A Brief Introduction To John Adams' China Gates

[@dorasamaan2856]

I love Adams, and am so happy you made this video! Thank you!

[@keoganalex6189]

Fantastic video, really amazing analysis explained so clearly.

[@dmmasyuk]

Thanks a lot for this analysis. Fascinating!

[@danielpenarete8195]

Amazing work!

[@EmilianoManna]

Very interesting video: will you continue with similar lessons?

[@jerrydunne3916]

Very interesting analysis which will help to memorise it. Very different and for me refreshing composition.

[@santiagolaporta7939]

Muy interesante el análisis! Gracias

[@barbarasmith6005]

Very cool.

[@kernelstudios8996]

very very good job, man!!!

[@FeonaLeeJones]

Wry helpful and informative mate 🌈💯🙏🤩✨

[@diegosatori5718]

Very nice video

[@tomwalker6756]

Very nicely done, saintreukk!

Awesome!!! im wandering if it's not more attractive and "brain working" to start from 9:55 and then listen the complete analysis. Just an idea.

[@jaegonekim]

nice

[@fryderyckchopin484]

How do you study this? I really need to know. Not necessarily by heart, but to be able to read it

[@winnieleemusic901110]

Amazing work. How did find this graphic? Or you designed by your self?

[@sigurdmosbakk4574]

The graphic is designed by the composer. You can find it in the score on the first page, before the written music on the second page!

[@barbarasmith6005]

Does anyone know why the piece is called, China Gates?

[@Scriabin_fan]

Gates refers to sudden changes (as in sudden changes in keys, modes, tempo etc). It's a term in electronic music I believe and Adams tried to reproduce that in his Phrygian Gates and China gates. I'm not entirely sure why he used China though. Whereas Phrygian Gates uses phrygian mode.

[@lyraG]

Has anyone ever told you that you sound a little like Joe Pera?

[@Composer_Piggy]

Why would you call if G# Aeolian? Why not call it Ab so we can see the contrast between Ab Mixolydian and Ab Aeolian just like F Locrian and F Lydian

[@timc7543]

That was how Adams chose to score it: The first section's key signature is 5 ♭'s over an A♭ pedal tone (A♭ mixolydian), the second is 5 ♯'s over a G♯ pedal tone (G♯ aeolian). Technically you're correct, A♭ mixolydian and G♯ mixolydian are enharmonic, but the composer chose to notate them in ♭ and ♯ keys respectively so for clarity for the analysis we have to stick with that convention. As to WHY Adams chose to use those key signatures... only he knows that for sure. My guess would be simplicity for the pianist (this piece is meant for an intermediate pianist). A♭ mixolydian's key signature has 5 ♭'s and then if we replace G♯ aeolian (5 ♯'s) with A♭ aeolian, that key signature would have 7 ♭'s. 5 ♯'s is less intimidating to the less-experienced pianist than 7 ♭'s (less alterations to remember). And switching from a ♭ key signature to a ♯ key signature emphasizes the key change visually more than switching from a 5 ♭ key signature to a 7 ♭ key signature.

[@Composer_Piggy]

@@timc7543 great answer! Thanks for clearing up my confusion. :)

[@a.whatfish8217]

Good one.

[@hugobutler4215]

Seems as though Joe Pera has come pretty far from teaching choir to school kids