Ask Lemmy
A Fediverse community for open-ended, thought provoking questions
Please don't post about US Politics. If you need to do this, try !politicaldiscussion@lemmy.world
Rules: (interactive)
1) Be nice and; have fun
Doxxing, trolling, sealioning, racism, and toxicity are not welcomed in AskLemmy. Remember what your mother said: if you can't say something nice, don't say anything at all. In addition, the site-wide Lemmy.world terms of service also apply here. Please familiarize yourself with them
2) All posts must end with a '?'
This is sort of like Jeopardy. Please phrase all post titles in the form of a proper question ending with ?
3) No spam
Please do not flood the community with nonsense. Actual suspected spammers will be banned on site. No astroturfing.
4) NSFW is okay, within reason
Just remember to tag posts with either a content warning or a [NSFW] tag. Overtly sexual posts are not allowed, please direct them to either !asklemmyafterdark@lemmy.world or !asklemmynsfw@lemmynsfw.com.
NSFW comments should be restricted to posts tagged [NSFW].
5) This is not a support community.
It is not a place for 'how do I?', type questions.
If you have any questions regarding the site itself or would like to report a community, please direct them to Lemmy.world Support or email info@lemmy.world. For other questions check our partnered communities list, or use the search function.
Reminder: The terms of service apply here too.
Partnered Communities:
Logo design credit goes to: tubbadu
view the rest of the comments
Bach, definitely.
I don't care for later composers; I love the elegant-yet-complex structure of early/ier music and I have yet to find anyone who can explain to me precisely what I mean by that.
I have a huge mental blind spot when it comes to music theory; I don't understand a damn thing about it and likely never will, so I can't put this in actual smart-people words.
But Bach (along with a number of earlier composers) sounds immensely fucking clever, like he's carrying on a conversation on three different levels at once, and somehow doing counterpoint down the timeline instead of across it, even with an unaccompanied cello.
Whereas your beethovens and mozarts of the world seem to use ten times as much sound and fury, or ten times as many twiddly bits... to say very little at all. If you boiled out all the redundancy, all the structures would collapse and you'd have nothing left over.
If anyone knows what the fuck I'm talking about and is able to translate, I'll be eternally grateful.
Bach was a baroque composer, you are hearing the difference between baroque and classical music. You are getting at counterpoint used in baroque and homophony used in classical composition. Counterpoint has multiple independent but interrelated voices or musical lines going at once and homophony is basically the opposite where all voices or musical lines move together in a harmonic progression.
I'm super impressed with what you recognize I've had to do some digging and reading to even start to hear what you picked up on naturally.
I'm not just talking about counterpoint, though. (funny story, my introduction to baroque and early music started after I went frantically searching for counterpoint after seeing an old Ethel Merman movie on TV as a kid.)
Counterpoint is all brain-tickly, but the real payoff for me is... uhh. Patterns that are obvious in retrospect, but weirdly hard to predict ahead, given how simple they are. You can get this all the way back to plainchant, and the more basic the construction, the more impressive it is.
Conversely, once you scrape off all the drama and fussy bits off most classical composers, you're left with something very basic indeed. You pull the ends, and for all its loopy squiggling, it doesn't actually make a knot.
Meh. I not words good. There's a concept there, but I lack the tools to reason about it.
No, I do understand what you mean and it's the same thing I like about the baroque music. It's almost like modern house music, the kind where they take one riff and play it out fifty different ways, it is sort of trancey and doesn't yell at you for attention, it pulls instead of pushing.
I thought your very basic indeed video would be the pachelbel rant.
I get what you’re saying! Never was great at music theory either, but Bach indeed uses a lot of techniques in his composing to create the layers you’re referring to, where there is clarity but complexity. Sometimes it’s a melody mirrored or reversed, sometimes it’s the way themes repeat across and within parts, sometimes it’s a well timed key change, but there’s an often mathematical approach to the composition that you don’t find in other composers (or at least, done as well). I find Bach to be a bit boring to play, but it’s like violin comfort food lol.
There's a reason Bach is on Voyager's golden record 3 times.