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Chromatic Fourth
In music theory, a chromatic fourth, or ''passus duriusculus'',Monelle, Raymond (2000). ''The Sense of Music: Semiotic Essays'', p.73. . is a melody or melodic fragment spanning a perfect fourth with all or almost all chromatic intervals filled in ( chromatic line). The quintessential example is in D minor with the tonic and dominant notes as boundaries: \relative c The chromatic fourth was first used in the madrigals of the 16th Century. The Latin term itself—"harsh" or "difficult" (''duriusculus'') "step" or "passage" (''passus'')—originates in Christoph Bernhard's 17th century ''Tractatus compositionis augmentatus'' (1648–49), where it appears to refer to repeated melodic motion by semitone creating consecutive semitones. The term may also relate to the ''pianto'' associated with weeping. In the Baroque, Johann Sebastian Bach used it in his choral as well as his instrumental music, in the ''Well-Tempered Clavier'', for example (the chromatic fourth is indicated by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ludwig Van Beethoven
Ludwig van Beethoven (baptised 17 December 177026 March 1827) was a German composer and pianist. Beethoven remains one of the most admired composers in the history of Western music; his works rank amongst the most performed of the classical music repertoire and span the transition from the Classical period to the Romantic era in classical music. His career has conventionally been divided into early, middle, and late periods. His early period, during which he forged his craft, is typically considered to have lasted until 1802. From 1802 to around 1812, his middle period showed an individual development from the styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterized as heroic. During this time, he began to grow increasingly deaf. In his late period, from 1812 to 1827, he extended his innovations in musical form and expression. Beethoven was born in Bonn. His musical talent was obvious at an early age. He was initially harshly and intensively tau ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Toccatas For Keyboard (Bach)
The Toccatas for Keyboard, BWV 910–916, are seven pieces for clavier written by Johann Sebastian Bach. Although the pieces were not originally organized into a collection by Bach himself (as were most of his other keyboard works, such as the Well Tempered Clavier and the English Suites etc.), the pieces share many similarities, and are frequently grouped and performed together under a collective title.Schulenberg 2006, 97. History The toccatas represent Bach's earliest keyboard compositions known under a collective title. The earliest sources of the BWV 910, 911 and 916 toccatas appear in the Andreas-Bach Book,Schulenberg 2006, 98. an important collection of keyboard and organ manuscripts of various composers compiled by Bach's oldest brother, Johann Christoph Bach between 1707 and 1713. An early version of the BWV 912 (known as the BWV 912a) also exists in another collection compiled by Johann Christoph Bach known as the "Möller manuscript", from around 1703 to 1707. This ind ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prelude And Fugue In E Minor, BWV 548
Prelude and Fugue in E minor, BWV 548 is a piece of organ music written by Johann Sebastian Bach sometime between 1727 and 1736, during his time in Leipzig. The work is sometimes called "The Wedge" due to the chromatic outward motion of the fugue theme. Unlike most other organ preludes and fugues of Bach, the autograph fair copy of the score survives, though the handwriting changes twenty two measures into the fugue to the hand of Johann Peter Kellner,Williams 1980, 164. a likely pupil and acquaintance of Bach who played an important role in the copying of his manuscripts. Because of the work's immense scope, it has been referred to as "a two-movement symphony" for the organ.Williams 2003, 119. History The autograph manuscript, along with that of the Prelude and Fugue in B minor, BWV 544, which is believed to have been written around the same time, share the same watermark and style of handwriting, which points to a composition period of 1727-1731. It has been suggested by Chris ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 In C-sharp Minor, BWV 849
The Prelude and Fugue in C-sharp minor, BWV 849, is a pair of keyboard compositions by Johann Sebastian Bach. It is the fourth prelude and fugue in the first book of ''The Well-Tempered Clavier'', a series of 48 preludes and fugues by the composer. Prelude The solemn and expressive, recitative character of the melody is reminiscent of Bach's passion music. A direct relationship between the prelude and its fugue, while not readily apparent, is hinted in the long-held durations of the bass in the first ten measures. If one omits the bass pitches of measures 4–7, what remains of measures 1–10 are the pitches C, B, E, D, C of the fugue's subject. The prelude's most memorable motif is an ascending octave leap, which is heard throughout the piece. Fugue At 115 measures in length, and in five voices, this is one of Bach's longest and most densely-crafted fugues. While it contains three themes, it is not properly structured as a triple fugue because only the first ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Inventions And Sinfonias (Bach)
The Inventions and Sinfonias, BWV 772–801, also known as the Two- and Three-Part Inventions, are a collection of thirty short keyboard compositions by Johann Sebastian Bach (1685–1750): 15 '' inventions'', which are two-part contrapuntal pieces, and 15 ''sinfonias'', which are three-part contrapuntal pieces. They were originally written as "''Praeambula''" and "''Fantasiae''" in the Klavierbüchlein für Wilhelm Friedemann Bach, a ''Clavier-booklet'' for his eldest son, and later rewritten as musical exercises for his students. Bach titled the collection: Forthright instruction, wherewith lovers of the clavier, especially those desirous of learning, are shown in a clear way not only 1) to learn to play two voices clearly, but also after further progress 2) to deal correctly and well with three obbligato parts, moreover at the same time to obtain not only good ideas, but also to carry them out well, but most of all to achieve a ''cantabile'' style of playing, and thereby to acqu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 614
The (BWV; ; ) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990. An abbreviated version of that second edition, known as BWV2a, was published in 1998. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. For example, BWV 992 was composed many years before BWV 1. BWV numbers were assigned to 1,126 compositions in the 20th century, and more have been added to the catalogue in the 21st century. The Anhang (Anh.; Annex) of the BWV lists over 200 lost, doubtful and spurious compositions. History The first edition of the ''Bach-Werke-Verzeichnis'' was published in 1950. It allocated a unique number to every known composition by Bach. Wolfgang Schmieder, the editor of that catalogue, grouped the compositions by genre, largely following the 19th-century Bach Gesellschaft (BG) edition f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
