The Circle of 5ths Progression is Actually Counterpoint: A Baroque Perspective on Things

Video by Michael Koch.
I know the thumbnail is a little trashy, but I just loved the "spitting bars for Jesus Christ" guy so much! :DD He's from a "Channel 5" episode I guess...
If you want a sheet witht he examples shown in the video, I made FREE POST on my Patreon site:
www.patreon.com/posts/sheet-w...

[@jonaswolfmusic1775]

The Origins of 'Barbie Girl' ❤

[@maniak1768]

Underappreciated marvel of a comment, right there.

[@RaptorT1V]

*Explanation:* _'cause song «I'm a Barbie Girl» uses _*_circle of fifths_*_ chord progression_

[@RaptorT1V]

Anybody want to write a fuge or invention on this song? Or at least small 16-measure composition (in form of a period)

[@lionelalfon2383]

Your videos are by far the most informative on the subject and I really love the voices in the last example... Sublime... We asked for more... It's a real pleasure... Thank you Michael 👍

[@en-blanc-et-noir]

Thanks man! :D

[@bronktug2446]

Great video, very interesting seeing how to change the 6-7 progression to 7 by just changing the bass slightly

[@erickramirez5483]

I love the idea of short videos about not so complicated things! As always thanks for the material ❤❤❤❤

[@lavozdelcovenant1699]

Your channel is a blessing, thank you for sharing your knowledge ❤

[@mrsubery]

Great stuff!❤

[@NicoIlViolinista]

Amazing how this demonstration implies that the contrapuntal prospective of harmony as a consequence of multiple horizontal lines placed one above the other. Makes understand why some chord progressions work.

[@en-blanc-et-noir]

Free sheet on this little demo on my Patreon site: www.patreon.com/posts/sheet-with-92338900?Link&

[@ccbcco]

Very good!

[@NikhilHoganShow]

Counterpoint ftw!

[@en-blanc-et-noir]

counterpoint for the win??? :DDD lol

[@depshallburn]

After a billion years the circle of fifths finally started making sense to me and I was able to memorize it alongside learning introductory use cases, so the timing of this video is pretty much impeccable.

[@RaptorT1V]

UML use-case diagram ? 😳😳😳

[@nickbobaymusic8691]

This is perfect, I needed this in exactly these steps. Does this work pretty much the same way in major?

[@oibruv3889]

Exactly the same way

[@nickbobaymusic8691]

@@oibruv3889 great! I figured just hadn’t had a chance to try it out yet.

[@en-blanc-et-noir]

diatonic scaffoldings usually work in both modes. Though it might be the case that for whatever reasons one mode is preferred, e.g. there is a lot more major key Romanescas around although it works in minor keys and actually sounds well

[@deejaybundst1671]

Hi there, I've been looking for videos about how composers use overlapping melodic phrases to create interesting harmonic progressions. It seems like baroque and classical composers are very good at "getting out" of a chord loop, but i don't quite understand how they do it, suddenly they hit the something like a fortspinnung and it feels right even though it feels like it just appeared from nowhere

[@jackwilloughby239]

Any thoughts on the Harmonic Series and why the 3rd, 4th, 5th & 6th Notes (G, C, E, G) are so Iconic? From Bugle Calls to Broadway, Mozart to Tchaikovsky, I keep hearing so many pieces that start off with These Notes, and if you transpose to the Relative Minor (E, A, C, E) it gets even Deeper. Thanks for another Great Vid.

[@en-blanc-et-noir]

well, maybe because those notes express the key’s triad …. and…. many tonal pieces conventionally begin with the key‘s triad? Because that is tonal music… ever thought about this? That is my sobering idea about that. My personal thoughts on this topic are rather more like: I think it is a modern ideology to search for „natural“, or „physical“ laws in music like in the exact sciences….The unwillingness to accept and understand the fact that music evolved over a long period of human history and thus partly is chaotic or randomly grown thing… music is rather more defined by its history and less by the laws of nature. Although it is definitely allowed to speculate about the origin of tonality and how the overtone series maybe plays a role. It is a common pattern in those arguments who wanna defend tonality and want to delegitimize atonality… You see, I‘m not a fan of this speculations….😅✌️ I hope you‘re not disappointed

[@emilianodorantes2434]

Keep doing this! Let’s change the modern mind!! 💪

[@en-blanc-et-noir]

lol actually when I'm drawing a romantic circle of fiths I think in chords haha...

[@wilsonbecker1881]

Woah!!!!! You’re a master

[@en-blanc-et-noir]

nay

[@roryquirkmusic]

2 minute powerhouse :)

[@pondreezy]

1:34

[@nickpollockpiano]

❤❤❤❤❤

[@timothyj.bowlby5524]

Nice. "Melodicize" the bass line a bit... and there! Y' really does gots sumpthin' there.

[@en-blanc-et-noir]

THX

[@timothyj.bowlby5524]

You're welcome. @@en-blanc-et-noir

[@bornaerceg9984]

Ofccccccc!!! ❤❤❤🥰🥰🥰🎵🎵🎵

[@RaptorT1V]

Последний пример -- это нечто прекрасное! Я хочу научиться писать такое!

[@smarfmart]

What are the numbers above the bass notes? Is it figured bass?

[@AlessandroSistiMusic]

yes

[@smarfmart]

@@AlessandroSistiMusichow does this work with the bass line at 0:05? They’re all 7s. I thought the numbers refer to the intervals above the bass line. Does this mean you write in the intervals above the bass line that correspond to the circle of 5ths in Bb major?

[@AlessandroSistiMusic]

See 1:25. There is a 7th (written in the figures) and a 3rd (omitted from the figures but implied) above the bass in each sonority. The 7th above one bass note moves to the 3rd above the next bass note.

[@smarfmart]

⁠@@AlessandroSistiMusicI think I made a mistake in my comment above. This is supposed to be the circle of 5ths progression in G minor? The figured bass made a lot more sense once I read your comment. I was thinking it literally had to be directly above the bass note, but it appears earlier in the measure.

[@AlessandroSistiMusic]

@@smarfmart yep, it's in G minor :)

[@spacedoctor5620]

Is there a diminution """""justification""""" for jumping from step 2 to 3? I'm a newbie at historical improv at this point (just getting to basic diminutions with Prof Mortensen's course), but I don't get how we could just say, "anyway let's drop a 5th on the off beats; look it's C5!"

[@en-blanc-et-noir]

heyo, well it's kind of a mixture of both of your proposals: there is a contrapuntal justification of course (interval wise) but as many sources present it is more like your "anayway let's drop". To be a bit more precise: it is a standard diminution type pattern of a stepwise descending line (there is one other very prominent one: the falling thirds / steps up). In Germany we have the term "Gegenschrittmodelle" for this as there is a tradition for this procedures. "Look it's a C5" - Actually when thinking about this stuff thoroughly you finally come to the conlusion that "Circle of 5ths progression" is a pretty inadequate term, not just for what happens on the paper but as well what you as listener primarily percieve: stepweise descent of stuff.

[@spacedoctor5620]

@@en-blanc-et-noir yeah, my "look its a c5" was a little cheeky I admit. The "drop third, rise step" is in Furno, right? So basically everything ultimately boils down to adding diminutions to a stepwise bass?

[@en-blanc-et-noir]

Not "everything" but a lot, yes. Furno: I've never been a big fan... don't ask LOL

[@YukiEhms]

I would like to have a honest feedback. Could someone write a criticism on my latest piece?