Prelude and Fugue in C Major (BWV 553): Difference between revisions
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The repeated notes in the left hand and pedal are also potential tempo pitfalls. Practice slowly and decide on your articulation pattern. Keep in mind putting an accent on the strong beats. Watch that the rests between repeated notes are not clipped short, so that the first beat does not arrive early. | The repeated notes in the left hand and pedal are also potential tempo pitfalls. Practice slowly and decide on your articulation pattern. Keep in mind putting an accent on the strong beats. Watch that the rests between repeated notes are not clipped short, so that the first beat does not arrive early. | ||
==Scores and Editions== | |||
Replace this text with any specific information on scores and editions | |||
==Recordings== | ==Recordings== | ||
Revision as of 20:00, 24 March 2012
attributed to Johann Sebastian Bach
Background
The prelude is written like a short binary form sonata, meaning that the mood is written in two sections, each one is repeated. The main theme (found and measure 1-2) returns at the beginning of the B section (m. 13) and also in again in m. 21, as a sort of recapitulation.
The ‘spun out’ sixteenth-note figurations in the main theme, the repeated chords in the left hand, and the slow rate of harmonic change, denote the influence of the Italian Baroque style.
Registration and Organs
Fingering and Pedaling
A note on the key of C major: C major might seem like a very easy key to play in because there are no sharps or flats to keep track of. owever, using all white keys can make hand positions a little bit awkward to reach…might take a bit of practice to gain accuracy. Don’t be discouraged if you hit wrong notes in this ‘easy’ key.
Articulation and Phrasing
Prelude: The main theme (in m. 1) is appears throughout the Prelude. Ensure that the articulation and phrasing of the theme is consistent throughout the piece.
Fugue:
Ornamentation
Some trills are written into the score. These are should be observed. Baroque trills usually begin on the upper auxiliary tone (the note above the one that is written). They trill usually begins on the beat.
Tempo and Meter
Also, make sure that the tempo of the sixteenth notes is consistent throughout all the voices. Consider especially the pedal solo in m. 12 and the running sixteenth notes in mm. 15-16 and 26-27.
The repeated notes in the left hand and pedal are also potential tempo pitfalls. Practice slowly and decide on your articulation pattern. Keep in mind putting an accent on the strong beats. Watch that the rests between repeated notes are not clipped short, so that the first beat does not arrive early.
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
Replace this text with any specific information on online recordings that are available free
Pay to Listen
Replace this text with any specific information on online recordings that are available for a fee
Resources
Scores
http://imslp.org/wiki/8_Kleine_Pr%C3%A4ludien_und_Fugen,_BWV_553-560_(Bach,_Johann_Sebastian)
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