Last edited by nodata
11.07.2021 | History

3 edition of Prelude and Fugue found in the catalog.

Prelude and Fugue

for orchestra.

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Published by Administrator in nodata

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      • Thesis (Mus.Doc.)--University of Toronto, 2005.Electronic version licensed for access by U. of T. users.Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2009.

        Statementnodata
        Publishersnodata
        Classifications
        LC Classifications2005
        The Physical Object
        Paginationxvi, 102 p. :
        Number of Pages84
        ID Numbers
        ISBN 100494030208
        Series
        1nodata
        2
        3

        The octatonically-influenced Fugue subject appears first using Damper technique, then Heterophony, Grace-note and finally Free-bow techniques. Each technique is also used in supporting lines in the Fugue.Prelude and Fugue is work which explores techniques of orchestrational blurring. The form allows comparisons among these blurring techniques, both sequentially (in the Prelude) and contrapuntally (in the Fugue).FREE-BOW, DIAPHRAGM, SINGLE-FINGER and SINGLE-MALLET TECHNIQUE all use aspects of the performers physical limitations to generate independent tempo variations within a sequence of notes. These techniques are introduced in mm.19--223, where the thematic material derives from the Fugue theme.Four principal blurring techniques are used. (1) The main theme of the Prelude (mm.23--49) uses DAMPER TECHNIQUE, in which each note of the melody is sustained softly for several measures. The melody is structured in such a way that the resulting harmonies combine tertian and quartal elements in colourful but non-functional sonorities. Development (mm.49--90) and a repetition (mm.90--114) continue the same texture. The same theme and technique return at the culmination of the fugue (m.372), and as a coda (m.398-end). (2) Foreground material in mm.121--186 uses HETEROPHONY TECHNIQUE, a method of blurring in which several instruments simultaneously play the same melodic line, but with different ornamentations and rhythmic alterations. The thematic material here develops the principal Prelude theme.GRACE-NOTE TECHNIQUE gives a single instrumentalist a series of notes with a precise beginning point and the instruction to play the sequence as quickly as possible maintaining even flow. When multiple instruments of like tonal colour combine using Grace-note technique, it causes a different kind of orchestral blur. Measures 1--22 use this technique to present material containing elements of the main themes. Grace-note technique subsequently appears most often in a counter-melodic role.This work is one continuous movement, with the beginning Prelude lasting through m.262, and the Fugue from there to the end. However, the delineation of the form is not so rigidly clear as in traditional models: textural characteristics are shared by both sections, and the principal thematic elements of each section play a supporting role in the other. File Size: 1MB.


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In 1903 Straube had gone to teach at the conservatory inwhere he became organist at the and later, in 1918, thea position once filled by Bach. Ashekanzy records the fugue with 124 BPM, and his take appears hasty in my eyes, while an incredibly controlled, wonderfully flowing and indeed "baroque" recording comes from Tureck, who plays the fugue at a mere 83 BPM - Prelude and Fugue. Bach forms a cadence in the mm. Technically easy enough for many piano students to get through, its apparent simplicity hides the fact that the piece is a miracle of uniqueness.

As a child, Liszt had been instructed by his father to master the keyboard works of Bach, with daily exercises on fugues from the WTC. In bars 132—134, the rising quaver scales in the pedals lead up to the final section.

Prelude and Fugue in C Major, BWV 846 from WTC I

The three-voice Stretto is followed by the four-voice Stretto. 1788—1867 made one of the Prelude and Fugue four-hand piano transcriptions of BWV 543 in 1832 for the Viennese publisher. The coda, which begins in fact in bar 25, also exhibits a single subject entry, this time in soprano. Although less prolific than copyists likefrom the many hand-copies circulated for purchase by Anon 303, including those from the recovered from in 2001, commentators agree that the professional copyist must have enjoyed a close relationship with C.

It is not immediately polyphonic though it can be strongly argued that there are indeed five voices from start to finish Prelude and Fugue, and it is even devoid of a theme.

" Later he realized that it reminded him of the theme ofreleased one year earlier. However, if you want to jump in and start listening here are some highlights to get you going.

This is truly one of the great works by Bach that is playable on the modern guitar. The upper notes from the mm. The WTC … provides an ideal opportunity for this fanciful fantasy. In fact the previous year Liszt had eloped to withwith whom they eventually had three children. In this section, the theme never overlaps itself. from the original on 7 October 2008. As further evidence of the reputation of the fugue, Stinson observes that, "Schumann attended and reviewed Mendelssohn's only public performance of the movement, Liszt heard Clara play her piano transcription of it, and Clara eventually played Liszt's transcription.

Work out a good fingering as you go along, write it in the score and stick with it each time you practise!