Johann Sebastian Bach – The Well-Tempered Clavier, Book 1 (2 CD) – Amazon. com Music. J.S. Bach: Prelude and Fugue in C (WTK, Book I, No.1), BWV WTC 1 by Bach to download and print. Piano scores for Bach WTC 1. Technical note: The fugues of Book 1 (left column) have been migrated to Flash, .. 2nd of three instance of the BACH motive in WTC Book I. Theories about the.

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The original project was made in Adobe Director, which required Shockwave player to view online. Contrapuntal Operations Book I No.

Metalanguage, Metacognition, Metaphor, bachh Metamorphosis Key concepts: Exploration of an interpretive framework, essentially a linguistic methodology, for revealing relationships between unlike things: The author concludes that all three address the problem of mortality, with the novel and fugue employing a self-reflexive technique to view the “one” from the perspective of the the “other.

Students can answer ten questions online. Dance, Relationship of the bm fugues Key concepts: This fugue is a dance, a passepied.

The Well-Tempered Clavier – Wikipedia

The pair are theorized to be Bach’s musical expression of Hebrews The last 14 measures contain the WTC’s only instance of Bach’s cross and crown motives descending and ascending chromatics in simultaneity.

This follows Bach’s 2nd quotation of the gefangen “captured” motive from the St. Prelude and fugue thematically linked; stretto, subject, answer, false subject defined; subject accompanies itself and inherently develops in certain ways. Korevaar performance notes Questionnaire: Students can answer ten questions online: Subject represents an economy of means; two countersubjects require triple counterpoint; sequence likened to stairs, functions to connect related keys.

Disjunct subject outlines compound melody; countersubject melodically inverted; sequence likened to engine; enharmonics justified; well-tempered intonation defined; exposition repeated at conclusion of fugue; similarity of fugue to Italian concerto grosso. Lutheranism, chiasmus, lamento, triple fugue, Bach symbols, retrogradation, melodic inversion, passion music Key concepts: Subject contains two motives, one of which is developed by augmentation; influence of French music; performance practice of dotted rhythms Interpretation: Subject fragmented into three motives and undergoes inversion for 1st time in WTC ; countersubject motivically related to subject; fugue likened to big bang; form is wtm binary Interpretation: Prelude is a double fugue; following fugue has unusual tonal relationship between subject and answer; bridge passage receives extraordinary development; ritornello principle is likened to boomerang.

Classic example of subject inversion and augmentation; fugue like polyphonic novel, Brothers Karamazov. Students can answer ten questions or these alternate ten online. Subject fragmented into three motives; counterexposition and developments repeat structures in new voice order; canonic episodes; fugue like building blocks. Second most chromatic wttk in Book I provides occasion to reference wohltemperirt, Werckmeister, Kircher, and Kirnberger. Episodes develop material not derived from the subject; like a fugue with three-part invention.

Chromatic subject is complemented by sighing countersubject in the inverse of the subject’s arched shape; fugue is an amalgam of opposites, stile antico with wtl ; discussion weaves themes from O’Brien on James Joyce, and Ciardi. Rhythmic symmetry of the subject; scalar material developed by economical means; fugue likened to Palladio villa with ensuing discussion wto geometric and harmonic means, Zarlino, and “music of the spheres.

Index of Analyzed Fugues

It is the fugue’s essence to reveal the likeness of seemingly unlike things. This alternate study of the gm fugue, asks why Paul Celan titled his poem on the Holocaust a “fugue” Todesfuge. An analogue is suggested of the Jewish- Christian experience, with lessons of the fugue and Holocaust applied to contemporary life.


Features the dtk and poetry of Holocaust survivor, Tamara Deuel. Heinrich Schenker, prolongation, fundamental structure Key baach Schenkerian analysis briefly explained and applied to fugue. Subject’s head exposes a melodic tritone above tonic, modulation to dominant results; subject’s tail implies tritone between predominant and dominant; tonic- predominant-dominant-tonic cycle explained and related to the Canon super Fa Mi BWV ; explanation of well-tempered intonation; includes Index of Harmonic Variations Questionnaire: Double fugue’s disjunct subject developed by imbrications of motives; stepwise 2nd subject flies; etymology of fugue considered in Divine Comedy and Paradise Lost.

Longest fugue in WTC I has the most iterations of subject, half inverted; symbolism wtj 14 canonic stretti; fugue compared to kinetic sculpture; theological implications of purposefulness and design; Soli Deo Gloria after WTC I. Contrapuntal texture with two countersubjects inverted in a pattern with one anomaly; rotation of polyphonic voices; fugue likened to Amish quilt, poetry, and folk art.

Korevaar performance notes included. Second of two fugues for five voices in the stile antico; counterpoint wwtk to choreography by Balanchine; Fux Gradus; dramatic leap 9thlargest of any subject; 2nd of three instance of the BACH motive in WTC Book I.

Theories about the affective connotation of b-flat minor. Fugue is like Monet series paintings of poplars; techniques that unite composition and painting. Most chromatic bxch subjects in WTC employs wwtk tones; outlines three crosses; 25 iterations of Bachh motive; intertextual associations of passion music with Weimar painting by Lucas Cranach the Elder; motivic connotations of prelude. Second half of subject retrogrades contour of first half; improvisatory character of fugue likened to migrating geese.

Eliot’s Four Quartets Topics: Shockwave atk Stockhausen, Adorno, Whk, universals, nominalism Key concepts: Bach’s conception of fugue as rhetoric; fugal invention; Aristotle’s topoiMattheson’s loci topici; exposition equivalent to thesis; development involves antithesis; connotations of specific word paintings including the lamento; Affekt and the relationship of Prout’s words to music.

Nietzsche, Wagner, philosophy, nihilism, St. Matthew Passion Key concepts: Mendelssohn’s revival of the St. Matthew Passion stimulates interest in Bach’s music; Schumann and the Bach Gesellschaft; 19th century reception of Bach as “healing force”; compared with Wagner; Nietzsche’s nihilism, friendship with Wagner, and criticism of Bach in AphorismHuman, All-Too-Human.

Scheibe, Mattheson, rhetoric, word painting Key concepts: Scheibe’s criticism of Bach’s music and Mattheson’s challenge; Bach responds by demonstrating mastery of musical rhetorical techniques: Pike, linguistics, tagmemics Key concept: The fugue contains elements of a wave, particle, and field.

Meaning “happens” when people interact with qtk people and objects in their environment.

In the fugue an objectmeaning is found in the perception of relationships between its “units in context,” what the linguist Kenneth Pike called a tagmeme. In Pike’s conception, these relationships involve qualities of slot, class, role, and cohesion. In the fugue, these qualities are expressed in the subject’s distribution, pitch-class content, scale-degree function within a key, and tonality as cohesive force.

Additionally, slot, class, role, and cohesion can be mapped, as a group, onto properties of contrast, variation, and distribution, producing what Pike called a tagmemic grid. The tonal grid comprises then the fugue’s tonal tagmemewhich interacts with its similarly structured motivic tagmeme and referential tagmemethese latter receiving mention without substantive discussion. Critique of scientific methods vs. Fugal time is neither circular nor linear, but epochal and spiraled.

Meaning in the fugue is dependent upon relationships between the past, present, and future. The intensity of conscious cognitive processing required in listening to a fugue protracts and compresses the passage of time: Lutheranism, chiasmus, lamento Passus duriusculustriple fugue, Bach symbols, melodic inversion, passion music Key concepts: Kandinsky’s painting, Fuga, provides occasion to explore the aesthetic ideal of expressionism and the historical roots of modern art, both in reaction to impressionism and as a continuation of the western aesthetic.


Bach’s legacy to Schoenberg and Kandinsky can be found in the principle of affect coupled with motivic development and economy of means. The spiritual quest of each artist also finds “expression” in his unique style and medium.

Grand Canyon, geology, double counterpoint Key concepts: The fugue’s subject and countersubject are heard in its various “voices. Analogy is made to the sedimentary layers of Grand Canyon, Arizona, with many allusions to its geology and history. This particular fugue is famous for its double counterpoint at the octave, 10th, and 12th–structures that are illustrated and explained. Salmon migration, ecosystems, counterpoint, potentiality vs.

J.S. Bach: Prelude and Fugue in C (WTK, Book I, No.1), BWV 846 – Fugue

Counterpoint involves an interdependence of musical ideas that is likened to the relationship of species within ecosystems. With this fugue, in particular, the sprightly subject seems to be intuitively at odds with the somber countersubject a lament. The purpose of the analysis is to show how one does not generate the other, but how they both emanate, harmonious and wti equal footing, from a more fundamental thought.

Bach’s commitment to the preaching purpose of music. The narrative begins with Bach in the Weimar jail, by some counts beginning his composition of the Well-Tempered Clavier, and ends with his gach with Frederick the Great.

The discussion is threaded with references to Bach’s many underlinings and annotations in the Calov Bible. In the Shockwave version the topic is: This aesthetic philosophy, articulated by Berkeley professor of architecture in The Nature of Whk, is applied to the fugue and contrasted with Milton Babbitt’s article, “Who Cares if You Listen?

Bafh in music, self-similar structures, matryoshka doll Key concepts: Ledbetter offers three reasons why this fugue should be interpreted as parody. Nevertheless, there are some serious ideas here, mainly in the self-similar contours and rhythms of the subject’s head and tail.

The fugue likened to a Russian “babushka” doll. The brilliance of Bach’s fugues lies in his understanding of process and invention.

Unlike “book fugues” that mimic form, Bach understood that the fugal complex must have the capacity to generate new material from old. In this fugue Bach interrupted a process of permutation. The analysis asks why, concluding with analogies from astronomy, philosophy, and the words of C. Schweitzer, Sartre, Nietzsche Key concepts: Thematically, the analysis focuses on the Stoic concept of logos and its etymological derivatives.

The logos of Bach’s counterpoint demands recognition as purposeful and meaningful, not merely a display of contrapuntal process. Triads, Tonality, Trinitarianism Key concepts: Bach’s music is the way it is because other things are the hach they are.

The power of Bach’s music is proportional to wfk power of those other things.

This fugue gives opportunity to consider how Trinitarian dogma has shaped musical structure. There is a brief discussion of the changing attitudes toward musical meaning and purpose during Bach’s lifetime.

This is contextualized in the dispute between Buttstett representing the cantoral tradition and Mattheson representing the Enlightenment view.