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19

I'd say 2. is likely the closest, but it may just be as simple as personal taste. You're just not that used to hearing it and as you say, there's no emotion associated with it. I doubt I'd be capable of appreciating the subtle nuances and emotions in Indian Raga and I can't imagine such a melody stirring any great emotion in me. We have sounds and ...


14

"First it's G major, and then down to E minor, and then straight to B major(?) then back to A minor and to G major again." No. As Tim pointed out, this piece is firmly in E minor. The key signature is the first hint - one sharp indicates either G major or E minor. The fact that the piece starts with an Eminor chord is the second clue. (The upbeat starts ...


8

Yes, dynamic changes are predominantly achieved by choosing different stops. No, baroque music virtually never specifies which precise stops to pull. The most you can expect is something general such as "Sur les flûtes", or "organo pleno" - and even this doesn't mean what you might think (almost never "all existing stops", usually something more like "stops ...


8

Tough question about an amazing book. "Hearing" the fact that that particular canon continues rising in key is more difficult, and I think it's more interesting just to know that fact. Hearing the sort of patterns Hofstadter discusses is far more important to your enjoyment of the book. I would get a recording of Bach's Well-Tempered Clavier, and listen ...


7

Wow - you are really motivated :) In general one can say that book 2 is more difficult than the first one. To find an exact order of difficulty would be highly subjective. I would suggest starting with the fugues with the least amount of concurrent voices first which makes life a lot easier. This way you won't be overhelmed by the complexity (it is the way ...


7

First of all, I think it's important to keep in mind that harmony is written for something. I'm going to follow the sort of academic rules of part-writing in my answer, but if this were for "real life" purposes, it would be worth subjecting a lot of those assumptions to the test of what makes the best music (and the most idiomatic music for whatever you're ...


6

Question: Would Beethoven and Chopin sound as good played on guitar? Answer: Probably not. I think this captures what is going on - J.S. Bach wrote his keyboard pieces primarily for the harpsichord. I have heard Bach played on the harpsichord many times and it's absolutely wonderful. Last week I heard a skillful pianist play one Bach's pieces on the ...


6

For one thing, J. S. Bach's music for solo keyboard represents only a small fraction of his work as a composer. Bach was primarily a composer of choral and vocal music, and music for chamber orchestra. I would suggest listening to recordings of his choral and vocal music (notably, his cantatas and masses) and his orchestral music to gain a broader ...


6

It's a baroque trumpet, basically a historical version of a trumpet without valves. Probably they hold it like that because that was the way it was held at that time (think of musicians on a tower, announcing the arrival of the king or stuff like that...)


6

Generally speaking, a minority of Bach scholars question the piece's attribution. Christoph Wolf, who is for many the top Bach authority does not question the piece's attribution at all. For what it's worth, the mark's against Bach's authorship can mostly be explained away. There is no direct evidence against his authorship, unlike some other works where ...


5

According to Bach's father's own Explication concerning the trills and ornaments, we are given a guide on how to interpret the trills. The Expliation was later expanded on by C.P.E. Bach. There is no question that an historically correct interpretation will start the trill on the upper auxiliary note (in this case the A). The ornament does not descent to an ...


5

About his development as a composer and the links with his 2 older brothers Johann-Christof and Johann-Jacob. Yes JS was exposed very early to music, music practice and various instruments. He and his brothers were expected to master various instruments and to play ex tempore and generally become proficient in the family's trade, go to other members of the ...


5

For some reason, Bach is better appreciated by learned musicians. Talking to any well-trained musician who plays a lot of Bach, you will realize that it is fully possible to make an emotional connection with the music. In fact, I would argue that Bach alone has written the very most inspirational music, ever. Here's why: Bach was a genius. As user Widor ...


5

Ultimately it is subjective, and it is worth learning both the scordatura and normal versions; however, I find the scordatura version more satisfying to play, personally. One place in particular is the G-D-G chord before the start of the fugue. In scordatura, the top G can be played with an open string, so all three pitches can ring simultaneously. In ...


5

Very interesting !! Just listened to the opening bars, and it's in C#minor. That's probably why it sounds like a C#, not a D. Now whether the recording has been slowed down a smidgen is conjecture, or whether the cello is actually tuned differently I don't know. So, yes it sounds like C# 'cos it is. Couldn't find one in 'Dm'.Unless, of course, the tuning was ...


5

"Are there other examples of common practice period manuscripts, or other documents that provide some indications on how to tune the instrument?" I think you're mostly looking for examples of scores/manuscripts, but as far as "other documents" go, there are certainly period treatises that describe various temperaments. One such example is "Lettre touchant ...


5

Good quality Urtexts tend to be expensive... A quick check suggests that Henle, Vienna and Bärenreiter are all similarly priced while Peters is a little cheaper. The Bach-Gesellschaft Ausgabe is an old Urtext whose quality, they say, varies a lot. According to Wikipedia the parts edited by W. Rust should be of good quality and it just happens that the ...


4

If you are an Indian and want to appreciate Bach's works, an Indian composer called Ilaiyaraja has drawn a parallel between Preludium in E by Bach and a carnatic raga in his composition "I met Bach in my house" from the album How to Name It. This should give you a new direction to think and understand them from your cultural background.


4

Well, my hands aren't particularly big, but I can easily stretch them an octave and perhaps a ninth sometimes. From what I've heard, that's about common. Here, the first interval you mentioned is a tenth (in the twelfth measure). That is larger than what I could reach. However, because they are not sounded at the same time, the D could be hit with the ...


4

A key to following the polyphonic music of Bach is to be able to single out the individual voices. You will be very much helped by having a score at hand. In a fugue, the theme is presented in one voice, then repeated on the dominant with slightly modified intervals (but same rhythm and pitch profile) in another voice, then introduced in the tonic in a third ...


3

The interpreter seems to be Yasuo Sugiyama, as pointed out in the text of this youtube video: A search for Yasuo Sugiyama on Spotify leads to BWV565 as first result, the album's name ...


3

Yes, they are, and many authorities seem to consider this so utterly obvious that they never even mention it. (Tripped me up big time when doing a music test right after changing schools, once.)


3

I once asked this of my piano teacher. The response I got first suggested obtaining a good edition with all the ornamentation properly explained (and printed above the relevant parts rather than right in it so that you may learn it first without). She personally recommended the Alfred edition edited by Willard Palmer. Next, you will likely do best to ...


3

Much of Bach's education in composition came from him making hand copies of many musical scores, as music was not mass-printed at the time. Having mastered the Baroque notions of counterpoint and developing motives, combined with his known skill at improvising in the style, why would he seek to give up mastery of a style to be mediocre at a new one? As to ...


3

What a great question! I am currently working my way through the second book, so I have more specific opinions about that. Of those I've learnt from the first book, I found the following to be less tricky: The C major prelude, of course. Curtis is right about the difficulty of the fugue, however. c minor prelude and fugue are a good first pair to learn c# ...


3

Bach received instruction form his older brother, who was a student of Pachelbel. Bach copied a lot of music of other composers: Buxtehude (famously), Couperin, Frescobaldi, Kerl, Froberger, Pachelbel and many others. Regarding the wide range of influences from German (both North and South), Italian and French music, I don't know that it was that unusual. ...


3

I can't find the passage in question, but in general, I play parallel 5ths moving up or down a scale by alternating between 5-2 and 4-1. If you can't reach that stretch, then playing 5-1 and 4-1 is another option (in this case, keep the top line legato, and it will be okay if the bottom line is disconnected a little bit). Either way, it's a little tricky ...


3

Views from a native German speaker, just having looked at a text booklet: the vocabulary used in the cantatas is slighty dusted, but still easily recognisable. A few words are dated and some have strange umlauts, where the modern counterparts have none. I guess in the church context one would notice fewer substantial changes. Without knowing which solists ...


3

When the key sig. is one sharp, the key will be Gmaj., or its relative minor Em.Here, he's using mainly Emin. with the melodic preferred, as in notes 6 and 7 raised for an upward direction of tune, and left natural when the tune descends. It was the usual way in the Baroque period. If one is in G/Em, then one will use D, C, Am and B (or Bm) for the harmony. ...



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