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Cantor – church musician
Kapellmesiter – court musician |
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| Bach’s 3 major positions (dates, place, post) |
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1708-1717 – chamber musician – Weimar
1717-1723 – kapellmeister – Cothen
1723-1750 – cantor – Leipzig |
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| Bach’s tonal stamp for instrumental works |
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I V relative IV I
i v i
Ped brief Ped |
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| When was the WTC published? |
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| Clavier Ubung – four parts |
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Vol. 1 – 1731- 6 Partitas
Vol. 2 – 1735 – Italian Concerto, French Overture, several toccatas
Vol. 3 – 1739 – all organ works, choral preludes, some large preludes and fugues
Vol. 4 – 1742 – Goldberg |
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| works specifically written for the harpsichord |
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Italian Concerto
French Overture
Goldburg Variations |
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tempos – not regular
famou for Goldburg recording
intensely opinionated
small range of interest in musical periods (no Romantic) |
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wrote short books on performin Bach
big on consistency, articulation
less extreme
hears all voices, thinks contrapuntally |
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excellent contrapuntal clarity
bad: rhythmic flexibility |
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Opus – work (opera=plural)
Schmieder – Bach Werke Verzeichnis
S=BWV (numbers interchangeably) |
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inexpensive
bought rights to tings out of copyright
problems: hard to read, bad quality |
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often good prefaces/appendices
editorial additions in gray
Willard Palmer – conservative in style and performance practices
good for new teachers |
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German industrialist w/music hobby
good quality paer and layout
good editing
expensive
“blue fuzzy edition” |
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bad reputation
romantic editors
slowly improving |
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| Early Compositional Period |
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1703-1707
Models=south & central German |
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| Pieces in early compositional period |
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Sonata in D Major
Capriccio on the departure of his most beloved brother
D minor toccata
Aria varied in the Italian style
G major toccata |
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| Middle Compositional Period |
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1717-1723 Cothen
teaching music focus |
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| Bach’s methods of teaching |
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| another name for Preambula |
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for Wilhelm-Friedemann
1723 – began writing inven. and sinf.
preambula – inventions
fantasias – 3 prt. inventions/sinfonias |
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| purpose of inventions and sinfonias |
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| to learn a singing style of playing and composition |
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| subject stated in every voice |
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| breaking the subject into motives and playing developmental |
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| answer with alteration to make intervals work |
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| inventions (2 part) derived from which two people? |
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canon, fugue, simple imitative counterpoint
pedagogical
Alfred – good edition |
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Cc Dd EEflat e Ff Gg Aa Bflat b
start w/white keys (major and relative minor – don’t use B major, add Eflat and B flat |
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slide=filling in of a melodic third
tonal movement – T D rel min. sDom T
off beat nature of subject
Plan
rote teaching – imitation, steps, notice finger pattern, start on differnt key, RH and LH experimentation, hands together, mirror in Lh what doing in RH;
Score TEaching
identify subject, play just the subjects, fingering, hands separately, hands together importang, find subjects and inversions, more study as intellectual exercise, the more they take it in |
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| main note, note below, main note (not restricted to 3 notes |
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| note above, main note, note below, main note |
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| note below, main note, note ablove, main note, trill |
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| trills: rotating wrist – play 16th notes instead of 32nd (matches LH) |
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| subject is in the tonic 4 times! |
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study on a turn and its inversion
turns: go after the middle note of the turn |
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| practice BH playing the same notes |
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wo voice fuge (exception – it starts out w/another voice)
has a real answer |
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| 2 voice fugue and a double fugue b/c the countersubject is equally as important and presented at the same time |
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| contrary motion, syncopation, and study on mordents |
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