5 gold stars for this one! I'm very comfortable with the circle of 5ths. My problem is getting my aging fingers to move quickly from one chord to another. I think this will be a fun way to develop some fluency. Many thanks!

Thanks, and thanks, and forever thanks.. Most educational and enjoyable.

Can you explain please how diminished chords are named? Why is the chord in bar 28 E flat dim/G, and not (for example) A dim/G? I’ve never understood this - would appreciate your explanation

Best exercise ever! Do you think you can make another tutorial as a jazz variation of it just by shifting the bass line a third or a fifth below so that the same triads become sevenths or ninth chords? I could do it myself but I am not sure of the result 😊

Thanks for the exercise, trying it now.

This is what i have been looking for 2 days. Such an amazing video. I am 29 and when i was 16 i played cello for a year other than that i have no music experience and i will learn to play piano on my own but i cant get to my piano for a month and i REALYY needed these exercises for my fingers. Amazing video for a beginner thank you

I never thought these exercises would be too hard. However I have decided to practise these exercises sincerely.

Thank you so much...

I feel the tension on my wrist

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Thanks.

Great video. Self taught learner here just struggling with Czerny 299 -740 so it is good to see someone who knows the other aspects that are important for true piano satisfaction.

Wonderful presentation.

🎉❤ Thanks for this teaching 🎉 from Kottayam Vazhoor Kerala India

You are indeed a great teacher.I really want to know more about these fills and arpegios

Thank you! I learned a lot from you.

5:59 Shouldn't that be G diminished 7?

Excellent analysis! Please do more videos like this!

Saying anybody is the greatest is probably a little over the top, but it was Bach, Mozart or Beethoven.

Thank you grandpa for the excersizes❤

Thank you You are right, It is a great warm up exercise to ad to the woodshed practice routine. I appreciate you and your excellent teachable moments!

A very nice presentation but I think its a little short on WHY these progressions work. There are two points right out of the gate that I would add. The first is "progressions guided by the circle of 5ths" and the second is "diminished chord movement/progressions". If you go to most jazz lessons on KZfaq that talk about chord progressions you wont go very far before finding someone talking about the 2-5-1 progression and one of the most common progressions in jazz. If you look at the circle of 4ths starting at C, the last 3 chords in order are D - G - C or numerically 2 -5 -1. Now look at the first 4 measures of the Prelude. The progression is the diatonic 2 -5 - 1 or Dm - G7 - C. Well apparently Bach anticipated all of Jazz. Actually I think its the other way around. Jazz musicians grew up hearing classical music like everyone else it was just part of their DNA.

My only issue with this is the claim of "one of the most famous piano pieces ever written." There is no definitive proof that Bach ever composed anything for piano, certainly not as the piano now exists.

Like Guitar George (he knows all the chords) playin strictly rhythm, he dudnt wanna make it cry or sing

Though I am very attached to many songs I grew to love in my youth, I feel fortunate to have found a current band that writes songs that resonate with me just as much. They are very unlikely to ever be included in a collection of "old favorites" years from now. There is so much music being created today in so many genres and subgenres that I think there is less commonality in the songs that the average person has even heard of. Perhaps that helps keep the "great American songbook" alive, because it was from a time when most people heard the same music on the radio and in movies.

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Those chords was used by Guonod in his Ave Maria for vocal music.

This was so fantastically useful you cannot imagine, thank you so much for making it.

Thank You for the wonderful way of explaining this to me. I have a little trouble with the concepts of jazz theory. I just don't quit have my mind wrapped around it yet. So learning it described in this manner really helps! Regards!

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When I first learned guitar, I started with simple chords, then with the benefit of the Chord Encylopedia, I learned a lot more. Then someone pointed out to me that if I knew all those chords, I could play Bach - so I did.

I too like the old songs. I think we are close to the same age, but unfortunately I didn't start piano lessons until almost 5 years ago. I went through 3 levels of the Alfred series along with level 4 of Snell. I asked my teacher about switching to songs I want to play, and he was all for it. I started with Misty from the Dan Coates songbook. I'm currently working on Vincent by Don McLean and Bewitched, Bothered, and Bewildered. I have a bunch of songs I've collected, mostly old but also a few newer ones that I'm looking forward to learning. A newer song which is patterned after the older standards is Until I Found You by Stephen Sanchez. It’s a great song and very nostalgic-sounding. It’s next on my list too.

Don't get me wrong, I like the examples which you presented but in general the "reasons" you are giving are not of any value really. Let me explain -- your video is similar to comments "oh, the best movies were in 40s", or "those new games are so repetitive, the best era was 90s", or (literally taken from what I've read today) "those were the times (70s), the level of satire was unbeatable". What is common here -- you/me/commenter were young. This is the most powerful force, the things you experienced in youth -- first trip, first radio you got, etc. because those were the best times, right 🙂 Not absolute value 50s, 60s, 70s, but the relative ones "you were young". But it is kind of obvious, after all, and I don't think it needs too much additional justification other than that.

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Excellent Sir!

Thank you for that lesson - where can I find that version of the American Songbook? I found one which has guitar leed sheets - the chords also not exactly being the same as shown here...

Not all music is trying to take people on a 'musical journey'. This video is simple-minded nonsense.

Bar 8, C over B, is an early use of Cmajor7, normally considered a JAZZ chord !!!

Thank you for your videos, they are always interesting and useful. However, in this video, it would be important to indicate in the information the link to the next video with the continuation of the subject as you informed in the video. I tried to find the continuation of this video in your list and couldn't find it. Thanks.

Excellent lesson, very enlightening in terms of harmony and chord progression. I'd honestly like you to make a part 2 of the very same song, with even more advanced (jazzy) ways to play it. Not just the chords, also the way the melody is played more creatively. Please....

could never figure out for sure what the Ebdim/G was. Thank you. Good video.

🙏🙏🙏🎉🎉🎉 Thanks with greetings ❤

Very interesting! There is a video from David Benett I think it was, where he made a statistic about how modulations went completely out of fashion with most years in the last 2 decades not having even one modulating song in the hit parade, not even a more standard modulation than this one.

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Great thanks

So Daisy Duke did composing?

I have always been awestruck by the chord progressions in this piece. You have some unusual fingerings, though! And if I were to be really picky, according to his son, Carl Philipp Emmanuel, J S Bach would only use thumbs for large stretches. Nevertheless, an enjoyable video. Thank you.

First of all: Great video. Just allow me with all due respect to mention a few things. Let me insert some context here, because this is the way I used to analyze baroque music before, but now after I have been studying thoroughbass and partimento, I see it very differently and if one is viewing it simply in chords, you miss a lot of things that are going on in here. The opening gambit is a suspended bass clausula which simply is a fancy way of saying that the soprano cadence 1-7-1 is happening in the bass voice. If it were to be played conventionally the bass would have to be tied as to prepare the dissonant 2 and 4 intervals above. However, the playful way Bach works around this rule is that he is arpeggiating the chords and always plays the bass first and the following notes technically aren’t dissonant because of this. This “hack” or “trick” becomes the MO for the rest of the piece where he makes this the rule of the game to let the bass drag the others a long and do a lot of things that would have to have preparations here and there but again since he is arpeggiating, he gets away with it. After the opening he is doing many standard voice-leading patterns of the time, one of the most ubiquitous musical ripostes to an opening gesture is the Prinner, in which the bass walks down and modulates to G, which is exactly what Bach is doing. Mm. 12-15 is something called a Fonte and the prelude ends with a Quiescenza. It’s a very beautiful piece, but a lot of standard elements for its time. The most interesting part is how he is using the arpeggios in that creative way. But he wouldn’t have seen it as chord progressions. He would have seen it as different standard bass movements with characteristic intervals above. That’s why you have these awkward seventh chords in weird inversions.

Interesting that your comment ends on the word 'Journey'. The prelude is a journey from the first chord establishing time and space. Then you can almost tell yourself any story and the music will fit its arc.