The fugue from Bach’s Prelude and Fugue in B minor is a work that was composed in Bach’s later years. Bach composed this work during his tenure at the Thomaskirche in Leipzig, Germany. This work as a whole is a great example of Bach’s mature essays, which appeared in his later Weimar years. The fugue is very different from the prelude. None of the material from the prelude is introduces in the fugue. The subject is only two measures in length; the plain subject is boring by it self. But Bach turns that two measure subject into an eighty-eight-measure fugue. I will explore two different ideas that make up the majority of the fugue, melody and developmental form. I will also talk about how I would interpret this work when preforming it. Melody- The Subject and Counter Subject The pitches in the melody of the b minor fugue are and outline of a b minor triad. This triadic outline is filled with chromatic pitches and consonant pitches. The notes of the triad are repeated twice with its neighbor tone in-between the notes of the triad, for example, B A-sharp, B C-sharp, D C-sharp, D, C-sharp. The answer to the subject is a real answer. The answer is the same intervals as the subject making it a tonal answer. The real answer, in the dominate key F-sharp minor, also provides a minor triad. The tonal center is established by the outline of the b minor triad in the subject of the fugue. The one chromatic note in the subject is the leading tone to B, A-sharp and same in the answer, E-sharp. In the answer a G-sharp appears but that is in the key of f-sharp minor. This subject goes from a 7th to a 6th, almost an octave. This subject has a defined arch structure. It goes up and then comes back down. The highest note of this subject is a G, a... ... middle of paper ... ...roque era it is not likely to slow down until the penultimate measure. The baroque “machine” keeps the piece moving and no place to slow down. I do not believe it would sound good if you slow anywhere but the penultimate measure and to make a big deal out of it too. I think with the nature of this piece you want tonic, but you don’t get it until the last measure and if you stretch out that penultimate measure and make them wait a little longer for the great B major chord it will make the crowd pleased. Bach wrote on all his music Soli De Gloria, which translates Glory to God. Bach knew what his music was for and why he wrote music. Bach understood his gifts and truly understood what it meant to glorify God in all aspect. I hope that I can interpret his music the way that he meant it to be. God will be glorified in all the things that I do and in the music I play.
middle of paper ... ... show the skill of the Hebrides- texture and instrumentation. The instruments the Hebrides is scored for is typical of the classical period and relatively small, as detailed above. however, Mendelsohn does not use this to hinder the drama of the piece with bright, tranquil motifs (the inital theme in the cello in bar 1) contrasting heavily with the dramatic full-orchestral sound heard at bar 87 and other instances. To conclude, we have shown that there are numerous examples of the way Mendelsohn has shaped the Hebrides- including contrasting texture, the use of sonata form and the contrasts within that form- to make it memorable and weave his varying ideas together.
Bach used time and structure in his work to force his listeners to set themselves inside the narrative. So, while listening, as
Conclusively, while being one of his earliest works, Mozart’s Minuet in F Major (K.2) is far from primitive. His use of repetition and subtle melodic and rhythmic variations keep the melody interesting enough to retain the listener’s attention. Not only this, but the harmonic surprises of the modulation and deceptive cadence keep the listener guessing in the best way possible. While at the surface this work may seem like nothing more than an AABA 32-bar dance, there is much more than that hidden throughout the work. If this is what Mozart was capable of at the mere age of six, it is unsurprising that his legacy remains to this day.
According to the article, “Johann Sebastian Bach”, “his Lutheran faith would influence his late musical works.” A tragic event occurred as both of his parents had passed away a few years later, which prompted him to live with his brother’s family. It was there that he continued learning about music. He continued to live there for five years as he left his brother when he was 15. He soon was enrolled in a school at a place called Luneburg. He was enrolled there due to him having “a beautiful soprano singing voice.”(Johann Sebastian Bach) However, as he got older, his voice didn’t sound the way it used to be, so he quickly transitioned back to playing the violin. His first job had also to do with music as he began to work in Weimar as a musician. According to the article, “Johann Sebastian Bach”, there were various jobs he did like serve as a violinist or occasionally fill in
All in all, Martin breaks down the Baroque into eight key characteristics. Through the study of these characteristics, the viewer is able to further understand the purpose of the piece. Martin, however, points out that these characteristics are not bound in gold as the rules of the Baroque. Rather, these are a general guideline which should be used lightly in order to receive a better understanding of the time. In the end, as a reader, one does receive a well rounded flavor of the different emotions and senses of the Baroque.
In Johann Sebastian Bach’s early life, he was taught the keyboard and was part of a choir.
...portantly, through his own music, which a majority of people still listen to during this very time, despite the progress of music over the centauries. Therefore, in conclusion, while Johann Sebastian Bach may not have been some great King or noble of some sort, he was an extraordinary and unforgettable composer and organist of Germany and devoted himself to his greatest passion, music, in order to further the influence of his culture, so that others may carry such cultural ways with them and into future generations such as our very own, where even Bach has yet to be forgotten.
...es into the opening of the last movement. Additionally, the diminution of number of lines and momentum can be compared with the long tonic octave at the end of the fugue in Op. 133.
Before looking more closely at the composers’ works, they must be placed in their proper historical contexts. Bach was a great composer of the Enlightenment. All his life he wanted to find a court post, with its increased liberty and financial backing (he had a family of twenty), but he never progressed beyond the Baroque equivalent of a Lutheran minister of music, who was expected to provide new music each week for the Sunday service. By the end of his life, his son C.P.E. Bach was far more famous than Johann ever was.
Johann Sebastian Bach was born into a family of musicians. It was only natural for him to pick up an instrument and excel in it. His father taught him how to play the violin and harpsichord at a very young age. All of Bach’s uncles were professional musicians, one of them; Johann Christoph Bach introduced him to the organ. Bach hit a turning point in his life when both of his parents died at the age of ten years old. Bach’s older brother Johann Christoph Bach took him in and immediately expanded his knowledge in the world of music. He taught him how to play the clavichord and exposed him to great composers at the time. At the age of fourteen, Bach and his good friend George Erdmann were awarded a choral scholarship to the prestigious musical school St. Michael’s in Luneburg. From then on, Bach began to build his career in the music industry. His first two years at the school he sang in the school’s a cappella choir. Historical evidence has shown that Bach at a young age would visit Johanniskirche and would listen to the works of organ player Jasper Johannsen. This was thought to have been the inspiration to Bach’s Toccata and Fugue in D minor. Studying at the prestigious musical school has help Bach network his way around and become acquaintances’ with some of the best organ players at the time such as Georg Böhm, and Johann Adam Reincken. Through his acquaintance with Böhm and Reincken Bach had access to some of the greatest and finest instruments.
His death marked the end of Baroque music. Bach left a music legacy. His music has been studied and continues to be studied by several generations of composers and musicians.
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
Next, was the longest movement, Molto vivace. Dominated by D minor, this movement resembled the introduction of the opening theme in the first movement but with more lightheartedness. Also called a scherzo because of its “dancelike” theme, this section utilized the Flute, Oboe, Clarinet, Bassoon, French Horn, Trumpet, Trombone, Timpani, and Strings. I also noticed a downbeat around every three beats throughout the fast tempo in this section.
The 24 Préludes (Op 2) are often compared to the Préludes of J.S Bach's Well Tempered Clavier and although both sets are similar in many ways, Chopin's are not meant as introductory pieces as Bach's, which are designed to lead into fugues, as they stand strongly on their own as poetic miniature piano pieces.
Christian music has been around for centuries, and comes in all styles and backgrounds. During the baroque period (1600-1750) and baroque period (, composers often incorporated bible verses in the chorus and throughout their pieces. Also, a very famous work from George Frederic Handel (1685-1759), “Messiah” (1741) which means “Christ”, is one of the many classical works with Christian influence. Other composers such as Johann Sebastian Bach composed, Mass in B minor (1749), a choral work in Latin that praised God and pleaded to the Lord for mercy. These are only a few examples of great works with Christian