Ravel was one of the greatest composers of all time.

This piece is my favorite piece in all of music!

ok now show me his minimalist nature

Btw, great branding of the channel right off the bat. Kudos

The heir of C. Debussy.

As a composer myself, reading Edgar Allan Poe's analysis of his poem "The Raven" changed my life. It is actually a description of his writing process, how he structures it and why. I used this thought process in some of my early works. I'm not at all a genius like Ravel, but it is really great to see that this particular text had an impact on him as it did on me. For those who are curious, it's called "Philosophy of Composition" or something like that, and you can find it easily online.

All time goat piece

Yess!

Very very impressive! THANK YOU!!! Wagner really was, in terms of cultural impact, IMHO about 10 times more impactful upon the 19th century, as "Woodstock" was upon the 20th century--which is pretty much what "Peachy Nietzsche" said! (A quip from my early-1960s childhood was, "Nietzsche was Peachy; but Sartre is Smartre.") john

0:34 (last bar) i7 half-dim chord should be iv7 half-dim..?

(as someone who studies music very informally, mostly notes for myself) Gratuitous use of inversions really puts the classical in "jazz classical." I'm aware there are exceptions, but I'm just so used to jazz being so root heavy in the bass. The smooth line bass is a surprise to be sure, haha. (That and the use of Bb/F as a functional V). Using the ii functionally just like IV is definitely jazz. Funny to see a rudimentary close voicing in the flutes (just add 1 voice!) bVII could be seen as an IV/IV (just making stuff up here, huh) if we consider it a reverse circle of fifths (circle of fourths?), which makes more sense as it feels like we're tonicizing the darker Eb as we mellow down into that closure of a phrase. A weaker theory, but this one evokes a calming presence, so it's vaguely worth talking. Also worth noting is just before, the V/V - iv (aka negative harmony V) - I movement is such a curious addition to the slip into parallel minor that sounds really good. Intervallic expansion/compression in trombones makes one feel uneasy. The octatonic 3-groups are really intriguing figures. Each group is transposed up a m3, and the last note of each group acts as an upper chromatic approach to the next, with the very final note being the root of the F7 chord. As for the lower voices, couldn't tell you the reasoning. Coming to the end, the M7 leaps from a descending arpeggio (and the echoed d7 a measure later) are sweet sentimentality (too sweet?) personified. You hear it everywhere in the era of first-half-of-the-20th-c. film scoring. A lot of the movement in thirds in the melody (throughout) is as an escape tone or an enclosure. Arp up, scales down balances the energy of the former with the relaxation of the latter. Like the compression/release of a muscle.

Thank you. I love every minute and second of your videos. I love it. I myself analyzed both Sibelius sapin and ravel intro at allegro and I can say I love your analysis more then mine. I love it thank you very much :)

Seems like we have Tom and Jerry here.🤣🤣🤣🤣🤣

I've never expected this piece can be analyzed and explained harmonically. Thank you for your great work.

🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥

A fascinating quote, to boot!

Thank you!!! Left wanting more of the analysis absolutely...

👏👏👏👏

Your video-analyses are a gift to humanity. The layout and texts are not intrusive and are always straight to the point. Theoretical content is top notch. Questi video sono un dono per l'umanità. La qualità del contenuto analitico-musicale è altissima ma presentata con un layout semplice e diretto. Grande eleganza e massima informazione. Grazie, siete bravissimi.

Possibly the most beautiful thing ever written for the instrument.

More analysis of musics which contains modal passage would be a great help for me. I always give you my deepest appreciation on your dedication. 😊

Naturist miniature

As far as I know there are only 5 species of counterpoint.

I am absolutely amazed by how similar this sounds to argentinian folklore! You have no idea!!

Sibelius is on my list of composers I should listen more. Great Zelda vibes at the intro btw

Damn do I love when I discover such beautiful pieces!

since you posted it, it's stuck on my head like a loop track, saddle beauty and peaceful melancholy it conveys is unbelievable. wow, Sibelius.

Wonderful! Another great miniature for piano by Sibelius is the Scène Romantique (op. 101 no. 5) which I find as beautiful as this one

Greetings from Finland. Happy to see this excellent analysis of Sibelius in this excellenct channel!

God I love this channel...this is greatttt

I love how in m.7 the Bm harmony which would continue the circle of 5ths progression is only stated implicitly, through the melody (taking C# as a passing tone). Especially taking into account the fact that the surrounding harmonies are all quite explicitly stated by the chords. I think this plays into the overall theme of very gradually asserting Bm as a stable key center throughout the piece's progress.

I've loved Sibelius'' music and be interested in his other works since I happened to hear this piece for the first time a couple of years ago. Your analysis always provide me helpful and various information.

the first chord is not C#7b5/G#, because the G in the score is nature (excuse me, i have a bad english but i love your videos), maybe im wrong

Absolute one to one ratio of beauty and love all in just one piano piece Man I don’t have anything else to say Guess i’ll just let music speaks for itself…

beautiful

This was, sublime.

The music here is gorgeous, but whenever I watch this scene it's always kind of disgusting and painful. Pinkerton never says that he loves Butterfly, nor gives any indication that he actually cares for her, instead giving lines like "I've caught you, quivering, I press you to me. You're mine," which indicates that he just sees Butterfly as more of a possession than an actual human or real recipient of affection. Meanwhile, Butterfly gives tons of descriptions of how she loves Pinkerton, and her lyrics are entirely optimistic towards the brightness of the future and the happiness of the present, with lines like "Oh, lovely night! What a lot of stars! Never have I seen them so beautiful! Every spark twinkles and shines with the brilliance of an eye." It's fantastic story writing, the music shows the ecstasy of the moment while the lyrics show the one sidedness of the relationship, creating an all together painful and tragic scene hidden under a veil of sweetness which could only be possible in this sort of operatic setting.

I absolutely may be wrong, but as a Russian I feel this melody very familiar and “folklorish” and not 20th century like

1:34 Sounds just like Mars!!

Przestrzeń,natura.....perlistosc dźwięku .🤫☘️

sweet

I love these!!

Amazing video format and love the quotes! Interesting topics too ofc! ❤❤❤

Wow, I've just discovered your channel a couple of days ago and I love your musical analysis that is easy to understand and accurate! Is "Chromatic Mediant Relationship" used mostly among musicians/theorists USA or being accepted all over the world? I usually analyse such passage as common note modulation.

Please do more Wagner. No one ever does these

Nice.

How did you learn music theory? Did you use a specific text book? I would be grateful if you told me as I would love to learn analysis as well !

such a great analysis of this section. However, i don’t really think that Liszt imagined the paradise in this passage: some liszt interpreters (and i agree with them) say that this section is the story of Paolo and Francesca in Dante Alighieri’s Divina Commedia, in which Francesca, who’s married with a man that she doesn’t like, falls in love with Paolo, but when Francesca’s husband caughts them, he kills them in a brutal way. For this reason, Dante decides to put their soul in hell, in a place where there were only souls who cheated in their past life, but due to their love. For this reason, these souls are forced to get carried by a strong wind which reflects love and passion. In the story, Dante pays attention to Paolo and Francesca because they are the only ones that are forced to get carried by the wind as a couple, so Dante asks them to tell their story. The beginning of the section with this strange rythm (which reminds to the wind) is the moment in which Francesca is telling their story, till the end of the first theme and the beginning of the other one, in which i imagine that they start dancing together while carried by the wind. The theme gets repeated 3 times as a symbol of the Trinity. Then, the brutal arpeggio in D major is the moment in which they get wiped away by the wind. The tragic theme that follows, with scales in FF, is the moment in which Dante, after being too empathetic, feels so much pain for them, and faints. I think that the paradise start with the section in D major some minutes after that, when the left hand has the tremolando effect

"Craftsmanship" is a pretty romantic way to describe a toddler playing around with a pen and paper