Harmonic Analysis: Träumerei (Op.15 No. 7) – R. Schumann
October 18, 2019
Timon de Nood758 subscribers
This is a music theory video on the harmonic analysis of Robert Schumann’s short piano piece ‘Träumerei’ (Dreaming) from the opus 15: Kinderscenen (scenes from childhood). The harmonic functions with brackets are secondary dominants/function chords. The audio is generated from a modified midi-file from http://www.piano-midi.de from Bernd Krueger. This video was made to educate and no commercial profit is intended. So please do not use this for commercial purposes. Thanks
Published on May 15, 2016
Richard Atkinson analyzes the incredible finale of Mozart’s K. 590 Quartet. This is a fair use commentary that uses excerpts from a recording by the Quartetto Italiano.
Andrew Schartmann
Published on Apr 18, 2013
For more: http://www.youtube.com/playlist?list=…
This video provides a basic formal analysis of the Grave; Allegro di molto e con brio from Beethoven’s Op. 13 (“Pathétique”). Please note that it is part of a larger project to provide formal analyses of all 32 of Beethoven’s piano sonatas, so check back frequently for updates.
, Visit http://www.andrewschartmann.com/beeth… for more detailed comments.
David Gomez – Passing Chords in Music: Analysis
July 16, 2019
Published on Jan 15, 2013
Music theory analysis of student work in 4-part chorale style harmonization in which passing chords are used: V6 and vii6. Also used is a Deceptive Cadence in inversion: V42 to vi64. Good work here. Discussion by David Gomez.
AntPDC
Published on Feb 28, 2013
(c) 2004 Channel Four: The Beatles – 20th Century Greats
UPDATE: here’s John Lennon on George Martin’s influence in a 1975 BBC interview with “whispering” Bob Harris: https://youtu.be/lrRl065BR2w
Music has been a central part of my entire life, yet to this day I’ve never understood how it all works in terms of its emotional “mechanics”.
In Desert Island Discs mode, for me there are three towering influences: The Beatles, Bach, and Handel – they are the big three, without question. And for for those of us who hold the music of The Beatles in the highest esteem, here classical composer Howard Goodall gives us an informed and absorbing account of their musical innovation, their influence, and their lasting legacy.
It’s a real privilege to be educated by someone who can express the language of music so eloquently, as classical composer and wider musician. Not everyone is going to agree with him here, but he’s persuasive.
I’m looking forward to comments about Howard Goodall’s personal survey here, and to kick them off, the thing that struck me most was the idea of “instinctive” compositional talent, and the influence of classically-trained Sir George Martin. I have no idea why Goodall completely ignored George Martin’s contribution to the Beatles’ musical output. It’s a pretty staggering omission. Maybe it would have polluted the populist idea of Everyman, as composer?
Currently this has not been released on DVD or any other purchasable format. I am therefore uploading to my Channel to share musical education with others.
It is available elsewhere on YouTube, but I wanted to draw my Subs’ attention to it.
I hope you enjoy it as much as I did.
Beethoven 5th Symphony – Analysis by Gerard Schwarz
April 20, 2019
Debussy – 3 Nocturnes for Orchestra (Color-Coded Analysis)
November 13, 2018
Beethoven 5th Symphony – Analysis by Gerard Schwarz
September 12, 2018
Most Beautiful Passages of Each Mahler Symphony
July 18, 2018
Orchestration Lesson – Mahler, Part 1
July 17, 2018
Liszt Hungarian Rhapsody 2 – Music Animation Machine
June 4, 2018
Score
OPYCLEID updates (2)
May 5, 2018
I have a just released a major version change
of my Python package OPYCLEID
for transformational music analysis.
The library is available on GitHub,
and is also registered on PyPi
(which means it can be installed very quickly with pip).
As the library has grown in size and complexity,
I also spent some time on writing .
AMADEUS MOZART – Linz Symphony , Mozart, Symphony No. 36
April 9, 2018
Beethoven, Symphony 9, 2nd movement (complete), Molto vivace, Philharmonia Baroque – Music Animation Analysis
January 11, 2018
Why We Analyse Music | Julian Horton
August 29, 2017
Professor Julian Horton opens up a dialogue between music analysis and musicology, exploring ways in which motivic and formal analysis can reflect and interact with broader historical issues.
Looking in detail at the exposition in movement one of Brahms’ Symphony No. 1, Op. 68, we will investigate the relationship between functions in a sonata form and the dense network of motivic counterpoint from which they are constructed. This will then be contextualised with late-nineteenth-century debates about the appropriate mode of expression in a symphony, especially the Wagnerian view that Brahms had wrongly imported a domestic, chamber-musical style into a public genre.
For additional content, including recommended recordings, suggested reading and music examples, see http://www.sma.ac.uk/videos/episode-1/.
_____
Presented by Julian Horton
Directed by Neil Neenan (@neilneenan)
Produced by Kirstie Hewlett (@kirstie_hewlett)
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Piano Sonata No.23 in Fm, Op.57 (‘Appassionata’)
1.Allegro assai @0:00
2.Andante con moto (attaca) @9:06
3.Allegro ma non troppo @15:33
Piano: Annie Fischer
(Version with Alfred Brendel: http://www.youtube.com/watch?v=89hcfg…)
Note: at this time the annotations will not appear on mobile devices, so if possible please watch from a computer.
For more videos of this type see:
Color-Coded Analysis of Beethoven’s Music (INDEX):
http://lvbandmore.blogspot.com/p/colo…
Introduction to Sonata Form:
http://lvbandmore.blogspot.com/p/abou…
This analysis was assisted in large part by Donald Tovey’s “Companion to Beethoven’s Pianoforte Sonatas”.
My Analysis Cheat Sheet:
-SONATA FORM: Most common form, almost always in the 1st movement and often last movement of a work. The basic sequence is Intro, Exposition, Development, Recapitulation and Coda.
-EXPOSITION: Main theme(s) are presented, usually in the home key and then a modulated key
-THEME / THEME GROUP: musical “paragraph”. These can be broken down into 1 or more “tunes”. These are grouped according to key and end on cadences. The 1st Theme Group is in the home key. The 2nd Theme Group is in the dominant or other key.
-CLOSING/CADENCE SECTION: a theme group which closes the Expo or Recap (it follows the 2nd theme) and revives Theme 1 to provide closure.
-MODULATING BRIDGE/TRANSITION: material to get from 1 key/theme group to another, often w sequencing.
-DEVELOPMENT: free-form “working out”/”fantasia” section where earlier themes are subjected to variations and atomizations. Possibly a new theme is introduced (“Eroica”).
-RECAPITULATION: Repeat of the Expo, except that this section remains in the same key throughout and there can be theme variations from the initial Expo versions of themes.
-CODA: Follows the Recap, kind of a second development designed to finish off the work.
-SEQUENCING: repeating a phrase on different starting notes (keys)
-TERNARY FORM: 3-part form in A-B-A, usually a Scherzo or Minuet
-SCHERZO/MINUET: 1st pt. of a 3-pt. Scherzo form, usually AA.BA’.BA’ in 3/4 time. Lively.
-TRIO: Middle section of a Scherzo movement, slower, broader than the Scherzo section
-RONDO: Similar to Sonata form except that the Development is replaced by a new section and there is less transition material. A principal theme (A) alternates with contrasting themes (BCD…). (Ex.ABACABA.)
-FUGUE: form in which a subject(s) undergoes canonical permutations
-VARIATION: repeat of a theme with variation
-CADENZA: unaccompanied instrumental solo
-BINARY FORM: Structure in AB. 2-Part Song form.
(Disclaimer: I do not have a music degree, all of the above is purely from memory and observation)
Beethoven – Symphony 9, Op.125 – Color-Coded Analysis
April 27, 2017
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(Make sure “Annotations” is ON to see section labels)
I. Allegro ma non troppo, un poco maestoso @0:00
II. Scherzo: Molto vivace – Presto @14:38
III. Adagio molto e cantabile @27:07
IV. Presto; Allegro molto assai (Alla marcia); Andante maestoso; Allegro energico, sempre ben marcato. @39:40 (Choral Section @44:54)
Conducted by Rene Leibowitz / Royal Philharmonic
Note: at this time the annotations will not appear on mobile devices, so if possible please watch from a computer.
For more videos of this type see:
Color-Coded Analysis of Beethoven’s Music (INDEX):
http://lvbandmore.blogspot.com/p/colo…
Introduction to Sonata Form:
http://lvbandmore.blogspot.com/p/abou…
Arrangement for Electric Rock Band:
http://www.youtube.com/watch?v=pnaOX-…
My Analysis Cheat Sheet:
-SONATA FORM: Most common form, almost always in the 1st movement and often last movement of a work. The basic sequence is Intro, Exposition, Development, Recapitulation and Coda.
-EXPOSITION: Main theme(s) are presented, usually in the home key and then a modulated key
-THEME / THEME GROUP: musical “paragraph”. These can be broken down into 1 or more “tunes”. These are grouped according to key and end on cadences. The 1st Theme Group is in the home key. The 2nd Theme Group is in the dominant or other key.
-CLOSING/CADENCE SECTION: a theme group which closes the Expo or Recap (it follows the 2nd theme) and revives Theme 1 to provide closure.
-MODULATING BRIDGE/TRANSITION: material to get from 1 key/theme group to another, often w sequencing.
-DEVELOPMENT: free-form “working out”/”fantasia” section where earlier themes are subjected to variations and atomizations. Possibly a new theme is introduced (“Eroica”).
-RECAPITULATION: Repeat of the Expo, except that this section remains in the same key throughout and there can be theme variations from the initial Expo versions of themes.
-CODA: Follows the Recap, kind of a second development designed to finish off the work.
-SEQUENCING: repeating a phrase on different starting notes (keys)
-TERNARY FORM: 3-part form in A-B-A, usually a Scherzo or Minuet
-SCHERZO/MINUET: 1st pt. of a 3-pt. Scherzo form, usually AA.BA’.BA’ in 3/4 time. Lively.
-TRIO: Middle section of a Scherzo movement, slower, broader than the Scherzo section
-RONDO: Similar to Sonata form except that the Development is replaced by a new section and there is less transition material. A principal theme (A) alternates with contrasting themes (BCD…). (Ex.ABACABA.)
-FUGUE: form in which a subject(s) undergoes canonical permutations
-VARIATION: repeat of a theme with variation
-CADENZA: unaccompanied instrumental solo
-BINARY FORM: Structure in AB. 2-Part Song form.
(Disclaimer: I do not have a music degree, all of the above is purely from memory and observation)
Symphony 9, Op.125
1st Mvmt (Dm):
Expo:
– Introduction
– Th.1 1st Time (Dm)
– Th.1 2nd Time (Bb)
– Th.2 Pt 1 (Bb)
– Th.2 Pt 2
– Th.2 Pt 3
– Closing Pt 1 (Bb)
– Closing Pt 2
Development (Dm)
– Pt 1
– Pt 2
Recapitulation:
– Th.1 (D) (with crazy Timpani Rolls)
– Th.2 Pt 1
– Th.2 Pt 2
– Th.2 Pt 3
– Closing Pt 1 (Bb)
– Closing Pt 2
Coda
2nd Mvmt (Dm)
A:
– Introduction (short)
– Th.1 (Dm)
– Th.2 (C)
– Closing (C)
A:
– Th.1 (Dm)
– Th.2 (C)
– Closing (C)
B
C:
– Th.1
– Th.2 (C)
– Closing (C)
B
C:
– Th.1
– Th.2 (C)
– Closing (C)
Coda 1
Trio (D)
– Pt 1
– Pt 2
A:
– Introduction (short)
– Th.1 (Dm)
– Th.2 (C)
– Closing (C)
B
C:
– Th.1
– Th.2 (C)
– Closing (C)
– Coda 2
3rd Mvmt (Bb)
Introduction (brief)
Th.1
Th.2
Th.1, Var 1
Th.2
Th 1 Var 2
Th 1 Var 3
(tutti phrase)
(tutti phrase developed)
Coda
4th Mvmt (Dm)
Introduction (Recitando Quasi Fantasia):
– Fanfare & Recitative 1st Time
– Fanfare & Recitative 2nd Time
– Recall M1
– Recitative
– Recall M2
– Recitative
– Recall M3
– Recitative
– Foreshadow Th.1 & Recitative
– Main Th.
– Th.Var 1
– Th.Var 2
– Th.Tutti
Choral Section
Th.1 Pt 1
Th.1 Pt 2
March var. (Bb)
Orchestral Fuge
Th.1 (reprise)
Th.2 (G)
– Plainchant
– Choral
– Plainchant
– Development
Fugato of Th1 & 2 (D)
ascending sequence
Development (Th.1)
Cadenza 1 (D)
Cadenza 2 (B)
Coda (D)
Beethoven – Symphony 2, Op.36 (Color-Coded Analysis)
April 18, 2016
I Write The Music 