Showing posts with label Bach. Show all posts
Showing posts with label Bach. Show all posts

Thursday, June 22, 2017

6 Steps in Arranging Jesu, Joy of Man's Desiring by Bach for the ORGAN in 4 Parts

Have you tried to make an organ arrangement of a popular aria or a choral work? If not, it is worth giving it a try because not only you will have a lot of fun in the process, will be able to create a new organ piece that you will love to play but also you will learn a lot about the composition itself. In this article, I will describe how to make a 4 part arrangement of the famous Jesu, Joy of Man's Desiring by Bach for the organ in 6 easy steps.


1. Take a music staff paper and write the treble clef for the right hand, the bass clef for the left hand, and the bass clef for the pedals. Connect the 3 staves into a system.

2. Add a key signature (F sharp) and a meter signature (3/4).

3. Write the Violin I part in the right hand with the stems up in triplets.

4. Write the Violin II part in the right hand with the stems down. Be aware, that according to the usual practice in Bach's time, in the original score this part is notated using dotted eight notes and sixteenths which should be played together with the last note of each group of three notes in the top voice. When you transcribe it in the right hand part, you can use groups of quarter and eighth notes in triplets.

5. Write the Soprano part in the left hand one octave lower. This way the chorale tune will sound in a tenor range. The chorale tune will sound well on a solo registration, such as a soft reed.

6. Write the Cello part in the pedals which will be played using soft 16' and 8' stops.

The Violin II part will fit nicely to the right hand part. Although there are some voice crossings between the two violins, in general, the right hand can play these two voices very easily. You can play this part using flutes 8' and 4'.

Because in this arrangement you have to play 2 voices in the right hand, for some people who have little proper organ training experience it might not be as easy as it may seem. If you are at the beginning stages of organ playing, I recommend the 3 part version which will also sound very well. Just omit the step 4.



After the process of arranging this fantastic piece for the organ you will know how the piece is put together on a much deeper level than before which will also help you to advance in the field of music theory.

You can play your arrangement from the written down version on paper or you can use your favorite music notation software to transcribe it. Choose whatever is more comfortable for you but do not forget to treat your arrangement as a genuine organ composition while you play and practice it.


    By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" http://www.organduo.lt/organ-tutorial.html in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.

    Article Source: EzineArticles


Saturday, April 8, 2017

How to Make a 3 Part ORGAN Arrangement of Jesu, Joy of Man's Desiring by BACH?

Johann Sebastian Bach (aged 61) in a portrait ...
Johann Sebastian Bach (aged 61)

(Photo credit: Wikipedia)

One of the most popular movements from the cantatas by Johann Sebastian Bach is the famous "Jesu, Joy of Man's Desiring". This work was originally composed as a choral part from the Cantata No. 147 sung at the end of parts I and II of this cantata. Many organists love to play this work for weddings and other joyful occasions. Because of the popularity of this work, there are so many organ versions available which are not necessarily perfect for you. In this article, I will show you how to make an organ arrangement of this composition for organ in 3 voices which will sound very well and will be comfortable to play.

Before we can make an organ arrangement, we have to become familiar with the orchestral instrumentation. If we take a look at the original scoring, we will discover that this work is notated in 9 staves. The harmonized chorale tune is performed by the 4 part SATB choir which in Bach's time might have been sung by the 4 soloists, too. The top soprano voice is also reinforced by the Trumpet in C.

The bass line is performed by at least 5 people: vocal bass, cellist, harpsichordist (or organist), the double bass, and perhaps the bassoonist as well. The vocal bass joins in choral phrases. We can imagine Bach himself playing the harpsichord or the organ and conducting at the same time. He would have been playing the bass line in the left hand and adding chords or another fully worked out solo voice from the basso continuo notation with the right hand. The double bass player would be playing the cello part one octave lower (at 16' pitch level).

The 3 instrumental parts are meant for two violins, viola, and also 2 oboes doubling the violin I part. The viola player would have to play from the alto clef. Note that the meter of the violin I part is 9/8 while other voices are notated in 3/4 meter. This is probably done to avoid triplets in the violin I part.
As you can see, it must have been quite an ensemble of at least 14 people. In order to make an organ version of this piece, we have to decide which parts are most important because naturally we can't play every part on the organ at the same time. Obviously, there are 3 most important lines in this composition - the chorale tune, the violin I part playing orchestral ritornellos, and the cello part giving the harmonic foundation.



By playing these parts on three separate divisions, we could make a very nice and satisfactory organ version in a trio texture. The violin I part could be played using 8' and 4' flute combinations in the right hand. The chorale tune would sound best, if played in the tenor range (one octave lower) in the left hand on the solo registration, perhaps using a soft reed stop, such as an oboe. We can take the cello line in the pedals using 16' and 8' soft stops.

The 3 part version of Jesu, Joy of Man's Desiring will sound very well on the organ and it will not be too difficult to learn. Just make sure you treat this arrangement like a real organ composition, and practice slowly with correct fingering, pedaling, articulation, and phrasing. It is best to practice repeatedly one small fragment at a time.

    By Vidas Pinkevicius
    By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" http://www.organduo.lt/organ-tutorial.html in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.
    Article Source: EzineArticles


Friday, March 17, 2017

Who Were Katharina And Maria Barbara In The Life Of JOHANN SEBASTIAN BACH?

Barbara Katharina Bach, Johann Sebastian Bach's second cousin and elder sister of Maria Barbara Bach, Johann Sebastian Bach's future wife

Maria Barbara, did you hear who is coming to town? It is Johann Sebastian, our dear cousin Ambrosius' son. He has been away from Eisenach so long I am not sure I would recognize him. When his parents died he was sent to live with his brother Christoph in Ohrdruf for a few years, then I believe he was sent all the way to Luneburg for school. Lately, though I heard that Johann Sebastian had been playing the violin for the Duke's court in Weimar.



Now, Johann Sebastian has just been appointed the organist at the Neukirche right here in Arnstadt where that incredible new organ was just built! I was told that the concert Johann Sebastian gave when he came to try out the new organ was simply astounding and the committee just had to appoint him organist! I think I also heard, though, that he has to conduct the boy choir at the Neukirche. I wonder if he knows about that? I really do hope Johan Sebastian is up to the task of working with those ornery boys at the school. They sing so badly and can just be so awful!

However, the best news of all is that Sebastian is coming to visit his relatives next week when he gets to Arnstadt. That means us! We will be seeing our dear cousin Johann Sebastian very soon. You know he will be living at the Mayor's house, don't you? I can hardly wait to see him again!

Maria Barbara, have you heard? Johann Sebastian was just in a fight. I happened to be walking down the street near the Neukirche when this brawl erupted and that awful bassoonist Gegenbach and our dear JS had come to blows. I think our cousin Johann got the best of that little bassoon player, though, as Johann drew his sword and just cut to tatters Gegenbach's clothing! I was there! I saw it! And more than that, I am going to testify to the city authorities that the fight was not Johann Sebastian's fault! Poor Johann Sebastian is just so bothered by those awful no-count untalented boys at that school. It is too bad he can't just compose his beautiful organ music and be left alone.



The organ music dear Johann is composing now is so interesting. He tells me a wonderful composer named Georg Bohm that he met while he lived in Luneburg influenced him greatly. He just loves to compose variations on our wonderful hymns. Why sometimes just to be different, he puts the melody in the pedal in many of the pieces he is composing right now. He really is a genius that cousin of mine.

This story is one of a dozen vignettes from the organ and media event, "Bach and Sons" performed by Dr. Jeannine Jordan, concert organist.

    Dr. Jeannine Jordan has a doctorate degree in organ performance with an emphasis in Baroque repertoire. She studied with renown Swiss organist, Guy Bovet, has performed throughout the world, and presents the organ music of Bach in a creative program, "Bach and Sons," utilizing visual media and narration. https://promotionmusic.org/Listening_Media.html
    She has also recorded organ music of Johann Sebastian Bach https://promotionmusic.org/Bach___Sons_PNQ5.html and his sons on historic 17th and 18th century organs in the Bach region of Saxony, Germany. Visit Bach and Sons to schedule a free consultation with Dr. Jordan to discover how you can bring Bach to your community.
    Article Source: EzineArticles


Wednesday, February 15, 2017

The Saliency of JOHANN SEBASTIAN BACH's Music of the BAROQUE Era

Johann Sebastian Bach's contributions to the music of the Baroque era are undoubtedly among the most important in history. His unparalleled ability to combine eclectic techniques, styles, and traditions are perhaps the most important aspect of his compositional virtuosity. Having composed music of sacred and secular purposes, as well as within the many genres of Baroque music (opera excluded), J.S. Bach's role as a composer can ironically be described as that of a "Renaissance man." 

A portrait which may show Bach in 1750
A portrait which may show Bach in 1750 (Photo credit: Wikipedia)
While his innovativeness did not extend very far from the techniques and styles of his predecessors and contemporaries (it was his mastery of these styles that exposed his true innovative effect on music), his ability to express himself emotively without attaching the music to his own biographical perspective, his outstanding skill in terms of applying compositional techniques, and his affinity for the infusion and juxtaposition of seemingly disparate musical characteristics were the most salient markers of his place as arguably the greatest composer of the Baroque era.

A study of Bach's influence on this historically profound era in musical composition and expression may appropriately begin at the analysis of his music for keyboard instruments (e.g. organ, harpsichord). Influenced by the monumental, highly ornamented style of Dieterich Buxtehude, Bach's music for the keyboard is exemplified by his Preludes and Fugues. In his toccata-style compositions, Bach explored the juxtaposition of highly-contrasting sections to the point that these sections became distinct movements within a piece. The quasi-improvisatory nature of the prelude drew on the compositions of preceding composers of the French Clavecin School - namely Louis Couperin's 'prelude non mesure' - in its adoption of a non-imitative style. However, this style was improved upon by keeping the music within a structured metric scheme.

By doing so, Bach ensured that his preludes were less esoteric than his contemporaries' in terms of performance and emotional expression; anyone could play and interpret his works, for their meaning and expression was not specific to the composer. The metric structure of these movements also meant that they could be easily reproduced through print. As an example, the first movement of "Prelude and Fugue in C Minor," titled "Das Wohltempiert Klavier" (English: "Well-Tempered Keyboard"), portrays the repetition of a single melodic figure (in the form of an arpeggio) applied to a repeated rhythm. This technique is known as 'motoric rhythm,' and functions as a textural contrast in which tempi were also varied.

Aside from many of his dance suites, Bach usually composed his preludes as a non-imitative introduction to a Fugue. These imitative expressions of subject-and-exposition often contrasted, in unsurprising monumental fashion, the nature of preceding preludes, and in more than one case expanded on the imitative structure of canon. An example of this expansion is seen in his organ piece, "'Little Fugue' in G Minor." In this piece, the concept of canon-style expositional imitation is altered so that subjects and expositions take on new meanings as musical context is retrospectively apparent.

As if this extremely advanced application of compositional technique was not enough to reflect J.S. Bach's virtuosity, his "Art of Fugue" (German: "Die Kunst der Fuge") actively archived all possible imitative techniques of fugue-style music. Upon establishing a remarkably simple introductory subject melody, he subsequently applied a variety of imitative devices, such as inversion, retrograde, retrograde-inversion, and even much more specific techniques such as 'stretto.' While shortly after his death (he did not complete this volume) Bach's "Art of Fugue" was considered obsolete in the presence of the 'stile galant,' this collection of fugue pieces is regarded today as the greatest compositional work of imitative techniques, and serves as a testament to J.S. Bach's importance in Western musical history.

The French Clavecin School, including influential composers such as Chambonnieres, Couperin, Lully, and D'Anglebert, was responsible for the standardization of the Dance Suite during the Baroque era. Bach composed both solo instrumental and orchestral works based on these standardizations. However, his talent for perfecting and infusing compositional techniques from many sources and styles is once again apparent in these works. For solo instrumental dance suites - which Bach prepared for a variety of instruments ranging from the harpsichord to the transverse flute - both French and Italian techniques were adopted. While Bach made an effort to remain within the constructs of the French Clavecin School in these instrumental pieces, he often abstracted this model. For one, his preludes were not strictly 'non mesure,' but reflected a quasi-improvisatory nature and occasionally resembled 'recitativo' expression.

Furthermore, Bach followed the (accidental) ordering of a suite's movements as established by Froeberger's publisher by ending each suite with a 'gigue' movement. Otherwise, the style of the suites were relatively conservative in that they followed the structure of late French composers and focused on the nuclear movements of a dance suite, rather than reflecting later trends such as the dissolution of movements as typified by Couperin's ('le grand') 'ordres.' Further evidence of his adherence to the French style is seen in his omission of the fast-tempo 'sarabande' in favor of the 'sarabande grave.' These suites were not solely reflective of French influences, however. The inclusion of 'doubles' - repeated movements with the addition of even-note 'passaggi' - was purposefully designed to mimic the compositional techniques of Italian composers. Cumulatively, Bach's solo instrumental suites represent dance music's transition from purely entertainment-focused to the realm of serious listening and interpretation; even the most simple styles and techniques of the French School dances were elaborated into intellectual challenges for the listener.

J.S. Bach did compose dance music that starkly contrasted the conservative nature of the French model in his orchestral suites. While he only composed four of these pieces, all of them begin with 'ouvertures' (a testament to the influence Lully in contrast to the style of toccata-based preludes). Also, unlike his adherence to the traditional French model as seen in the solo instrumental suites, the orchestral suites often omitted, renamed, or rearranged many of the 'nuclear' movements (exemplified by the fact that these pieces never included an 'allemande' as their second movement); this decision shows how Bach was in fact influenced by Couperin's ('le grand') 'ordres.' By contrasting the styles and titles of their movements, this discrepancy can be shown through his work for solo instrument, "Lute Suite No. 1 in E Minor," and the orchestral work, "Orchestral Suite No. 3 in D Major."



Ritornello concerti were also works that Bach adopted, mastered, and altered by combining many techniques and styles. In these pieces, Bach only loosely followed general models of concerto composition: many of his concerti fit with the three movement model of the ritornello, while others only apply the tempi of ritornello to the first movement of the piece, and some movements were even composed in the style of dance music. As an example of this, let us consider the first three movements of the piece, "Brandenburg Concerto No. 2." The first movement reflects the style of an Italian ritornello concerto, but it varies in that it is not imitative. Instead, the melody is fragmented and scattered in a way so that the piece does not play for too long without referencing the thematic element. The following movements vary greatly from the Italian model: the second movement is through-composed, and mimics the slow tempo and triple meter effect of a 'sarabande grave.'

This movement's texture includes entrances of short melodic themes in many instrumental timbres, and even juxtaposes these themes with counter-melodies. The third movement is reminiscent of a 'gigue,' which is cheerful-sounding and imitative, but the comparison ends there due to its use of double-meter and its likeness to the subject-exposition structure of a fugue. However, it is not strictly a fugue, either, due to the fact that at one point the subject stands alone and is countered by another polyphonic melody. This piece once again showcases Bach's tendency to borrow compositional techniques from contrasting sources; Bach's mastery of these techniques resulted in truly innovative treatment of traditional styles, despite the fact that no novel material was introduced.

Finally, Bach's treatment of cantata music shows further evidence of his influence on music of the Baroque. While they were usually based on the melody of a Lutheran chorale, Bach often incorporated characteristics of a 'chorale prelude' in his treatment of the chorale melody. Bach would use the melody in the style of cantus firmus; its first appearance was remarkably simple (to aid in teaching anyone who was not familiar), while subsequent presentations kept the melody in the foreground through textural context (in the form of organ stops). Furthermore, the polyphonic texture built around the chorale melody was highly complex and artistically expressive (e.g. fourth movement of the cantata, "Sleepers Awake Calls the Voice"). Regarding the text of the chorale, Bach would use 'madrigalism' as a way to enhance the expression of the sacred libretto, even if no text was sung at that moment in the piece. This is apparent in his chorale prelude, "We Should Now Praise Christ." For the vocal accompaniment of these pieces, Bach still relied on instrumental composition techniques, such as 'sequence' and 'passaggi.'

he collective works of Johann Sebastian Bach are extraordinary in their mastery of past techniques and styles combined with Bach's ability to impersonally attribute innovative combinations of these techniques across otherwise disparate musical genres. His recognition as the greatest composer of this era is well-earned and clearly evidenced, as is his influence on later composers and novel compositional styles.

    By Brian J Sullivan
    Brian Sullivan received a bachelor's degree from Rutgers University, the State University of New Jersey, in the field of communication, with a special interest in mass communication and media studies. As part of this program, Brian also studied musical theory, history, performance, and the impact of music on contemporary popular culture.
    Source: EzineArticles