Brahms is pretty dope! Intermezzo in Bb minor analysis

[@Finn37807]

Reminds me of 'The Windmills of Your Mind'. Never listened to Brahms but I saw your E. Smith video and really enjoy your style and explanation.

[@MrInterestingthings]

Thankyou so much for this analysis . I've known it since hearing my teacher play it when I was in highschool but never understood what was happening after the very beginning . I always disliked the fact that Brahms uses completelydiminished harmonies but now many of the sustained basses under quicker ryhthmic and armonic changes make emotional sense and the contrasts and your analysis made the structure clearer !

[@dylonbangss2804]

Really enjoyed this. You strike me as wickedly smart and incite-full. U should def do more analysis videos like this.

[@addyd.3140]

You are very kind, I'm so glad you liked this one!

[@ceticobr]

Definitely the coolest way to analyze this piece!

[@addyd.3140]

haha! I try

[@rbessuges]

Excellent video! I love your style: editing, commenting, analyzing… it’s a KZbin gem 💎

[@addyd.3140]

Haha, Thank you! I'm very new to this, so I love the feedback.

[@masonmag]

Awesome as always

[@cathleenvance4441]

I love this analysis. You had me captured.

[@addyd.3140]

Oh great! I just wanna share what captures me about music I love.

[@cathleenvance4441]

You really make us see how great these musician/composers are and how they put pieces together and just the genius of it all. It is truly so interesting. Thank you so much. @@addyd.3140

[@andrewtrovato1828]

Happy to have been recommended your video, love the style (and the content)

[@addyd.3140]

Hey, thanks so much! Glad to hear it.

[@SuperKripke]

Brahms is dope! Just learning this piece and a couple of things I noticed in your analysis. 5:54 Remember that the repeat of the original theme descends F-C-F and not F-B flat-F like you're playing in measure 12. 9:00 I find Brahms' indication of "dolce" baffling here and I find your characterization of agitated to be the correct one. Dolce can either be instructional in suggestion of a mood that otherwise would not be presumed or it can confirm what are more obviously sweet chords. This latter way of using dolce is abundant in Intermezzo 118 No 2 and is not out of place in the second chorale section of this piece. But in this piece it's used in other places (also on 9:40 and 11:04) where I really don't see a sweet character and see it as either awkward, agitated or unsettling.

[@addyd.3140]

Oh my! That is very sneaky, that C in m. 12. Thank you for pointing it out! The LH doesn't reflect the tone on its upwards echo either, kind of breaks the pattern, probably why I missed it. I'm a late starter for classical piano, reading music in general, and this is one of those pieces I was into early on. The mistakes do stick with you sometimes. RE: the dolce. Yeah, I know, right? I feel like in many recordings it does come across as agitated, and that fits within my narrative flow/ the story I think is being told. Upon returning to playing this piece, I tried to play it dolce, and it never made sense. Thanks for your comment and your attention to detail!

[@Flatscores]

Have you perchance read Byron Almen's Theory of Musical Narrative? I find that you already sort of have that analytical look toward the music (and this type of romantic music invites it) and its metalanguage really fits here.

[@addyd.3140]

No I have not! I'll really have to look into that one. Thank you.

[@antoniorosa2365]

And how about getting a good tuner , not to say a decent instrument ?

[@addyd.3140]

Thanks for the tip. It got tuned after it was moved 8 months ago but, as you noted, it's due again. And to your second point, money is usually the barrier.