Bach Bwv 862 Analysis Essay

In reviewing my J.S. Bach You Tube archives, I noticed a series of videos I had uploaded on Bach’s Fugue that follows the Prelude in C minor, BWV 847. Some of these instructions were in tutorial form. Others, were lessons-in-progress with an 11-year old student.

Since I fielded a few questions having to do with the follow-up to my first video that covered the Exposition, I decided to post ALL footage that related to this particular Fugue. In this way, I could easily link to the blog at my You Tube site without having strands running wild.

The manuscript below incorporates the theoretical mapping of Jose Rodriguez Alvira (Click the URL for the complete score with analysis)

http://www.teoria.com/articulos/analysis/BWV847/index.htm

Part One: This covers all elements of the Fugue form, and the EXPOSITION inclusive.

Part Two: Continues with episodes, etc. fleshing out appearance of three voices


Part Three:
Continues where part two leaves off


LESSONS in Progress: Fugue in C minor

Published by arioso7: Shirley Kirsten

International piano teacher by Skype, recording artist, composer, piano finder, freelance writer, film maker, story teller: Grad of the NYC HS of Performing Arts, Oberlin Conservatory, NYU (Master of Arts) Studies with Lillian Freundlich and Ena Bronstein; Master classes with Murray Perahia and Oxana Yablonskaya. Studios in BERKELEY, California; Member, Music Teachers Assoc. of California, MTAC; Distance learning and Skyped instruction with supplementary videos: SKYPE ID, shirley kirsten Contact me at: shirley_kirsten@yahoo.com OR http://www.youtube.com/arioso7 or at FACEBOOK: Shirley Smith Kirsten, http://facebook.com /shirley.kirsten TWITTER: http://twitter.com/arioso7 Private fund-raising for non-profits as pianist--Public Speaking re: piano teaching and creative approaches View all posts by arioso7: Shirley Kirsten

In the course of teaching, a situation may arise where a particular favored piece is requested by a student that I’ve never studied–which means a deep-layered journey is ahead of two learning partners.

And given that J.S. Bach’s Prelude and Fugue in Ab, (Well-Tempered Clavier Book 1) requires thoughtful fingering choices; an awareness of Baroque era ornamentation, phrasing/articulation/voicing, and a knowledge of counterpoint/harmonic movement/structure, the undertaking requires a baby-step advance.

Therefore, one of my learning reinforcers is to create a self-made tutorial early in the assimilation process, well before I’ve had significant exposure to a composition. The goal is to exemplify a parceled practicing approach that is stacked heavily in the direction of gaining mastery, or relative fluidity when the piece ripens to tempo.

The big embracing mantra, however, is Patience un-enslaved to any Deadline because learning and growing into a desired tempo has no marked out notches of predictable progress. Yet one has to have a heap of confidence on credit to keep optimism in high gear.

With that said, one pivotal aspect of the learning journey is setting a good fingering and in the case of Bach’s Prelude in Ab, a separate hand approach becomes only one dimension of the undertaking. In truth, there are more than two steps to be taken in determining a workable fingering.

1) I assigned what I thought were reasonable choices for the Right Hand in a slow tempo frame.

2) I did the same for the Left hand.

3) The above first and second steps had to be refined if not revised significantly in certain measures, when hands were played simultaneously.

And this is an epiphany that most students will have as they explore a new score. Where fingering might work separately for each hand, it will not necessarily comport for both. (This explains the current adjustments I’ve made since I last e-mailed my student)

Naturally, the Baroque style of phrasing is the other important universe of decision-making, and all that follows in relation to harmonic rhythm, modulation, and the contrapuntal cosmos must be part of a nit-picking, ground-up exploration.

So in the spirit of step-by-step learning, the video below should be foundational and of particular assistance to my student and others taking this common journey.

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Published by arioso7: Shirley Kirsten

International piano teacher by Skype, recording artist, composer, piano finder, freelance writer, film maker, story teller: Grad of the NYC HS of Performing Arts, Oberlin Conservatory, NYU (Master of Arts) Studies with Lillian Freundlich and Ena Bronstein; Master classes with Murray Perahia and Oxana Yablonskaya. Studios in BERKELEY, California; Member, Music Teachers Assoc. of California, MTAC; Distance learning and Skyped instruction with supplementary videos: SKYPE ID, shirley kirsten Contact me at: shirley_kirsten@yahoo.com OR http://www.youtube.com/arioso7 or at FACEBOOK: Shirley Smith Kirsten, http://facebook.com /shirley.kirsten TWITTER: http://twitter.com/arioso7 Private fund-raising for non-profits as pianist--Public Speaking re: piano teaching and creative approaches View all posts by arioso7: Shirley Kirsten

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