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Prelude And Fugue In E Minor, BWV 855
Prelude and Fugue in E minor, BWV 855, is the 10th prelude and fugue for keyboard (harpsichord) in the first book of ''The Well Tempered Clavier'', composed in 1722 by Johann Sebastian Bach. The Prelude in E minor, BWV 855a, features as No. 18 ("Praeludium 5") in the 1720 Klavierbüchlein für Wilhelm Friedemann Bach. BWV 855a may also refer to both this Prelude and a Fughetta in the same key, an early version of BWV 855. Alexander Siloti made a piano arrangement in B minor of the Prelude BWV 855a. Prelude and Fughetta, BWV 855a Where the 1998 version of the ''Bach-Werke-Verzeichnis'' (BWV2a) described BWV 855a as only a Prelude, based on its appearance in the Klavierbüchlein für Wilhelm Friedemann Bach, BWV 855a may also refer to both this Prelude and a Fughetta in E minor, found in a manuscript copy made between 1750 and the early 19th century, once owned by F. Konwitschny but later lost. The Prelude and Fughet ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prelude And Fugue
{{Unreferenced, date=June 2019, bot=noref (GreenC bot) The prelude and fugue is a musical form generally consisting of two movements in the same key for solo keyboard. In classical music, the combination of prelude and fugue is one with a long history. Many composers have written works of this kind. The use of this format is generally inspired by Johann Sebastian Bach's two books of preludes and fugues — ''The Well-Tempered Clavier'' — completed in 1722 and 1742 respectively. Bach, however, was not the first to compose such a set: Johann Caspar Ferdinand Fischer wrote a 20-key cycle in his 1702 work ''Ariadne musica''. A number of composers wrote sets of pieces covering all 24 major and/or minor keys. Many of these have been sets of 24 preludes and fugues, or 24 preludes. The first movement may be alternatively titled, resulting in a fantasy and fugue, or a toccata and fugue, among others. Works The following works employ, sometimes loosely, the prelude-and-fugue for ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Well-Tempered Clavier
''The Well-Tempered Clavier'', BWV 846–893, consists of two sets of preludes and fugues in all 24 major and minor keys for keyboard by Johann Sebastian Bach. In the composer's time, ''clavier'', meaning keyboard, referred to a variety of instruments, most typically the harpsichord or clavichord, but not excluding the organ. The modern German spelling for the collection is ' (WTK; ). Bach gave the title ' to a book of preludes and fugues in all 24 keys, major and minor, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study". Some 20 years later, Bach compiled a second book of the same kind (24 pairs of preludes and fugues), which became known as ''The Well-Tempered Clavier'', Part Two (in German: ''Zweyter Theil'', modern spelling: ''Zweiter Teil''). Modern editions usually refer to both parts as ''The Well-Tempered Clavier, Book I'' (WTC I) and ''The Well-Tempered C ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Emil Gilels
Emil Grigoryevich Gilels (Russian: Эми́ль Григо́рьевич Ги́лельс; 19 October 1916 – 14 October 1985) was a Russian pianist. He is widely regarded as one of the greatest pianists of all time. Early life and education Gilels was born to a Jewish family on 19 October 1916 (6 October, Old Style) in Odessa (then part of the Russian Empire, and now Ukraine) to Gesya and Grigory Gilels. His father worked as a clerk in a sugar refinery. His sister Elizaveta, three years his junior, was a renowned violinist. Gilels had perfect pitch, and at the age of five-and-a-half, he began lessons with , a famous piano pedagogue in Odessa. A quick learner, he was playing all three volumes of Loeschhorn's studies within a few months, and soon afterwards Clementi and Mozart sonatinas. Gilels later credited this strict training with Tkach for establishing the foundation of his technique. In turn, Tkach commented of Gilels, using a diminutive, "Milya Gilels possesses the a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arpeggio
A broken chord is a chord broken into a sequence of notes. A broken chord may repeat some of the notes from the chord and span one or more octaves. An arpeggio () is a type of broken chord, in which the notes that compose a chord are played or sung in a rising or descending order. An arpeggio may also span more than one octave. Being an Italian noun, its plural is ''arpeggi''. The word ''arpeggio'' comes from the Italian word ''arpeggiare'', which means ''to play on a harp''. Even though the notes of an arpeggio are not played or sung all together at the same time, listeners hear the sequence of notes as forming a chord. When an arpeggio also contains passing tones that are not part of the chord, different music theorists may analyze the same musical excerpt differently. Arpeggios enable composers writing for monophonic instruments that play one note at a time (e.g., flute, saxophone, trumpet), to voice chords and chord progressions in musical pieces. Arpeggios and brok ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord (music)
A chord, in music, is any harmonic set of pitches/frequencies consisting of multiple notes (also called "pitches") that are heard as if sounding simultaneously. For many practical and theoretical purposes, arpeggios and broken chords (in which the notes of the chord are sounded one after the other, rather than simultaneously), or sequences of chord tones, may also be considered as chords in the right musical context. In tonal Western classical music (music with a tonic key or "home key"), the most frequently encountered chords are triads, so called because they consist of three distinct notes: the root note, and intervals of a third and a fifth above the root note. Chords with more than three notes include added tone chords, extended chords and tone clusters, which are used in contemporary classical music, jazz and almost any other genre. A series of chords is called a chord progression. One example of a widely used chord progression in Western traditional music and blu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Repeat Sign
In music, a repeat sign is a sign that indicates a section should be repeated. If the piece has one repeat sign alone, then that means to repeat from the beginning, and then continue on (or stop, if the sign appears at the end of the piece). A corresponding sign facing the other way indicates where the repeat is to begin. These are similar to the instructions da capo and dal segno. Different endings When a repeat calls for a different ending, numbered brackets above the bars indicate which to play the first time (1.), which to play the second time (2.), and so on if necessary. These are called "first-time bars" and "second-time bars", or "first and second endings". They are also known as " volta brackets" and although there are normally 2 volta brackets, there is no limit to how many there can be. In Unicode In Unicode, repeat signs are part of the Musical Symbols and they are coded as follows: Other notation When only standard keyboard characters are available, the punct ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sixteenth Note
Figure 1. A 16th note with stem facing up, a 16th note with stem facing down, and a 16th rest. Figure 2. Four 16th notes beamed together. In music, a 1/16, sixteenth note (American) or semiquaver (British) is a note played for half the duration of an eighth note (quaver), hence the names. It is the equivalent of the semifusa in mensural notation, first found in 15th-century notation. Sixteenth notes are notated with an oval, filled-in note head and a straight note stem with two flags (see Figure 1). A single sixteenth note is always stemmed with flags, while two or more are usually beamed in groups. A corresponding symbol is the sixteenth rest (or semiquaver rest), which denotes a silence for the same duration. As with all notes with stems, sixteenth notes are drawn with stems to the right of the notehead, facing up, when they are below the middle line of the musical staff (or on the middle line, in vocal music). When they are on the middle line (in instrumental music) or ab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Transposition (music)
In music, transposition refers to the process or operation of moving a collection of notes ( pitches or pitch classes) up or down in pitch by a constant interval. For example, one might transpose an entire piece of music into another key. Similarly, one might transpose a tone row or an unordered collection of pitches such as a chord so that it begins on another pitch. The transposition of a set ''A'' by ''n'' semitones is designated by ''T''''n''(''A''), representing the addition ( mod 12) of an integer ''n'' to each of the pitch class integers of the set ''A''. Thus the set (''A'') consisting of 0–1–2 transposed by 5 semitones is 5–6–7 (''T''5(''A'')) since , , and . Scalar transpositions In scalar transposition, every pitch in a collection is shifted up or down a fixed number of scale steps within some scale. The pitches remain in the same scale before and after the shift. This term covers both chromatic and diatonic transpositions as follows. Chromatic transpo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Piano
The piano is a stringed keyboard instrument in which the strings are struck by wooden hammers that are coated with a softer material (modern hammers are covered with dense wool felt; some early pianos used leather). It is played using a keyboard, which is a row of keys (small levers) that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. It was invented in Italy by Bartolomeo Cristofori around the year 1700. Description The word "piano" is a shortened form of ''pianoforte'', the Italian term for the early 1700s versions of the instrument, which in turn derives from ''clavicembalo col piano e forte'' (key cimbalom with quiet and loud)Pollens (1995, 238) and ''fortepiano''. The Italian musical terms ''piano'' and ''forte'' indicate "soft" and "loud" respectively, in this context referring to the variations in volume (i.e., loudness) produced in response to a pianist's touch or pressure on the keys: the grea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
C B A] B[ G A B
C, or c, is the third letter in the Latin alphabet, used in the modern English alphabet, the alphabets of other western European languages and others worldwide. Its name in English is ''cee'' (pronounced ), plural ''cees''. History "C" comes from the same letter as "G". The Semites named it gimel. The sign is possibly adapted from an Egyptian hieroglyph for a staff sling, which may have been the meaning of the name ''gimel''. Another possibility is that it depicted a camel, the Semitic name for which was ''gamal''. Barry B. Powell, a specialist in the history of writing, states "It is hard to imagine how gimel = "camel" can be derived from the picture of a camel (it may show his hump, or his head and neck!)". In the Etruscan language, plosive consonants had no contrastive voicing, so the Greek ' Γ' (Gamma) was adopted into the Etruscan alphabet to represent . Already in the Western Greek alphabet, Gamma first took a '' form in Early Etruscan, then '' in Classical Etru ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bar (music)
In musical notation, a bar (or measure) is a segment of time corresponding to a specific number of beats in which each beat is represented by a particular note value and the boundaries of the bar are indicated by vertical bar lines. Dividing music into bars provides regular reference points to pinpoint locations within a musical composition. It also makes written music easier to follow, since each bar of staff symbols can be read and played as a batch. Typically, a piece consists of several bars of the same length, and in modern musical notation the number of beats in each bar is specified at the beginning of the score by the time signature. In simple time, (such as ), the top figure indicates the number of beats per bar, while the bottom number indicates the note value of the beat (the beat has a quarter note value in the example). The word ''bar'' is more common in British English, and the word ''measure'' is more common in American English, although musicians generally u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
