This might seem minor but it is truly refreshing to see a channel where they make the effort to pronounce all names and concepts correctly in whatever language.

I wonder how much work this gentleman has put to make these videos. Aside from the historical job the quality of his videos is superb as well as his explanations. I am pretty sure that his lessons are countless times superior than those that are commonly given in art schools. Thank you very much!

It never ceases to amaze me what an expansive trove of knowledge this channel is! Thank you so much for sharing your work and passion through this project!

Can you PLEASE make an episode about Renaissance/Baroque dances?

For an irrelevant and completely unrelated piece of information, the man portrayed at 1:22 is not the Spanish composer Antonio de Cabezón, but the Genoese general Ambrogio Spinola (1569-1630).

What an interesting perspective on harmony!

Molto interessante!... Il bello di questo trattato, che la vostra spiegazione rende così bene, è che non si tratta di pura teoria, ma di una ricerca pratica, che la teoria viene a chiarire e indirizzare... Si apprezza in sintesi non il Professore ma il Maestro d'Arte!!

These videos are wonderful!!! As an adult music student that finds so many dense, hard-to-understand materials that always suppose you already know a lot, these videos, while still demanding knowledge, present concepts in a simple, straightfoward manner.

Counterpoint was my favorite subject in university. Your presentation is a wonderful snapshot of a fascinating and profound topic. Thank you.

I listen to you from the place where Tomás de Santa María passed away, Ribadavia....thank you Elam! Your videos are grear!

Im currently studying counterpoint, so watching this video is incredibly helpful. Thanks!

Excellent, Elam! Thanks for such a clear and interesting video!

A wonderfully interesting video! I'm so very pleased to have found this channel.

¡Fascinante, la explicación es muy clara! Muchas gracias . Gracias al Dr. Alon Chav que nos remitió a usted.

I have to turn back and show the appreciation of what a true scholar is doing for the wider public, here, on youtube. Briliantly brilliant, Elam!

Thank you for an outstandingly good presentation - a model of how to make a complex topic clear and accessible.

Many many thanks for your wonderful video programs!!! Very interesting videos!!!

Thank you for another great video!!!

Maravilloso trabajo, si tuviera dinero te apoyaría con enorme gusto, pero valoro y agradezco mucho tu trabajo. Felicidades y gracias!!!!!!!

Simply fantastic, thank you so much

Perfectly made!! Thank you!

Your channel is amazing. Congratulations

Muito obrigado! The exemples are fantastic and applicable on the guitarra! Thank you, excelent work!

I really love your channel. Its so informative, interesting and I really appreciate your effort on the style and high quality sound samples! Keep up the good work!

Thank you, new to the channel. Great quality!

I appreciated having the musical examples in this video!

Fantastic lecture, as all here!

I discovered that if, for some rare circumstances, I were to travel in time and land in 1560, I would still understand Spanish, that's interesting.

Very interesting lecture.Thank you!

This is soooo good and helpful. LOVE IT

Your channel is marvelous.

Thanks for the great videos

More counterpoint, more counterpoint and more counterpoint. This was great.

CONGRATULATIONS DIVINE MASTER! YOU ARE A GENIUS!

Love this! I was taught to think about chords in a similar way when I came to study in Paris.

I'm beginning to really like de Santa Maria's approach, particularly the degree of thoroughness. I agree that the unplayable chords at 11:54 do seem like he's going to the theoretical limits; were I tasked with writing such a work (a simultaneously enviable endeavour and unenviably massive undertaking), I'd probably want to include such examples for somewhat humorous effect: "These guidelines mean we could even do this, were it not for the fact that no single human keyboardist could realize it". I disagree with 12:03, that the chords were unsingable. The low D would certainly be a challenge, would call for a special voice, and a composer would be wise to reserve it for very specific circumstances for dramatic effect, but that is exactly how Heinrich Schütz uses this very note a century later in "Saul, Saul, was verfolgst du mich?". Granted, performance practices and expectations had changed significantly in the intervening years, and German traditions would have likewise differed from Iberian and Italian, but it seems quite plausible that de Santa Maria would have been aware of basso profundo singers and their capabilities.

Useful information. Thanks.

illuminante, grazie davvero!

This is awesome!! 😆❤️

All videos full of important musical issues. Thanks a lot. And I am waiting eagerly to videos about ricercari, canzones and fugues.

Great stuff!!

Great video.

Congratulations! I think it's a very important treatise, as important as Zarlino's one.

I enjoyed it!

this is really profound, as someone raised in the post-Rameau period this type of thinking is very hard to imagine- it certainly seems more in tune with how composers and performers though back then though...

Fantastic😃

Fault number 2 sounds like some very nice modal interchange in my opinion

By all means I'd avoid using the term 'harmony', 'harmonisation', as it's all about intervals, either horizontal or vertical. This is our problem being basically trained in classical harmony nowadays. But the harmonic aspect comes out more clearly when you realise the rest of the Santa Maria's title: "…para Vihuela, y todo instrumento, en que se pudiere tañer a tres, y a quarto vozes…". On the vihuela and just emerging 'renaissance' guitar the possibilities are much more limited and often resulting in so called "chord shapes", very useful in less complicated or lighter music. From here to the baroque 'continuo' is a much shorter distance, and the vihuela/lute or guitar contribution to the phenomenon is much overlooked. Vide Malvezzi's Intermedii of 1589 and that famous lady from (Spanish) Naples with her guitar… ;)

Note to self: 7:56 Counting intervals above and below a sustained note 11:10 The 10 different ways of ascending and descending stepwise in consonant chords 12:15 A 3-step progression (F-G-A); Harmonised 14:13 All audio examples of the different intervals used to harmonize F-G-A 17:55 Harmonizing a 5-step melodic progression from E to B (soprano)

As always this channel is full of Great Wonders.

Great content and very nicely presented . Do you know of any user friendly version ( updated version) of this work ? Thank you!

15:02 "...odd and refreshing at the same time." Indeed - it is an exhilarating thing to listen contrapuntally, and the most exciting music is contrapuntal.

Brilliant video! Although, at 12:25, shouldn't it be named not Ut, but Fa note?

The odd combinations sound nice actually 😈

I know this is out of your period of research, but do you have any thoughts on metronome markings, especially the origins of double beat VS single beat theory (made popular by wim winters) in early music sources (if it exists)

I'm reading a book on counterpoint currently, and yes it is an intimidating subject. But I will have to try add parts according to the rules described here, seems much more intuitive 👍

Congratulations! An excellent video as usual. Could you tell me what kind of harpsichord is used in this recording? Thanks

But I love "leaving the mode"

Hope you do a follow-up to this. On Gesualdo...

Can you do an analysis on the piece called" Sonata sopra la monica" or the ciaccona please?

Thank you for these great series of videos! And for everything you do to bring up fundamental theoretical aspects :) By a chance, at 11:30, shouldn't first 'd' chord be 8 instead of 10? Thank you!

Bellooooo

Very very nice and instructive, but I thimk in 15:56 is "fa"(F) against "si" (B), the diminished fifth... Like and subscibed!

I got me two textbooks on polyphony, you know, for the conservatoire students. Overcomplicated explanations, ungainly terminology, often pointless exercises. This comparatively short video beats them both. I've learned more about composition from it than from months of studies.

Is it possible to get a copy of the book for english online some where?

Is there any way to get an English translation of this treatise that isn’t $900?

Santa Maria's distingtion of Intervalls between different Octaves is right, from an scientific piont of view, because: The overtone-sounds overlap in a different way, according to the Octave in which one plays a particular Note, so the quality of the tone is, by logical means, different. Meaning: An "A" with 440 Hz, an "A" with 880 Hz and an "A" with 1760 Hz may all be called by the same letter, but the individual formant frequencies (= Overtones) the Instrument emits, when sounding a paticular Frequency, are different, depending on the Octave the Note is played in and thus has to be treated in a different manner. It matters in which Octave and also on which instrument a chosen Note is played on, because the formant frequencies, which differ accordingly, are also the factor, by which one can distinguish the sounds of instruments. So taking the Octave into perspective makes sense.

How about a sequel about dissonances?

11:32 beginning interval is 8th, not 10th. Anyway, I am so going to practice these! thank you!

I am learning composition, and I would love to learn and study this treatise - so can I buy a an English translation (and modernized) from any where? If so where or from any website? I would love to learn from this so if you could please help me to find a good modern English copy - then please let me know. Thank you.

anyone know where to find an english translation of Santa Maria's book? pdf or otherwise..

A great video and treatise, may you know it. But on which harpsichord was the intro jingle recorded and with which stops? And, be it not too much to ask, is there sheet music of that? Thank you.

10ths (and even 12ths) above the lowest bass notes (CDE) are not at all unplayable, due of the prevalence of the short octave keyboard and (often) smaller keys. Cheers!

In the example of 11:32 the first chord is not a 10 but and 8. May I wrong?

don't understand why he says that in measure 3 there is a diminished fifth in the chord when in measure 1 he puts an 'f sharp. minute 18:42. Does someone have an Idea why?

Why did you refer to B (Si) as Mi (E) ?

I might have enjoyed theory if you had been my professor!

Hay alguna razón "musical" por la cual el clavicordio está medio tono abajo?

in the tenor and alto of fourth example is that interval ok? the bflat against e

Is a fourth also considered dissonant measured from the highest voice? or just the bass I guess it should be, otherwise Santa Maria would consider it a consonance

Is there an English-language biography of Santa Maria?

where could I find this book?

Here’s the book: imslp.org/wiki/Arte_de_Ta%C3%B1er_Fantasia_(Santamar%C3%ADa%2C_Tom%C3%A1s)#Naxos In Spanish and features archaic notation. Buena suerte!

Quasi tutto corretto ma al minuto 4:50 le "Two classes of consonances" risultano invertite le consonanze perfette con le consonanze imperfette, naturalmente adottando il temperamento mesotonico completo ovvero 11 quinte -1/4 C, le consonanze perfette sono le terze maggiori definite comunemente "terze celesti", ma forse si è sbagliato lo stesso Thomas de Santa Maria, grazie.

16:30 I'll admit I'm a bit lost on what exactly is meant by leaving the mode here - I'm not sure what the mode is, or what the soft/hard hexachords are, and what is meant by notes improper to the mode.

The name of the book on the cover is centred and justified such as to form Dante's inferno, according to the famous painting, and has nine layers (lines - the bottom marker and the intro to the title don't count.) hhhrrrmmmmmmm.

It seems to me that it is more on harmony that counterpoint

More sonic examples would be greatly appreciated. Otherwise, this is the best sleeping pill for free on the internet.

I find this kind of analysis useless by its very nature. It's way too specific about detailing every single note and interval and it's variants that it is no simpler than simply learning practicing and actually becoming familiar with voicing chords on your own. The point of a music theory should be to actually point to GENERALITIES and CONNECTIONS you can say about things that actually HELP with understanding concepts, not simply laying out every single detail of every single possible concept and expecting students to memorize it all

Your vid would be a thousand times better if you sounded on the piano what we are seeing written, if not its just words and you are not teaching music, cause music is sound. You can do it, I'm sure.