Time stamps: 00:34 Who was Jacques Hotteterre 01:17 Other improvisation-related sources by Hotteterre 02:38 Overview of L'Art de Préluder 03:53 Hotteterre's Preface, Rousseau and composed vs. improvised preludes 06:05 Another typology: measured vs non-measured 09:11 Trait: etude or prototype capriccio 12:01 Examples of Traits 13:18 Prelude caprice / fantaisie 15:20 Chapter 1: Degrees of the scale and how to start and end 17:36 Chapter 2: Basic concepts and variations - Canvas 1 18:29 Chapter 2: Variation 1 21:33 Chapter 2: Variation 2 & 3 22:43 Chapter 2: Variation 4 23:58 Chapter 2: Canvas 2 24:35 A comparison with drawing methods 25:26 Chapter 3-6: Examples of Preludes and Traits 26:41 Course description 27:08 Chapter 7: The leading tone 28:06 Chapter 7: The 6th and 7th degrees in minor 28:41 Chapter 7: An example of modulating in a prelude (5th and 4th degree) 30:48 Chapter 8: The perfect cadence 32:00 Chapter 8: The imperfect cadence 33:45 Chapter 8: Typical modulation patterns 34:17 Chapter 9: How to recognise the key of piece or how to make the key of your prelude abundantly clear 38:18 Chapter 10: Transposition 39:05 Chapter 11: Meter

Robert! Thx for this 💥🫂🎺

What an interesting, informative and enlightening video!

@TheScrollEnsemble

4 ай бұрын

Thank you!! :)

fantastic video, thank you!

@TheScrollEnsemble

4 ай бұрын

Thank you for your kind comment :)

Thank you for this thorough video!

@TheScrollEnsemble

4 ай бұрын

You are welcome! Thank you for your kind comment!

In the variation onscreen at 23:58, I would have thought that Hotteterre looked at the 3rd beat as outlining G, since a trill was almost always begun from above the written note, almost always with an appogiatura length at the start. performing the ornaments in that manner would make beat 3 sound as a melodic G, which matches your outline nicely.

@TheScrollEnsemble

4 ай бұрын

Hi! Wow, thanks for such attentive watching. Personally I see appoggiaturas as ornamental notes, whatever their lengths. Some writers (from about 30 years ago) even argue that an appoggiatura is added because you could not have officially written that note. I don’t think that’s true, but it does indicate the special status of the appoggiatura. On top of that, for me, the d major outline is very clear and the g major outline harder to detect, and I think if possible simple solutions are best. However, having said all of that, all of this is up for interpretation and one of my main principles is that my way in no way is necessarily the only or better way. So I think your idea could definitely work! Thanks again for your comment: interesting idea!!

@1919viola

4 ай бұрын

@@TheScrollEnsemble Thanks for the response! I suppose the thinking on how fundamental the dissonant note in a trill is to the melody probably varies by composer and region. Most of my experience (not research, notably) comes from french baroque music like Marais, where he's very explicit about his signs and ornamentation. It seems to me that the upper note of a trill or tremblement so often sounds like an integral part of the melody, especially when the trill follows a downward leap of a third; it drives me up a wall when people (students) trill from the bottom note!

So helpful 💙

@TheScrollEnsemble

4 ай бұрын

Thanks so much for your comment :)

❤