I'm sure you know) which Bach uses often. Especially in the solo violin Partitas.
JS Bach: music’s true north
😀
Gareth, I’m so glad the UK uses letters to specify the inversions, or I would have had an even harder time keeping up.. Figured bass notation drives me batty, and for some reason, I have a mental block there, only understanding what I take for granted in meaning.
I noticed you subbing 64 for Ic, so I’m assuming you understand ‘that’ notation as well. I was wondering if some day you can do a basic tutorial on it for dummies like me?! 😮
✌️♥️ your channel.
I agree. And yes, we can make a video about that.
@@MusicMattersGB
😎Thanks! Hope you had a great day today, and have a better one tomorrow!!👍🥳
👨🏻
You too!
@@MusicMattersGB For some reason I was under the impression that the letters signified the pitch in the soprano. So one could have a IA chord over the first scale degree in C major, that is, C, which would mean C in the bass and the soprano. Or a I6A, which would mean E in the bass, C in the soprano. IV6B, F in the bass, A in the soprano. Now I realise that was never how the system I had adopted, thinking it very clever, worked.
Glad you’ve sorted it.
Thanks
Much appreciated.
An interesting discussion/learning excercise, would be to leave 2nd phrase blank, and continue the composition! (Prefferable, with an unknown composition, just for the excercise/training). I often struggle with this very thing.
Absolutely
Hello! How are you? Knowing that this could be up for debate, as there are different approaches to this, I would like to give an opinion, with the utmost respect. In my perspective, In this music language of functional harmony, VII chords, when resolves to I, actually are V chord with omitted fundamental note, I mean, they function as a weak dominant (on purpose). No way to feelling this as a VII. Similar occurs for the 7 / dim chords that link with V chords (resulting II-V), in this case with a stronger resolution. Thanks for reading me.
I completely agree with you about how VII often replaces V in terms of function.
Are you willing to highlight on the score as well as the keyboard?
I try to explain clearly where we are in the score but sure we can look at that possibility.
When Gareth mentions chords like V7B or V7D what is he referring to when he mentions the B or D in those chords?
a is root position
b is first inversion
c is second inversion
@@MusicMattersGB Thank you very much! And thanks for producing such content. I signed up for some courses on the Music Matters website as a result of this video. I appreciate the hard work so that someone such as myself can better understand and write music!
That’s great. Enjoy the courses!
Could you break down the chorale from BWV 30, “Eine Stimme Lässt Sich Hören”?
Okay
How do I write a cadenza for a Mozart piano concerto? Any suggestions?
You could book a one to one with me on that via ‘private tuition’ at www.mmcourses.co.uk
Wow
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
Hi sir ..is there any rule that diminished 7th chord should be in root position?? I see many diminished triads in first inversions and dim 7th chords in root position!!!!!
You can have them in any inversion
@@MusicMattersGB thank you sir 🎹🎶🎵
A pleasure
6:47 sorry, can someone explain what "b" in "IVb chord" stands for? and later, 7:55 "V7d", same question for "d".
a root position
b first inversion
c second inversion
d third inversion
@@MusicMattersGB now that makes sense, thank you a lot! Lovely video
Hey, I loved the vid. Love bach too, he was great. I also loved how effectively you explained things but I feel like you have a little crush on Bach. I fully understand, what with that hair, but I would've loved for you to address this. Follow-up video?
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do you think it was created by playing and then written or the opposite?
We do not know. It could have been either. We know Bach was great at improvisation so he may well have played around with ideas at the keyboard before writing.
@@MusicMattersGB but what do you think?
I think that he played his keyboard works...
and that there is a difference between counterpoint that you hear while playing and counterpoint that you imagine how it sounds while writing it. because you will use different asthetics for each one.
@@MusicMattersGB by the way, thank you for answering me. love your channel.
I think it could have been composed either way.
Kindly, next time you ll elaborate more on acrusis.
We’ve covered that on a number of our videos but the subject will surely return.
Would you maybe analyze Bach’s ‘art of fugue’ one day?
It’s certainly a big job, possibly beyond the scope of a single CZcams video
@@MusicMattersGB It definitely is. But one (long) video per contrapunctus could be very illustrative, even if it's just a few selected ones.
What chords are you playing ?
The chords are explained in the video.
Isn't the jump from B to G in the penultimate bar in the tenor too big? It's a jump of a sixth. My teacher always tell us not to make jumps bigger than fifth in the alto and tenor.
It depends on the context. The general advice is good.
@@MusicMattersGB I guess he wanted to create a big surprise, not only with the diminished 7th, but also with that big leap!
Absolutely
🙏👏🏻👍🏻🌹
😀
13:05 cracked me up
😀
This is a fascinating series. I thought I was pretty good at part writing. But I am no Bach.
He’s a model for us all.
I am not a trained musician or a musicologist, whatever a musicologist is. I am in awe of people like Gareth who has an encyclopedic knowledge of musical structure. However, I wonder, and it's chicken and egg territory, did Bach simply 'hear' his music first and then in that scheme the G chord would turn out to be a D chord, or whatever. Rather than after sounding the G chord, in his inner ear, he would then have to consider what the available choices for the following chord would be, as dictated by musical theory? I tend to the former otherwise music would never have moved forward. In the sense we use that term.
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Nice. Bach started on chord 1 because it's the tonic note...Chord V would not fit anyway..unless you use V sus..in bar 2 we have a passing six three
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Yes, this is how harmony is always taught - but I think wrongly. The harmony arises from good counterpoint. Bach didn’t write I, V, VI, chords, etc. He wrote counterpoint, adding 3 independent voices to the chorale melody. If the counterpoint is interesting, so will be the resulting harmonies.
Absolutely. See the video we made on this very topic.
Great lesson...but hope you're good sir?
Thanks. I’m good thanks. Hope you are too.