What kind of piano are you using?

What kind of piano is this?

I understood fairly well at the start, then got lost in details. But I now know more about the fugue than I did before.

You have the best explanation to how to write a fugue without making it sounds difficult.

Countless arrangements I've been listening to for a few months and couldn't put my finger on why I loved it so much... until NOW. Thank you so much for doing this!

“Technique only has value when it serves an end that transcends the means” How beautifully said! Thank you for this wonderful video dear sir. This piece lives in a deep place within my heart.

Lovely ❤❤❤

The way you talk about music is amazing! I love how your not just focusing on the harmonic and melodic features etc (though incredibly detailed and useful) but also the effects it has which is fascinating. Most valuable music analysis out there thank you. Currently watching all your analysis' to get inspiration for my A level composition.

Your background has a slight flicker that triggers seizures, but the content is great

Amazing analysis - can not wait to have more videos like this. Thank you!

Big thanks for this channel! I've learned a lot as a beginner.

Great!

Useful video. But would be more helpful if you teach us HOW to construct countersubjects, episodes and transitions after the subject; WHY and HOW they need to be written in certain ways or intervals to conserve the harmonies of all the voices.

Thank you for a wonderfully clear and illuminating analysis! And also for avoiding any programmatic interpretation -- my feeling is that had Liszt intended to limit the scope of the piece to a particular scenario, he would have said something about it to someone else at some point. I feel you are quite correct to hear the Sonate as a process between Light and Darkness, the two polar opposites of the composer's makeup... many of Liszt's works explore this terrain in one way or another, though never in such a concise and densely packed form.

10:22 measure 4 “IV dorian” doesn’t have a major third (F#). I think you mean mixolydian.

This piece has been close to my heart for some time and I really enjoyed your brilliant analysis, thank you so much! I am amazed by Schubert's genius again and again

Sir, I am a student particularly interested in the New Formenlehre. I would like to know if you teach music theory & composition for students like me, sir.

Is it true that Liszt's Sonata was inspired by Schubert's Wanderer Fantasy ?

I really appreciate you making this very insightful analysis! I like your interpretation of the ending as the forces of darkness (deprived of their strength and threat) leaving the stage one by one.

If someone played this, I would have thought Bach had written it. It is very well written. Ever since I was a teenager, I have loved the form of fugue in music and even attempted to compose a couple of fugues (terrible ones) myself. This video explains a lot about how they are stuck together. Should I pick up my pencil again?

I actually have to thank you a lot for posting this. A detailed analysis of the sonata is really difficult to be done. I really appreciate your effort; not many people have such knowledge 💯

I loved your explanation and examples of motivic integration and musical logic. Thank you for this terrific and insightful video. Subscribed.

Thank you for the terrific analysis of this piece. Incredibly thorough and very useful. If I may make one suggestion, please feel free to play the sections you're discussing more often, even twice. It's always helpful to the brain to put the words right next to the phrases you're discussing.

I love music and can sort of play the piano but I'm not a scholar and this is just perfect in being accessible yet also providing information that makes more sense to someone who has studied music. I have listened to this piece a lot lately and spotted motifs and some order but your interpretation is marvelously clarifying.

What a well thought out video. Thanks for sharing!

Subscribed! Would you please cover an analysis on Rachmaninoff's 2nd Piano Concerto? Thanks!

Brilliant explanation and contribution to Liszt's masterpiece!

link to video of analysis 1 is not working what happened? thanks

It's a treat to see Bach's handiwork up close like this✨

Thank you for such an informative, brilliant video. As with other videos on music theory that I have found, I expect that yours will save many people a great deal of time when trying to understand the often dense and, in my view, overly verbose explanations given in so many text books. If one subject needs the kind of treatment given here, it surely must be the fugue.

This is the best video on the subject!!!!

Very interesting explanation. Thank you very much! And I think as well, the conclusion of this masterpiece is meant to be positive (and is not the sign of resignation) - the "piano" at the end only reflects the same "piano" at the very beginning... But I am just humble listener.. :)

After modelling a few more simple fugues on Bach in this manner, the trick then is to get creative and let your mind take you where it will. That's the only way to truly write a Bach fugue.

You are reading the notes that's fine all pieces are written by notes where is the music can you repeat just 2 bars wile you are taking a bath?one way hi way boring chromatic scales four fingers arpeggios this is an exercise not a musical piece

Amazing! Thank you so much!

this is what I looked for,! you are the real music youtuber!

A student of mine directed me to your video, asking my opinion, so I've taken a look, and if you don't mind, I'd like to give you some constructive feedback. Firstly, making a video as you've done takes a very long time and represents a huge amount of work. Your presentation is mostly quite clear, so in that regard, well done! The title of your video might be better "How *I composed* a work ..." as your method obviously isn't the only option, but I understand you want to attract as many viewers as possible. In terms of your composition being "in the style of Bach", you've done well to model your piece after his, but there are some obvious issues, mostly to do with playability, but also in the counterpoint itself, which keep your work from being stylistically on target. Bach avoids hand stretches larger than a 9th, allows minor 10ths only very occasionally. You've written not only many awkward 10ths in each hand, but also entirely unplayable passages (measures 36 and 38). Bach doesn't require the hands to leap awkwardly as you've written in measure 30. There are other clumsy moments here and there throughout, mostly to do with doublings and suspensions. Otherwise it's not bad. If you'd like to try to better approach Bach's style, I've made a list of things you will want to improve: m.7 LH 10ths m.9 root pos. dim. with an accented tritone m.13 alto enters on a unison (the D is already sounding in the tenor) m.15 awkward bass leap on the 8th to a doubled LT, bare tritone m.18 RH 10ths, ornamented 4th on the tenor when the same note is sustained in the bass m.20 doubled 3rd, m6 suspended against root position triad (5th normally wouldn't be there) m.30 RH 10ths, awkward leaping hands, awkward leap to root position diminished triad on beat 4 m.31 suspended 4th over resolved 3rd, beat 2 clumsy 8th (simply add a 16th) m.32 same clumsy 8th m.35 beat 3 harmony unclear (too much is suspended) m.36 is unplayable m.37 A and Eb would not both suspend here; either Eb resolves to D or A resolves to G, this measure is nearly unplayable (extremely awkward) m.38 another suspended 4th over resolved 3rd, then 10ths in both hands, beat 3 is unplayable m.40 RH 10th m.41 LH 10th m.43 clumsy 16ths rhythm, 10ths in both hands m.44 unnecessary rest on 4 in tenor m.45 the major arrival is too clean (Bach usually used an augmented harmony), the alto wouldn't repeat the LT m.46 soprano shouldn't step up to a bare 5th on beat 3 There are other issues in your video: 4:43 similar motion to a 5th in two parts in the first bar, implied similar motion to an octave in the second bar 1:13 Your claim that the AoF "was intended as a pedagogical aid" is pure speculation; ... 1:25 likewise your ideas about "what Bach is telling us" with the first fugue of the AoF. The bit about the subject not needing to work in stretto or be invertible with a countersubject seems from one angle logical enough, but is a bit ironic given that the AoF subject does all those things better than any other fugue subject in history. 7:20 Regarding the tonal answer: other cases are more complex, this one is simpler than you've presented it: the dominant note in the subject changes to the tonic note in the answer. That's all! I could go on, but the remaining points are minor. In any case, I'm happy to see you making the effort to do something like this, and I hope you'll consider addressing the above issues! Best Regards, AAH

Thank you so much for this wonderful explanation. I’ve been listening to this masterpiece of human genius since my early childhood now being a lutenist mainly performing works for the Renaissance lute but also the few pieces Bach wrote for the Baroque Lute. I particularly like your last statement of your video concerning the “means”. You have a new subscriber - all best wishes! Andreas Martin, Lute & Guitar

Thanks!

love it

Nice coda in your video btw. Congrats.

This is how lectures at Music Theory at university and Music-Schools should be presented, clear, easy, keep it simple. I need to read the subtitles [cc] along with watching and listening, and it is sadly obvious how unclear pronunciation results in unbearable errors in the transcript. It is possible to correct transcript, and perhaps a student would help doing that at some time. The video is too valuable to suffer from such minor inconveniences.

My favorite sonata! Makes me feel powerful in a way i can’t comprehend. I want to learn it 1 day but im not that capable of that level yet 😢 anyways great video!

Thanks, it is very helpful. I would like to view your approach with a stretto setting.

I was eagerly awaiting this video. Bravissimo! 👏👏👏

Very well analyzed. I agreed with you on 99.99%. 😊 Only 2 suggestion. 479 viewed as an extended bar from 478, codetta for more significant appearance. Final line 6/4 chord is to showcase the negative dark side C natural here as a flatten supertonic chord finally resolve into the big B natural hence avoid root B before the final bar, and therefore 100% positive power.

This is just what I have been looking for! AoF is my favorite musical piece but I wanted to understand why it is so deeply moving. I’m not a musician but your analysis gets even to me. Wonderful, unique, and very much appreciated!!

I am just looking at the last frame of the score with the mysterious descending scale, neither fish nor fowl. If it weren't for the D#, it would be Phrygian. I always had the intuition that the cryptic scales in the beginning and end hold important keys to analysis but I haven't made the effort to figure it out yet.

The diminished 7th in descent appears of course at the beginning of Beethoven's piano sonata, Op. 110 but also Chopin's Bb minor sonata.

What a superb analysis! Keep it up! I would love to see an analysis on other large works such as Hammerklavier, Gaspard de la nuit, or Ives's Concord Sonata.