Neapolitan sixth, somebody asked the same question in this section, scroll down for a more elaborate explanation ;)

Hhehe good one

🙏

If you watch the whole video you should know: 13:30 , there is also an extra link in the description explaining it in more detail

98% of the analysis videos on this channel are free, only the last two uploads are not. I'm sorry you feel this way, but it takes hours and sometimes weeks to edit and make such a video and I practically earn nothing with it. So it's only fair that I should ask for a small compensation IMO.

And thank you again for the kind words!

Can you elaborate? It could be, but I don't know that Liszt sonata very well

Much appreciated!

You're welcome! ❤

For someone like me, who knows next to nothing about musical theory, the entire idea of Wagner creating musical minimalism seems to be one of the funniest concepts of musical history.

Oh you really need to. That or figured bass will help a lot. So N means a Neapolitan chord, usually you will find it in first inversion, hence N6. The sixth indicates the interval between the bass note and another characteristic chord note. So here we have B-flat in the bass, G-flat (the root) being a sixth above it. Sometimes you will find two characteristic intervals, so you have sub- and superscripts. Sometimes I will indicate alterations, you can find these in sub- and superscript as well. Also I use a more traditional roman numeral analysis method, I don't differentiate between minor and major chords. In the american system you will find a minor chord in standard letters, hence i or iv. Major chords in capitals, hence I or IV. Brackets and dashes are to indicate secondary dominants and to which chord they act as a secondary dominant. Of course there's much more. If you want to learn more in private lessons, take a look at my patreon or contact me on [email protected]

@@TimondeNood I see, thanks for the explanation ❤️

Hi there, it's not exactly the E phrygian scale, but rather the E Phrygian dominant scale as indicated on the score. So G# is part of the E Phrygian dominant scale. More info: en.wikipedia.org/wiki/Phrygian_dominant_scale

Need help?

Of coure he does ;)

A Neapolitan sixth chord. The sixth chord means a first inversion. The Neopolitan chord usually occurs in a minor key when the second scale degree is lowered. In this case we are in the key of F minor. The supertonic (second scale degree) is G - Bb- Db. As you can see the G - Db interval is diminished. If we lower the G to Gb we now have Gb - Bb - Db, a major triad with a perfect fifth. Usually the Gb will not be given in the bass, instead Chopin gives Bb in the bass, creating a sixth interval between Bb and Gb. You can find more info on wikipedia if you like.

Playing Chopin is not being Chopin.

That's exactly what I am joking about with the title ;) Beethoven was only 12 years old when Mozart wrote this piece.

🤭

Of course it is, don't believe in thumbnails these days ;)

Thanks Peter!

Nocturne op.55 no.1

Hope it helps, let me know if you have extra questions?!

Is it? I thought it was authentic? Where did you read it is a fake? :)

@@TimondeNood The portrait of Chopin? Yes, it's from a painting, not a photograph.

@@TimondeNooda theme (often in the bass) that runs through the whole piece. it’s often based on chord progressions or intervals and the whole piece is basically a giant variation

Wow, so intellectual!!😯

Funny how?

@@drealmesh8006 He's an intellectual!!😯😂

Impressive! 😮

Virna Kljakovićs Interpretation of this nocturne is stunning to

yeah i don't agree with many of orit's odd claims. he also claimed once that beethoven was a bad composer who made a "devolution in harmony" or whatever, when he loves composers like brahms and stravinsky, who can be great dont get me wrong, but beethoven and chopin definitely had a better understanding of functional harmony than brahms, stravinsky or schumann ever did. you could argue that beethoven isnt always consistent and was kind of off sometimes, but the composers he does like are even less consistent than beethoven. as for the chopin vs schumann thing, i think schumann is quite nice but chopin also definitely has a better sense of form/structure, and i dont really find him to be boring or anything like that. maybe if you listen to his smaller pieces youll find that they might not be anything super interesting or complex, but if you take a look at pieces like his ballades or sonatas you really cant say the same. i can understand why someone might not prefer chopin over other composers, but the things he says about him and some other composers are just quite blatantly wrong

it's more like a Dominant chord on a tonic pedal point rather than i

@@이성민-u6n No!

@@이성민-u6n Interesting that he liked your comment and not mine, especially since I believe my point is more accurate.

Funny how he likes everyone’s comments except mine. Talk about selective appreciation!

@@이성민-u6n It’s commonly used in jazz, and as a music student, I can confidently say it’s definitely not a V chord. It’s actually a 7th chord without the 3rd and 5th, with a 9th added in between, creating a unique sound that doesn’t sound like a V chord at all. I use it a lot in my own playing and improvisation.

❤️ my pleasuere Stephen, I got to know it on your channel and afterwards via Rubinstein's amazing late recording. If you're ever interested in making an animation again on this piece, I'm sure Jane Coop will let you lend her recording ;)

@@TimondeNood I went back and watched my old video of it, and decided it deserved a remake, so I’m working on that. I was going to use my own recording, but if you think Jane Coop would let me use hers, could you put me in touch with her?

I'll put you in cc and send her email right now.

No but it's based on this piece

Chopin uses secondary dominants all the time, it's his favourite way of not modulating while at the same time introducing new harmonic color ;)

Luckily it's not just four chords ;)

​@TimondeNood Yeah, any Chopin piece uses the full range of musical devices. Classical and pop are not the same.

Except those use the SAME 4 chords among other songs as well while this is more unique to itself

Definitely is more intelligent and interesting

A very interesting work indeed, but you have to understand that I can't take requests on the fly for free. Currently I have six more other videos that need to be finished and a lot of compositions. These videos (especially long ones like this one, 22min) can take up a whole week of editing and arranging. Sure I can do it, but you'll have to support or donate something in return. I suggest taking a look at my patreon page

Hello Manuel, the brackets indicate a secondary dominant function. For example, take the first one. This is an E-flat dominant seventh chord. However this chord is not an usual chord in the key of F minor. In fact it is the dominant for another chord, namely the A-flat triad. This is the third chord and also the third scale degree in the key of F minor. There is no modulation to A-flat major as Chopin only touches these chords briefly before returning to a dominant and tonic relation in F. Most secondary dominant you will encouter are double dominants. That is if your homekey is C major, you have your regular dominant G7, take the dominant of that chord and you have D F# A C. This is the double dominant chord which does not belong in the key of C major, but acts thus as a temporary dominant. Hope this helps? For a complete and better understandig of this piece in general you can always become a patreon and watch the full video.

Yes indeed ;)