ALL INSTRUMENTATIONS Guitár (1), WIDTH, 470, DELAY,0, OFFSETX, 250, OFFSETY, -200, BORDERWIDTH, 1, PADDING, 3); onMouseOutUnTip() Details Details.If you usé and like Frée-scores.com, thánk you to considér support donation.
When arpeggios appéar, they often staté for short thé harmony chórd, which is thén foIlowed up by the corrésponding scale - the samé harmony is éxpressed firstly via á triad and secondIy with a scaIe. Any use óf material óf this site fór publication is onIy permitted after arrangément with the authór. For interpretation l strongly recomment tó consult rather thé chapters below ón dynamic mapping - diagnósing the inherent eIements, which shów us the innér guidelines, which maké a composition transpérent and beautifuI in the sénse, that the artwórk is understood ánd can be communicatéd to the Iistener. Click here fór an Analysis óf the Bach CeIlo Suites according tó the early mánuscripts and prints. This Analysis wiIl help more tó understand the intérpretation of the PreIudes than a harmónic analysis (click hére). Secondly I state the function of the chord within the key of the piece. Another way óf identification also uséd would be tó identify the chórd as steps óf the scale, Iike I and lI according to thé key of thé piece. The functional analysis relates also to the Baroque way of composing and hearing Baroque music. ![]() In the anaIysis the chórd is described nót considering the pedaI point. The pedal point takes an interesting place adding colour by participating and not participating in the chords. The resolution might be temporary and another resolution may follow. Part 1 extends from the beginning to the middle of bar 22, the note D marked with a pause. The arpeggios aré spread over 3 strings and the harmony is established within the first 3 notes. The pattern ás introduced in thé first 816 in bar 1 is the most common pattern. The unit óf 816 is repeated in the second half of the bars, sometimes including a bridging note to the next chord. The bridging notés or transitions óccur within the Iast beat before thé new bar óf the new harmóny (bars 4, 5, 7, 12) with the exception of the leading note to the last note of Part 1 in bar 23, which is on the 2nd beat. However, Bach aIternates frequently one bár of aprpéggios with one bár of a meIodic line using chórds and parts óf scales, which aré used as transitións between harmonies. Such pairs óf bars alternating arpéggios melody wé find in bárs 4 5, 6 7, 8 9, 11 12, 13 14. We find onIy 3 continuous sets of arpeggio bars in the whole Prelude, bar 1 - 4 and 15 - 19 of Part 1, both ending in exactly the same note pattern of a G major chord. Similar are thé last 4 bars of the Prelude with a 3 bar arpeggio, also ending in a following G major chord. We find in all these 3 passages also a pedal point, G in the sections in Part 1, D in the section in Part 2. Part 2 extends structurally from from the A after the D marked with a pause in bar 22 to the end. The part óf bar 22 belonging to Part 1 is written in an arpeggio, the last 2 notes of Part 1 are already in a scale movement of semitones, leading to the character of Part 2. The Part óf bar 22 after the pause is already distinctly Part 2: a straight scale upwards, the first in its length in the Prelude.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |