lol… thx man✌️ the mic is a Zoom H6 audio recorder

thanks! Lol no spotify, sir

there are! check out the channel ‚the scroll ensemble‘, the host is pretty much into that exact topic

Hey Mr., chill out, it's not that I'm tryin to hide anything! It is of course BUT that combo of the two sequential schemata is common formal pattern in italian and italian inspired trio sonatas. I conclude that the piece you mention is the only example you know that makes use of this combination and that's why you cry "stolen"... baroque music is to some degree generic so I guess claiming "dishonesty" or whatever copyright issues is inappropriate. sheesh

GREAT COMMENT 🥳🙏

Actually the main indictor for a dominant chord in ‚classical‘ tonal music of the major/minor era is the leading tone: in F Minor, chords that contain e natural are V chords because this e natural virtually prescribes the soprano clause of that key. The V as ‚dominant‘ historically emerged from the clauses. Thus a V/V chord in F Minor is a chord that contains b natural because this is the leading tone to the V. In baroque music there are no other dominant chords in use then the diminished triad (predominantly as 6th chord), dom. 7th including all inversions and the diminished 7th chord (including all its inversions) and the standard dominant triad - and maybe rare incomplete derivations from that. Everybody disagreeing with that concept didn‘t understand it properly LOL

@@en-blanc-et-noir super interesting. never heard it explained that way, but it is definitely a much much more dynamic way of understanding it

What do you mean exactly?

@@en-blanc-et-noir like when you go to start composing a piece how do you start

the guy probably would just call me a gatekeeper😂😂✌️

@@en-blanc-et-noirsure

@@en-blanc-et-noirI hope they offer free midi files to download

Seriously, I still find it so much easier to memorize as chord progressions. I know that Bach did not conceptualize it like that but for my memory it's easier, I already have clear "chunks" for chord progressions in my mind and memorizing it as a figured bass would take me an eternity. I'm reading the books by Mortensen and Gjerdingen, annotating every musical example with the "forbidden" Roman Numerals 😅 I'm still looking for a convincing argument not to do so 😉

@AmeeliaK My argument would be that roman numerals do not explain the music of Bach, Beethoven, Chopin and other composers. You can stack a V to I how many times you want, you wont get a fugue or a symphony out of block chord thinking. An understanding of figured bass, rule of the octave, counterpoint, partimento, schema finally made the apparent godly talent of these composers into something understandable and trainable to some extent.

der Käptn schiesst wieder den Vogel ab😂😂😂

appreciated, John! Many thanks

LOL

@@en-blanc-et-noir the book is called improvising fugue

@@OttoVonBerga and what‘s your opinion on it? Doesn‘t sound like you read it in it very often…

@@en-blanc-et-noir was that in reference to my music ?

@@en-blanc-et-noir it’s good, it starts with figuration and partimenti I’m only that far it’s 450ish pages of exercises

I mean that as a compliment

Does AF stand for Awesome Figuration?

thx buddy

lol

I love your playing tony

Thanks, Román!

Cheers, Vinicius! Haha, that‘s right!

For some reason it reminds me of fairies...

So that is a ‚prinner‘? The prinner must be the most unspecific schema of them all😂

@@en-blanc-et-noir well, maybe in the next volume of “Eighteenth century music” one can find an article called “Yet another schema? The Fairy Prinner from Bach to Zelda” by @viniciusmj92 lol

​@@en-blanc-et-noir they say there are more prinners than stars in the sky 😅

@NichtWunderkind when I check out analysis papers of american schemata-guys this the impression that I get

Yeahyyy

haha, nene das strictly pop... ich meine: so ein Move ergibt ja eigentlich nur Sinn, wenn's einen Refrain gibt auf den hin man man eine bestimmte harmonische Erwartung hat, die dann hintenraus übertroffen werden soll, oder? In klassischer Musik gibts eig wenig Musik mit Refrains... folglich keinen Ganztonshift....

@@en-blanc-et-noir Ja, dachte ich auch schon. Romantisches Lied vielleicht... Aber auch im Pop ist mir keine Parallelstelle bekannt. Nur die Rückung am Ende, wenn sich der Krempel ständig wiederholt. Aber das ist was ganz anderes. Finde die Stelle schon ziemlich genial. 😇

eigentlich nicht, solche Passagen sind aber sehr fehleranfällig beim Aufschreiben, besonders dann, wenn wie bei mir nicht nochmal jemand drüberschaut

@@en-blanc-et-noir ah, verstehe. Und dankeschön für den "common tone deminished".

haha, I'm sure the harpsichord was set up at a library or sth

dunno, found it on ismlp

Hello and thanks, I guess you'll have access to previous content. Usually I post one monetized post per month, so it basically works like a monthly subscription... I post not just video-related materials but other stuff every now and then...

haha how's that derived from the dies irae? That bass line 3 down / 2 up is a common thing to go for, actually one of the most significant sequential basses of them all. So to answer is: no, it doesn't need the dies irae. It is actually not even derived from sth, it's just a common default kind of thing

hm that‘s odd. Can‘t remember deleting a comment… did you put a video link in it? …there‘s a chance yt killed it automatically.

but thanks anyway🙏