In dulci jubilo (BWV 608): Difference between revisions
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O Prince of Glory<BR> | O Prince of Glory<BR> | ||
Draw me after You!<BR> | Draw me after You!<BR> | ||
Draw me after You!<BR> | Draw me after You!<ref>''Johann Sebastian Bach: Orgelbuchlein.'' Ed. Robert Clark and John David Peterson. St. Louis, MO: Concordia, 1984.</ref><BR> | ||
</blockquote> | </blockquote> | ||
Notice that the second verse mentions "Draw me after You!" Bach seems to have based his main compositional approach to this piece on that line. This piece is a double canon; the bass follows the soprano, each carrying the principal melody of the chorale. The alto and tenor also form a canon of swifter moving triplets and duplets. The principal difficulty in this piece is probably lining up correctly the three eighth notes against the two quarter notes that are formed in the alto/tenor canon. | Notice that the second verse mentions "Draw me after You!" Bach seems to have based his main compositional approach to this piece on that line. This piece is a double canon; the bass follows the soprano, each carrying the principal melody of the chorale. The alto and tenor also form a canon of swifter moving triplets and duplets. The principal difficulty in this piece is probably lining up correctly the three eighth notes against the two quarter notes that are formed in the alto/tenor canon. | ||
==Registration and Organs== | ==Registration and Organs== | ||
A 4' principal (Choralbass) or a 4' reed in the pedal with light flues in the manuals works well.<ref> | A 4' principal (Choralbass) or a 4' reed in the pedal with light flues in the manuals works well. Care must be taken to make sure that both instances of the melody are clearly heard, and that one does not dominate the other.<ref>''Johann Sebastian Bach: Orgelbuchlein.'' Ed. Robert Clark and John David Peterson. St. Louis, MO: Concordia, 1984.</ref> | ||
==Fingering and Pedaling== | ==Fingering and Pedaling== | ||
| Line 32: | Line 32: | ||
==Articulation and Phrasing== | ==Articulation and Phrasing== | ||
This piece should be played with ordinary (non-legato) touch, being careful to accent strong beats while not accenting weak beats. | |||
==Ornamentation== | ==Ornamentation== | ||
This pieces does not contain any written-in ornaments. | |||
==Tempo and Meter== | ==Tempo and Meter== | ||
This piece is in 3/2. The chief difficulty of this piece is the pervasive three against two in the accompanying voices. Care must be taken to make them sound natural and not mechanical. | |||
==Scores and Editions== | ==Scores and Editions== | ||
Latest revision as of 15:35, 18 February 2015
from Das Orgelbüchlein by Johann Sebastian Bach
Background
The tune for this chorale is the same that is used in "Good Christian Men Rejoice" in English-speaking countries. The text of this chorale is as follows:
In quiet joy
sing and be glad!
Our hearts' desire
lies in a manger
and shines like the sun
in His mother's bosom.
You are Alpha and Omega.
You are Alpha and Omega.
O little Jesus
I long for you!
Comfort my soul
O perfect Child,
with all Your kindness
O Prince of Glory
Draw me after You!
Draw me after You![1]
Notice that the second verse mentions "Draw me after You!" Bach seems to have based his main compositional approach to this piece on that line. This piece is a double canon; the bass follows the soprano, each carrying the principal melody of the chorale. The alto and tenor also form a canon of swifter moving triplets and duplets. The principal difficulty in this piece is probably lining up correctly the three eighth notes against the two quarter notes that are formed in the alto/tenor canon.
Registration and Organs
A 4' principal (Choralbass) or a 4' reed in the pedal with light flues in the manuals works well. Care must be taken to make sure that both instances of the melody are clearly heard, and that one does not dominate the other.[2]
Fingering and Pedaling
Replace this text with any specific information on fingering and pedaling
Articulation and Phrasing
This piece should be played with ordinary (non-legato) touch, being careful to accent strong beats while not accenting weak beats.
Ornamentation
This pieces does not contain any written-in ornaments.
Tempo and Meter
This piece is in 3/2. The chief difficulty of this piece is the pervasive three against two in the accompanying voices. Care must be taken to make them sound natural and not mechanical.
Scores and Editions
Replace this text with any specific information on scores and editions
Recordings
Replace this text with any specific information on recordings
Free Online
James Kibbie, 1717 Trost organ, St. Walpurgis, Großengottern, Germany, using _____.
Pay to Listen
Replace this text with any specific information on online recordings that are available for a fee
Other Resources
Replace this text with any information on other resources pertinent to performing these works
Notes
This space is for automatic insertion of footnotes. To enter a footnote from anywhere in the article, start by typing the tag <ref> and then enter the text, and type the tag </ref> to end the footnote. The footnote will then appear in this "Notes" section automatically.
