This might seem minor but it is truly refreshing to see a channel where they make the effort to pronounce all names and concepts correctly in whatever language.

It never ceases to amaze me what an expansive trove of knowledge this channel is!  Thank you so much for sharing your work and passion through this project!

But I love "leaving the mode"

I wonder how much work this gentleman has put to make these videos. Aside from the historical job the quality of his videos is superb as well as his explanations. I am pretty sure that his lessons are countless times superior than those that are commonly given in art schools. Thank you very much!

For an irrelevant and completely unrelated piece of information, the man portrayed at 1:22 is not the Spanish composer Antonio de Cabezón, but the Genoese general Ambrogio Spinola (1569-1630).

Can you PLEASE make an episode about Renaissance/Baroque dances?

I discovered that if, for some rare circumstances, I were to travel in time and land in 1560, I would still understand Spanish, that's interesting.

11:02 Curiosamente, en los tratados escolástico españoles como Zamacois se trata esa inversión como la peor disposición de notas aún que su explicación es más armónica que contrapuntistica.

More counterpoint, more counterpoint and more counterpoint. This was great.

I have to turn back and show the appreciation of what a true scholar is doing for the wider public, here, on youtube. Briliantly brilliant, Elam!

What an interesting perspective on harmony!

this is really profound, as someone raised in the post-Rameau period this type of thinking is very hard to imagine- it certainly seems more in tune with how composers and performers though back then though...

These videos are wonderful!!! As an adult music student that finds so many dense, hard-to-understand materials that always suppose you already know a lot, these videos, while still demanding knowledge, present concepts in a simple, straightfoward manner.

Counterpoint was my favorite subject in university. Your presentation is a wonderful snapshot of a fascinating and profound topic. Thank you.

Molto interessante!... Il bello di questo trattato, che la vostra spiegazione rende così bene, è che non si tratta di pura teoria, ma di una ricerca pratica, che la teoria viene a chiarire e indirizzare... Si apprezza in sintesi non il Professore ma il Maestro d'Arte!!

Im currently studying counterpoint, so watching this video is incredibly helpful. Thanks!

I listen to you from the place where Tomás de Santa María passed away, Ribadavia....thank you Elam! Your videos are grear!

A wonderfully interesting video!  I'm so very pleased to have found this channel.

Many many thanks for your wonderful video programs!!!
Very interesting videos!!!

I'm beginning to really like de Santa Maria's approach, particularly the degree of thoroughness. I agree that the unplayable chords at 11:54 do seem like he's going to the theoretical limits; were I tasked with writing such a work (a simultaneously enviable endeavour and unenviably massive undertaking), I'd probably want to include such examples for somewhat humorous effect: "These guidelines mean we could even do this, were it not for the fact that no single human keyboardist could realize it".
I disagree with 12:03, that the chords were unsingable. The low D would certainly be a challenge, would call for a special voice, and a composer would be wise to reserve it for very specific circumstances for dramatic effect, but that is exactly how Heinrich Schütz uses this very note a century later in "Saul, Saul, was verfolgst du mich?". Granted, performance practices and expectations had changed significantly in the intervening years, and German traditions would have likewise differed from Iberian and Italian, but it seems quite plausible that de Santa Maria would have been aware of basso profundo singers and their capabilities.