Double Modulation (Bach Chorale Music Analysis) - Inside the Mind of Bach

[@MusicMattersGB]

Learn Music Online - Check out our courses here! www.mmcourses.co.uk/courses

[@karlosed]

Thanks for this, really helpful.

[@MusicMattersGB]

A pleasure

[@joelaffolter2392]

J.S Bach is an overrated composer. In the end, it's more musical mathematics than music that comes from the heart. Poor melodies and boring rhythms. I don't like Bach for these reasons, he doesn't deserve his reputation and he is played too much. Also other composers of his time are obscured because of him. Sad many have his quality if not better!!

[@MusicMattersGB]

@@joelaffolter2392 That’s certainly not the view of most who find his music beautifully crafted and emotionally deeply moving but of course all are entitled to personal taste.

[@josephmarcello7481]

@@joelaffolter2392 greetings joel, and applause for a human being who doesn't have any inhibitions about sharing his true feelings with his fellows As a dedicated composer of some 60 years standing, who loves samba very deeply, and who realizes soul stirring art when it occurs, but who is also well trained enough and analytically Keen enough to know when poor old Johann is just playing another boring game of musical chess, lining up his ducks in a row, or perhaps, fugly speaking, in multiple rows I know that, unlike the belief of too many, he is not the saints and savior of the religion of music as some may choose to believe, but merely and another deciduous Workman who, like many of his brethren, occasionally scale the heights with music of power and delight, but who could also be as predictable as stale bread and cold beans. People are overly impressed by complexity, inbox could be gratuitously complex at times, merely and chilly for the sake of impressing either himself or his listeners. But complexity is no guarantee of depth or beauty, and so it is often a case of The Emperor's musical clothes when one dares to penetrate through box bewildering tapestries. And you're quite right, he does needlessly eclipse many other equally gifted composers because of the excessive reverence he is accorded. The Polish composer is zelenka had an equally powerful gift for counterpoint and complexity, with perhaps a higher factor of refreshment then the art of bar. But in my mind or heart but never managed to arrive at the sheer, pristine and exquisite beauty of Maurice ravel, for example who's complexity was well concealed and a seamless fabric of sheer ecstasy. So then, my compliments to you, after a lifetime of music, conservatories, postgraduate school, teaching and composing, for having the courage to reveal the obvious about the sometimes wonderful, sometimes very far from wonderful jsb. If you are not a musician, then you are at least a very perceptive listener. Namaste!

[@lawrencetaylor4101]

Watching this again, and my frustration is also my motivation. My ear is not trained well enough to hear the modulations. That's not surprising since I was born with two left ears. Playing the piano has helped over the last 18 months, and I know when a note isn't in the right place. Little by little I'm putting the pieces of this marvelous puzzle called music together. The quality of Gareth as a teacher is that a complex subject is explained in simple terms. And repeating lessons is never boring, it only adds to solving the puzzle.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@zurich5607]

I’m 17-years-old, and I’ve loved Bach since I was about 10. It’s absolutely amazing to sit here and have the training to be able to track with your well-done analysis. This is the first video I’ve seen of yours, and I’m eager to dive in to the rest!

[@MusicMattersGB]

That’s great. Have a look at our online courses at www.mmcourses.co.uk

[@lawrencetaylor4101]

You've come to the right channel. And the comments section is the best on You Tube.

[@MusicMattersGB]

@lawrencetaylor4101 😀

[@letspiano3076]

I love Bach too!🎉

[@ginnungagap4804]

What could be a better way to celebrate Bachs birthday than another of your great analysis videos of his chorales.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@lawrencetaylor4101]

I'll leave a comment each time I watch this video, so this is my third time. This is Number 137 in Cory Halls Bach Chorale Sightreading book. He took the four voice chorales and started with a simplified two part, then proceeds to a more complicated two part chorale, then the same adding a third voice, then a simplified four voice chorale, and finally he gets to the Big Enchilada. I use these videos in my piano lessons, discussing them with my teacher. Thirty months ago I had zero musical training, and I was tone deaf with a voice to match. I have started solfege training on my own, and have made progress. And this site had been a source of inspiration and comfort all along the way. Merci beaucoup.

[@MusicMattersGB]

Great to hear. Enjoy the next step of your exciting musical journey.

[@tussblundell6705]

Wonderful analysis ! The sheer genius of Bach in the way that he makes everything slot together so perfectly always causes me to smile :) Thank you !

[@MusicMattersGB]

It is fabulous how it all slots together.

[@puke1505]

Me too!

[@nigelcreasy6046]

Absolutely, musical perfection

[@MusicMattersGB]

It sure is

[@nigelcreasy6046]

Bach was an absolute genius and the bedrock of modern music, thankyou for this analysis. Each part has sublime movement, and whilst complex creates beautiful patterns

[@MusicMattersGB]

Absolutely

[@deplinenoise]

Thanks!

[@dnuma5852]

how do you donate in the comment section?

[@MusicMattersGB]

A pleasure! Thank you very much for your generosity and support for the channel! Very much appreciated.

[@MusicMattersGB]

@@dnuma5852 You can submit a Super Thanks, there is a button under the video where Like, Share, Save etc. is.

[@jayducharme]

That's absolutely fascinating. When I think of modulation, I often think of some pop songs and their "truck driver" modulations that suddenly jump to a different key. But here, without your explanation, I would never have known that modulation happened. It all sounds completely smooth and natural, as if we never left B minor.

[@MusicMattersGB]

Absolutely

[@MusicMattersGB]

Absolutely

[@phwbooth]

'Semitone up' is mostly the way that popular music adds variety.

[@MusicMattersGB]

Certainly that’s one way

[@GalenWill]

@@phwboothOk, my song is getting boring…uhhh…UP A HALF STEP WE GO!! (That said, if it sounds fun, go for it. And so will I.)

[@socalsalas2983]

Really amazing that the first phrase is so harmonically adventurous, but sounds so smooth. Very beautiful. I also liked that A# and C# were close enough to your speaking voice that you sang them, but then E and G was straight back to speaking ;)

[@MusicMattersGB]

😀Glad it’s helpful

[@stevec.1802]

I really love the analyzation process while listening to this presentation. I still have my harmony and theory books from many years ago. So glad I accidentally found this channel. I still apply what I've learned to most of what I listen to and learn to play. An invaluable knowledge for a lifetime.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@dnuma5852]

happy birthday bach!!!

[@MusicMattersGB]

Indeed!

[@GregorySM2010]

Thank you, Maestro. Hope to see and enjoy London in couple of weeks. I toured England with my choir back in 1990.🎶

[@MusicMattersGB]

Excellent. Enjoy London and good luck with all your choral activity

[@lawrencetaylor4101]

Merci

[@MusicMattersGB]

😀

[@douglaspiper7804]

Thank you for your deep insight, and for sharing your knowledge with us. I can actually understand the lesson!! Well, after pausing it quite a few times to look at the chords, passing notes, and the contrapuntal motion! Your lessons are always insightful!! Respectfully, Doug. *I honor my daughter, Dawn Marie Piper, whom we lost much too soon. Her 30th birthday is Sunday, April 3rd. She was as passionate about music as I am. I miss her always. On a good note, I love your video lessons, Mr. Green; as she would have also!!

[@MusicMattersGB]

I’m so very sorry to hear about your daughter. Bless you.

[@douglaspiper7804]

@@MusicMattersGB Thank you sir.

[@MusicMattersGB]

Take care

[@shodapad07]

I am very sorry to hear about your daughter. May her soul rest in perfect peace. Amen. God bless you too!

[@MusicMattersGB]

@@shodapad07 Absolutely

[@puke1505]

Yes it is. It's all wonderful stuff. 😊 thanks

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@brendanbennyhayes9854]

Really easy to understand and beautifully explained. Thank you.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@CaptJackAubreyOfTheRoyalNavy]

This Inside the Mind of Bach series is fantastic!

[@MusicMattersGB]

Glad you’re enjoying it

[@CharlesAustin]

Wonderful stuff indeed !!

[@MusicMattersGB]

It certainly is

[@le_0318]

Its my first time watching one of your Videos and i love it. Thank you👍

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@helenamcginty4920]

Fascinating. Havent studied music seriously since school many many many years ago. I feel I need yet another life. Have booked 2 already. 😄

[@MusicMattersGB]

Brilliant. Go for it! Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@ronflying1374]

This music gives me goosebumps…

[@MusicMattersGB]

It’s fabulous

[@fiddlestix3025]

Yes, it’s all wonderful stuff…. Very enlightening, thanks for this 🙏

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@TerryClarkAccordioncrazy]

Excellent educative content, you got me subscribed in 30 seconds

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@NaitsabesWinklersson]

great analysis, thank you!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@deplinenoise]

Excellent as usual! I really enjoy when you look at the personalities of the composers and sort of walking in their footsteps to try to explain the music.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@stormybear4986]

Deightful presentation! Takes this Music Theory major right back to Music Theory III as a sophomore. Loved it!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@user-kq5qp6dh8l]

Interesting and well presented

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@ephjaymusic]

Perfect analysis! Thank you!

[@MusicMattersGB]

A pleasure

[@HappyG1lm0re]

Love your channel!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@monoyamono]

Very iluminating and thanks for making something so elegant seems so easy to grasp.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@danelsandoval8739]

Wonderful indeed dude!

[@MusicMattersGB]

It’s fabulous

[@ChopBassMan]

Great lesson! This is my first visit to your channel. I recommended it to my 21 year old son who is currently studying theory. Better than my music theory teacher from college - sometime back in the ancient past. Hahahaha

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@Nooticus]

Absolutely great video! Perfect pacing too!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@oscaragudelo6539]

Such an exceptional lesson! Bach is great and you Garret explain Bach's ideas and subtleties quite elegantly!

[@MusicMattersGB]

That’s most kind

[@7karlheinz]

Stockhausen pioneered Double Ring Modulation...so there!!!

[@MusicMattersGB]

😀

[@nmonye01]

This is great.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@simongross3122]

Wonderful stuff as always. Thank you.

[@MusicMattersGB]

A pleasure

[@nugboy420]

I need more Bach.

[@MusicMattersGB]

Always!

[@carlosandres7006]

Thanks. This was insightful and no Roman number analysis! All from counterpoint. 👍🏼

[@MusicMattersGB]

😀

[@MrDizzyvonclutch]

Si what would be even more interesting to me, if I ever understood this basic counterpoint you are instructions about here is the different way Bach himself was thinking about this when he composed it from what you are thinking about it here.

[@MusicMattersGB]

I think Bach was able to process harmony and counterpoint simultaneously.

[@MrDizzyvonclutch]

@@MusicMattersGB yah, maybe because he wasn’t being constantly poisoned by pieces of garbage that have total power like Monsanto.....

[@MrDizzyvonclutch]

@@MusicMattersGB don’t forget Colgate and Crest! And the basic water supply... Pepsi and their cloned fetus material for the flavor experiments....

[@daltomana5490]

In bar 4 on beat 2, i would say it is G major(6th in Bminor) with 6 to 5 suspension

[@MusicMattersGB]

It’s either e minor followed by a lower auxiliary or it’s G major with an accented passing note. You could make a case both ways but it’s not a suspension

[@1MrZackdaddy]

A suspension requires a 'dissonant' note on the actual suspension itself, such as a 4th, 7th, or even a 2nd or 9th. The last two are rare. But a 6th and a 5th are consonant intervals, even the minor 6th.

[@MusicMattersGB]

@@1MrZackdaddy Absolutely. 4-3, 7-6 and 9-8 are the most commonly used suspensions.

[@saricubra2867]

I always get confused with the classical term of 6-4 and 7-6 chords and i would just call them a tritone substitute. I like when Bach plays with modes and borrows chords from other scales, i just love how seamless the voice leading is.

[@MusicMattersGB]

Voice leading in Bach is amazing.

[@1MrZackdaddy]

Some theorists would take issue with this being called a double "modulation' as opposed to a double "tonicization". Modulation usually involves at least three harmonies in the new key region before it is called a true "modulation". However, this is similar to the 'you say tomato and I say toma(a)to, potato pota(a)to ' tune we all know. But I agree that JSB is the top bana(a)na........

[@MusicMattersGB]

Some theorists certainly state that; others take a broader view. One of the points of the video is to demonstrate the variety of nuance within the area of modulation. Also, for example a modulation that merely expresses as V I in another key might be regarded no more than a secondary dominant but if it forms a cadence many theorists state that it therefore must be regarded as a modulation.

[@1MrZackdaddy]

@@MusicMattersGB I think that depends on what happens after the cadence. If the next phrase continues in the new implied key, then - yes - it is probably a modulation. Otherwise it is a tonicization. Yes, a secondary dominant and its respective resolution is merely a tonicization of a scale step in he unfolding of the overall harmony. I, too, enjoy doing a harmonic analysis of any music that may lend itself to it. Harmonic analysis is a lot of fun. However, when one takes even a small step back, we see that this is just a prolongation of the overall tonic harmony of the phrase. These 'modulations' or 'tonicizations' are middle ground events that occur during the unfolding of the probably more important background tonic harmony. Ultimately, these designations are a matter of opinion. I don't think Bach cared what we think, hahaha......

[@MusicMattersGB]

😀

[@leoponce8918]

Saludos desde ecuador, gracias por su compartir su conocimiento, si hay la posibilidad le sugiero que considere poner subtítulos en español

[@MusicMattersGB]

Gracias. Es posible tener los subtítulos en español ya que puedes ajustar el idioma.

[@malcolmdale]

I can't help remembering the little girl who was asked to provide a book report and she had read a book about butterflies. "This book told me more about butterflies than I wanted to know."

[@MusicMattersGB]

😀

[@dr7246]

And you posted it on Bach’s bday!

[@MusicMattersGB]

😀

[@patrickcunningham618]

yes !!!!!!!!!!

[@MusicMattersGB]

Glad you enjoyed it.

[@Sparlock42]

What I find interesting about the F# chord in measure 2 beat 1is that it could absolutely be an A major chord. You can't tell until the second half of the beat. It kind of takes the teeth away from the deceptive cadence.

[@MusicMattersGB]

It’s a brilliant move

[@douglaspiper7804]

One quick note: Music does matter! So, Music Matters; couldn't be a more appropriate name!

[@MusicMattersGB]

That’s what we thought!

[@guitaryoder1]

Usually the reason for the V -I intro is to give the choir an obvious “heads up” to the key. A I chord by itself can confuse a choir especially in minor modes but V-I/ is obvious. There are no lyrics here but pretty much all of Bach’s music was written for worshiping god with the voice in mind. His music was not for an audience, in fact a performance of Bach should never detract from worship…”Showing off” is strictly forbidden. Thank you for this lesson, I love analyzing Bach’s music.

[@MusicMattersGB]

😀

[@MusicMattersGB]

Many secular works by Bach were not intended for Christian worship. The sacred works are profoundly a part of Lutheran worship.

[@guitaryoder1]

@@MusicMattersGB not sure what pieces you’re referring to but Bach lived and worked for the Lutheran Church. Everything he wrote was for the church or students of the church. The whole point of written notation and counterpoint is for worship, it was designed by monks under pope Gregory. Bach is the epitome of counterpoint. Fugues, partitas, and inventions were performed before service and while passing the plate, sacraments, or changing choir positions. He also taught music… for the church. The Well tempered clavier is one of his teaching examples as well as his inventions. Not trying to argue and I am not religious but Bach’s music is definitely holy on every level. He wasn’t performing in a pub. I am curious about what secular pieces he wrote. PS… just to recap, I’m not trying to be a jerk, I enjoy the discussion and I would respectfully like to learn something. Thanks.

[@andrewbuckley9180]

Thanks Gareth, very informative. Do you think Bach would have used this analysis while composing? How modern is this musical analysis - ie when did it come about?

[@MusicMattersGB]

Bach wouldn’t have used the Roman numeral system but he was a very fluent chord writer.

[@ednimed8034]

The chords are the result of contrapuntal writing, don't you think? Even if your analysis is perfectly correct and very interesting, I am not convinced yet he was thinking like that, he was probably more thinking like Fux, chords being like "pre-built" contrapuntal structures.

[@MusicMattersGB]

Writing counterpoint is a delicate combination of linear and vertical thinking. Many students of counterpoint write linear lines without paying sufficient attention to the harmonic structure. The masters teach us how to think in both dimensions simultaneously.

[@ednimed8034]

indeed, and the opposite: many students learning rules of harmony do not pay attention to the "llines" and write chords that fiit the rules.

[@MusicMattersGB]

True

[@christopherdew2355]

Would you not see the E Major chord as a secondary dominant - V of Flat VII (in B minor)/ V of iii in F sharp minor?

[@MusicMattersGB]

It’s certainly a less than clear moment but that’s one way of looking at it

[@christopherdew2355]

@@MusicMattersGB As a one time teacher of Bach harmony and counterpoint, I'm thoroughly enjoying watching someone else doing it!

[@MusicMattersGB]

Excellent!

[@Dobrovinskiy]

Cool video, thank you!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@BassPlayer60134]

Is the E major chord in m2 really a modulation? After all G# is part of the key of b minor the same as A#. It does V - I , however, as you say.

[@MusicMattersGB]

It’s certainly possible to see it as a chord that could belong to b minor. It’s really all about context because a modulation is coming - hence the suggestion of A major on the way to F# minor.

[@ericbenjamin2908]

Measure 3 contains some ambiguities and unusual features. The b minor chord on beat 1 is not a tonic b minor chord - it's still iv in f#, isn't it?. Without an a#, b minor is not implied, unless one hears the soprano A going to B in a modal manner. On the second half of the beat, with the bass leaping to the fifth (very unusual to leap the bass into a 6/4) he creates a second inversion seventh chord without a third. At the same time, the 7-6-5 f# scale step pattern is not complete in the bass so we're really in neither key. The b minor 4/3 resolves to the e minor 1st inversion as expected but the neighbor motion in the alto turns it into a G major chord. We are adrift in some modal harmonies, I think. Bach then boldly inserts the a#, to lead us back into b minor and I wish you had made some comment on the extraordinary diminished seventh leap in the bass (!) and the dissonant neighbor( b) in the soprano melody against the a#. The melody was a traditional one that Bach is harmonizing, of course, and the leap down a fifth in the cadence is original but seems strange - I either want a b in the soprano on the tonic or for the f# to be harmonized as a dominant cadence.

[@MusicMattersGB]

Measure 3 first chord. It’s often regarded as the pivot chord between the two keys so it’s both iv in f# minor and i in b minor ie the point of modulation. There is a slightly modal flavour here but Bach often uses the descending melodic minor scale in an ascending context. On the second half of the beat the bass moves to a different harmony note and the tenor has a passing note so there’s no essential change of harmony. The G major chord is a VI in b minor which helps to confirm the b minor tonality.

[@MusicMattersGB]

The diminished 7th leap in the bass is not untypical in Bach.

[@MusicMattersGB]

The B in the soprano is a lower auxiliary note. As you say the top line is inherited.

[@rangergrrrl]

What is the BWV listing for this? BWV 364 seems to be something entirely different...

[@MusicMattersGB]

It’s in the Chorale collection

[@Klimperenie]

Is it possible to look at the g sharp as a part of the b minor scale in a dorian mode?

[@MusicMattersGB]

It’s possible but I don’t think that was the intention here.

[@BrookmanGuitar]

Bach uses the melodic minor like a jazz musician. The g sharp being the 3rd and fifth of the subsequent secondary dominants E7/Cmin which resolve to F min, then alluding to C sharp dom7 via the e sharpe in the alto part to solidify the cadence in F sharp minor. Think of it as a II - V in A major, except that it's the relative minor that is resolved. He does this all the time with the sixth degree of a melodic minor scale. A type of harmonic pivot device to modulate up a fifth.

[@MusicMattersGB]

So much of Bach’s style sits alongside jazz.

[@MarketGarden87]

That first chord of the second full measure seems ambiguous. How do we know it’s not an A Major chord that moves to an f# minor chord after the suspensions resolve?

[@MusicMattersGB]

The deciding issue is to determine which are harmony notes and which are the inessential notes.

[@triorubino-michakoeppen9105]

as far as I know, Bach was a virtuoso organ and keyboard improvisor, so I guess, these compositions flowed out of his hands in hours, days and years of playing playing playing... he could have played the bass with his feet, soprano and alto with his hands and sing the tenor line :)

[@MusicMattersGB]

Absolutely

[@ekoithemusician2588]

<a href="#" class="seekto" data-time="642">10:42</a> At first I thought it was Amaj9 chord. Then an A6/9 and then a C# - C#7 - F#m. But I realized this isn't jazz. :P

[@MusicMattersGB]

Yet there are close parallels to be made.

[@isaacshaw1596]

There are lots of videos in your catalog explaining suspensions. Why can’t you refer them to those videos and assume we know what they are?

[@MusicMattersGB]

Absolutely. Feel free to refer people to the videos you’ve found helpful on the subject. That’s great.

[@silviaalessandragiummo6161]

F-sharp minor is the parallel minor of A major.. and the Dominant but minor of B minor.. He went in the Dominant, but in the minor form ! He geniuos ! XD

[@MusicMattersGB]

He’s certainly a genius

[@silviaalessandragiummo6161]

@@MusicMattersGB I know.. I love his work! 😃

[@MusicMattersGB]

😀

[@isaacshaw1596]

You say that putting a VIIb is stronger in a passing 6 4. For me the Vc is just a little cleaner. That may just be my musical ears but is there a theory reason for it being stronger or is this just an aural opinion shall we call it?

[@MusicMattersGB]

VII and V are interchangeable in many situations. The root of VII sounds like the 7th of V7 and that’s the thing that strengthens it but yes, Vc can sometimes feel cleaner. It’s all about context.

[@mtv565]

The full title is "Von Gott will ich nicht lassen", (Eng trans: "From God shall not divide me").

[@MusicMattersGB]

😀

[@欺软怕硬]

This is BWV 417

[@MusicMattersGB]

😀

[@naringrass]

I doubt very much that J.S. Bach was thinking like this when they came up with this.

[@MusicMattersGB]

Maybe. Maybe not. The point is to help us understand what he was doing.

[@thekrell]

It's a nice solid analysis much like a beginning theory course. However, all this talk of 'first inversion' and 'second inversion' is, as my Schenkerian theory professor would say, essentially misleading. It is especially misleading in understanding Bach because Bach's music emerges from contrapuntal voice leading - not static pillars of chords in various 'inversions'. It is also why, when Bach taught students, harmony was encapsulated in figured bass which forced the student to think about lines erected over the bass tone and not to create chords in different 'positions'.

[@MusicMattersGB]

Nevertheless, the harmonic progressions are expertly designed and are certainly not there by chance. Of course Bach’s skill is in his simultaneous consideration of linear and vertical movement. It’s nevertheless in the Chorales that we learn the most about his harmonic thinking & that’s the rationale behind the chord analysis here.

[@the_eternal_student]

I think the first phrase has what is called a deceptive cadence.

[@MusicMattersGB]

😀

[@the_eternal_student]

I thought double modulation would be modulation to a bi-tonal area or two-separate keys at once.

[@MusicMattersGB]

Not in this case…

[@richardhines8622]

Maybe he was just discussing the distance moving away from, and moving towards hearts.

[@MusicMattersGB]

That’s very possible

[@dankleffmann2473]

♥️

[@MusicMattersGB]

😀

[@PianoStudioNancy-ChrisAmbroise]

why don't simply analyse this second chord at measure 2 a Vsus (rootless) going to a V, and this Bm on third beat simply as a II7 (7 on bass) going to V/III (E/A) from F#min, following by III (A withM7), then IV7, then V then I (F#min).. ?

[@MusicMattersGB]

I’m analysing in this way in order to recognise the suspension.

[@PianoStudioNancy-ChrisAmbroise]

@@MusicMattersGB I understand, thank's for your response !

[@MusicMattersGB]

@@PianoStudioNancy-ChrisAmbroise 😀

[@avelinovazquezgroba4906]

I think he is modulating to A Major all the time...the F Sharp chord is just a Broken cadence in A Major...

[@MusicMattersGB]

I think you have to see the overall key as B minor. There are certainly A major references but the A# doesn’t point to A major

[@kasachianbeastman2]

I would guess this is not one of Bach's original compositiones.

[@MusicMattersGB]

It’s certainly a Bach original

[@kasachianbeastman2]

@@MusicMattersGB I don't think so. There are many odd moments in this piece, let me pick just one: the bass's two a-sharps in bar three. That is way too clumsy, certainly not Bach.

[@MusicMattersGB]

I can confirm that this is definitely Bach

[@kasachianbeastman2]

@@MusicMattersGB But how could you do that?

[@MusicMattersGB]

It’s in his autograph hand in the collection that he wrote

[@johnrothfield6126]

I think it is fair to say that Bach wasn't thinking these things.

[@MusicMattersGB]

In the same way that when we drive a car we go through the driving process subconsciously whereas when we are learning to drive we have to think through very consciously what has to be done and in which order. With repetition the process becomes automatic but the process is still operating. That’s Bach’s position musically

[@ericbenjamin2908]

What "tnings" and why di you think so?

[@MusicMattersGB]

😀

[@zaksmith1035]

Obviously not, he was thinking in German.

[@marathonrunner2590]

Thanks for a wonderful video. Sadly, the vast majority of public school music students in the United States would have absolutely no idea what you are talking about. Decades ago, students were taught at least the fundamentals of sight-singing and obtained a vague knowledge of harmony. Now, it seems that the students only want to sing songs that they hear on television and in the movies and have absolutely no interest in the mechanics of music theory. Even the students who want to study music at major conservatories might be wonderful players on their individual instruments/voice, but music theory is usually the "weak link" in their pre-conservatory preparation.

[@MusicMattersGB]

Others have made similar observations. I agree that, while we want musicians to be creative performers and composers, we also need them to understand the language they are speaking.

[@thecdchannel4434]

Harmonically, there's only two things that can compete with Bach. The first thing is obviosly microtonality, in the manners of Jacob Collier and his successors. The other thing is the possibilities of using different timbres in electronic music to create harmonical illusions beyond the limitations of acoustic instruments.

[@MusicMattersGB]

😀

[@zaksmith1035]

Jacob Collier is a beast.

[@MusicMattersGB]

😀

[@voxveritatis3815]

Dear Gareth. Bach's supreme craftmanship on modulations, counterpoint, and fugal passages is otherwordly. However, we would like to see your take on the other Mozart. I mean, not the Mozart of "extreme beauty but simplistic harmony" but the Mozart who delivers both, heavy modulations and counterpoint and unattainable beauty. It would be fantastic if you'd have a chance to do this, for example. Thanks. kzbin.info/www/bejne/f3a1pH6wm6-geLs

[@MusicMattersGB]

We can do this in due course

[@kornsuwin]

hi

[@MusicMattersGB]

Hi!

[@josephmarcello7481]

Gareth baby, Do you really imagine Johan went through all of these cerebral machinations which you choose to think he did in order to set this corral to parchment? Far from it! As a lifelong composer, I can tell you that the natural sequence of both life and music is birth first, analysis and theory later. Theory, or Harmony is just an afterthought.. an arbitrary description of an event which preceded all cognition or principle, and which was born from the human heart, soul, spirit.. not from the overactive brain of a theoretician or analyst. By all means, continue to do what you love, and to share your love with those who are inclined to watch, but never imagined that dear, departed Johann never actually said to himself 'look here, mate, I think I'm going to descend from the root of this cord the whole step down, thereby coloring it with the pregnant fullness of the seventh in last inversion, before arriving at the tonic cord again, but this time in first inversion due to my marvelous base descent..' Banish the thought! Hey, but if analysis is your bag and your passion, then analyze away.. but that's not where music is born, and never has been.

[@MusicMattersGB]

I completely agree but we know that Bach went to great lengths to learn his craft methodically until it flowed so naturally that the technique was embedded so the music could flow from his soul.

[@afrodiameter]

Thanks!

[@MusicMattersGB]

A pleasure! Thank you very much for your generosity and support for the channel!