LOVE that comment❤️❤️✌️

100% true

I agree, totally! What Michael is giving us, very few others are able or even believe that this is valuable.

no, the academics do not search for inspiration either! they search for Adorno

I don't think academic music is required to be that original anyway, it is a disingenuous and layered statement that they want people to have their "own voice" but there are some distinct ranges of recent styles and methods that are acceptable to sheerly imitate, and other older ones which are not acceptable to even be an innovative derivative of. Sheerly original stuff is a mixed bag, there's no telling they would even appreciate that. The internet should be like the printing press for learners and that is why this channel and others are so great. Of course the people who were guarding secrets in aural traditions wouldn't want people gravitating toward books. This is the position universities are in when they want like $5,000 for some remote lectures for an undergrad course and certification of their brand of approval. This brand of approval will not last as the only option forever without adapting.

Thanks Kristian, this is a good comment of course. Well I'd say fugue is still kinda demanding allthough when approach like this. "More imitative" type of jamming: yeah, exactly. I do jam with imitations at the octave for some time now but it really raises the difficulty when you change the key all the time you imitate haha. I totally agree on your opinion on the WTC: some of them odd birds, and some of them deffo outwright pen and paper creations. I'd say some of the organ fugues are more kinda accessible and some of them probably have an improv background. "Just a tad more imitativs and SYSTEMATIC": I think this is what fascinates me most about this because you're kinda forced to re-evaluate your own jamming: I normally wouldn't modulate so systematically - it just kinda happens, but from now on I'm gonna pay more attention to this. Thanks for commenting :D

Yeah you can't exactly evaluate all of the best strettos for a subject that is given to you at the moment and how to develop them over time unless - like a chess grandmaster - you have labbed these scenarios so ridiculously hard beforehand that your fluency with stretto formulas approaches that of thoroughbass and beyond. Theoretically possible maybe but not practical. I see the upper limit of improvisation's aims something more like the 2nd movement from Bach's Hortus Musicus Sonata after Reincken - and rather than the WTC this follows more closely the manner of Bach's organ fugues like big and small in G minor, A minor the great, E minor wedge, Passacaglia and Fugue in C minor, etc. It is created out of "standard" materials but done so well that it's mindblowing tbh. But it's also known that Bach was mindblowing with those standard materials. Between subject entries when it does rising runs in thirds which do voice exchanges to keep going, something like that he would have entirely labbed out beforehand as a standard technique. I recommend anyone to analyze this fugue if they want to see some tricks of a younger Bach that I've never seen deployed so systematically in one place. Even better is the fact that this is AFTER Reincken's sonata so you can see the huge extent that Bach added to this based on the standard possibilities of that subject.

I like that chess analogy, because I guess that is well comparable

A.I. cant write them well because it hasn't been able to absorb any intellectual property which properly describes the composition process. So... enjoy this time, while it lasts.

What’s wrong with that?

@@avmusic2977 @bronktug2446 I made a joke, I'm not advocating for AI or criticising traditional composition. At the time I wrote this ChatGPT had just come out, and it was impressive, so the joke made more sense. Now we've progressed to AI generated war propaganda - technology moves fast.

haha, then check this one: kzfaq.info/get/bejne/l7Clp5Wp1LfGaas.html

Honored (and quite surprised) to be in your list, long life to the fugue :) . Cheers !.

Good summary... true though! haha

haha, thanks, Angela! Well I wouldn't say it's great music but you gotta start somewhere

@@en-blanc-et-noir But that was a great improvisation and it was fun as a listener to know what I was hearing based on your previous example with the analysis that you showed.

Borogrove is legend! :DD one of my favourite channels

I suspect this is THE way. Once you internalise enough patterns you could improvise a fugue from an audience theme (maybe modifying the given theme so it fits one of your patterns).

Hey man I really appreciate this comment, it's helpful. I really struggle with titles/thumbnails because I find clickbaity stuff kinda scammy but to a certain degree you have to do go down that road I guess... at least if you wanna grow

THX for watching, Szymon!

haha, danke. Er ist eher nicht so Fan, glaub ich😂😂

thank you

THX, Peter❤️✌️

haha you mean like "improvising winter wind"?

@@en-blanc-et-noir i'm selling my organs if you're making this video

Hey, cheers! Thx for comment. Well, the overall approach you can see here is a thing that roughly figurates as "historically informed music theory" - the idea is that the contemporary approaches back in the day did cover compositional aspects of their style more adequate than "modern" academic music theories. Although this may sound evident it is not at all mainstream because it's too specific and maybe less systematic in comparision to functional theories. The approach seen in my videos is a mixture of bass/scale degrees (usually numbers in circles) and figured bass (which indicates intervals/chords) as there is a strong relation between scale degree and the supposed figures you'll see above them. A book that's good ressource for beginners probably is Job Ijzerman's "Harmony, Counterpoint and Partimento" check this out...

Thanks a lot! I appreciate that! On the terminology: Well, I'm a music theorist and those people usually invent terms I guess. Most literature, even very recent and ostensibly "informed" publications on the topic are methodical disappointments and not innovative. The only publications I can really recommend are in German: "Compendium improvisation" by Schwenkreis et.al. and the Book on Händel's Partimenti by Holtmeier/Menke/Diergarten (which is not primary about improvisation but very illumintating). Those books are actually not really about creativity but more like on the topic of "craft" that - at the moment - is the main focus of baroque improv methodology. I hope that someday this will change... As improviser I use to observe myself conciously which is like a natural habit to me so I notice stuff like that "head space" requirement :DD

@@en-blanc-et-noir Thank you so much for taking the time for responding. Yeah, the "head space" thing is also a continuous concern of mine (I'm a film composer, so I begin every project by improvising while watching the film). Everytime I get a chunk of craft down I can feel my head getting extra space for higher level (more structural) thinking. Thanks a lot also for the books, I'll check those out (German isn't a problem, I studied at the MDW).

lol common

lol, HOW??? I'm usually not a fan haha, but if you say so, I guess I gotta re-watch :D

Rich! :D long time no see! Yeah: you're absolutely right, there are little "families" of fugue subjects that more or less imply similar counterpoints. Subjects can as well be seen as indiviual melodies drawn from a pre-existing multivoice fabric (e.g. a cadence or a sequence) and when you look at historical fugue treatises you'll see that some of them even show HOW to draw a fugue subject out of a multivoice setting. I'm not sure where exactly at the moment but I think I've seen this in Kirnbergers treatis on fugue. Cheers

Ehre! Besser spät als nie, ich dachte schon, dass es dir aus Gründen nicht gefallen hat. Ist schon als aufrichtige Hommage gedacht!

@@en-blanc-et-noir Ich gestehe, dass ich nicht systematisch das Internet nach solchen Inhalten absuche. Vor etwa 2 Monaten hat mich jemand auf das Video aufmerksam gemacht. Ich dachte, ich hätte schon damals reagiert. Gestern hat mich wieder jemand darauf angesprochen (oder eher angeschrieben) und da habe ich nachgeschaut. Tatsächlich hatte ich noch nicht reagiert. My bad. Der Blick von aussen auf die didaktische Fugenimprovisation hat mir gefallen, weil da noch Sachen zur Sprache gekommen sind, die ich in meinen Videos nicht ausdrücklich erwähne (zb die fast durchgehende Dreistimmigkeit, oder auch die Dux-Comes-Paare innerhalb des Stücks).

isso

LOL I know... thanks anyway :DDD

@@en-blanc-et-noir By the way, talking about improvisation youtube, do you know the channel of Franz Josef Stoiber? It's a great resourse that you might want to recommend people, particularly german speakers (I understand it but can't speak pretty much). It's an organ thing but of course living improv tradition is largely an organ thing and we should translate the knowledge of this tradition to the piano world, I am part of both cultures. Cheers!

ha! Of course I've subscribed to FJS' channel. I really like how he's directly going into medias res without making such a big thing out of it. What you get to see there is the typical german "Kirchenmusikerstyle" or "das reine Handwerk" (the pure craft). I watched quite a bunch of his tutorials and learned a lot, especially methodically.

@@en-blanc-et-noir Me too! I'm Swedish and we largely have the same germanic organ tradition here.

Oh since you surely know this stuff, do you have other german language sources on youtube to recommend in this community?

Do you believe that?!

no... lol Ciao, Peter! :D

the fact we're trying to recreate their techniques would suggest that your teachers were correct

@@funicon3689 if the knowledge of the classical composers had not been suppressed by modern music academia (corruption which started in late 1800s), then definitely there would be many more "'genius' classical" works written by those newer composers who were able to obtain a good amount of proper, true training in the techniques. music academia's idolatry has led to uneducated, talentless stupidity.