Bach chorales analysis

At least five preludes of the compilation are transcribed from movements in Bach's church cantatasmostly chorale cantatas he had composed around two decades earlier. These cantatas belong to the chorale cantata or second year cycle. Listed according to the sequence of the liturgical year :. Hymn tune: " Wo soll ich fliehen hin " "Whither shall I flee? Since no model has been found for BWVmost scholars assume that the source cantata is one of the or so believed to have been lost.

The trio scoring of the movement suggests the original may have been for violinor possibly violins and violas in unison right handand continuo left handwith the chorale pedal sung by soprano or alto. Tune: " Meine Seele erhebt den Herren " "My soul doth magnify the Lord"a German variant of the tonus peregrinus or ninth psalm tone.

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bach chorales analysis

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This section needs expansion. You can help by adding to it.The Four—Part Chorales of J. Bach This site is devoted to the more than four—part chorales of Johann Sebastian Bach. At bach—chorales. The resources and research pages provide numerous databases and articles that are designed to assist musicians, theorists, historians, composers, teachers, and amateur Bach—lovers alike. A spiral—bound Dahn Edition of the Bach Chorales is available!

Arranged by BWV number, this new —page edition of Bach settings is the most comprehensive edition available, containing nearly 70 settings that are left out of the popular Riemenschneider edition. Each meticulously—notated chorale, presented with its original German text, is accompanied with thorough contextual information, just as presented here at b—c.

Currently out of stock. A new batch from the printer is due soon. Please inquire for details.

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All feedback and donations are greatly appreciated! For a complete listing of the Bach four—part chorales, jump to the Sortable Chorale Index. Or simply use the quick links below. These correspond to the BWV — individual chorales. Copyright Here now are all of his known chorales in an easy to read spiral bound format.

Vertical Theory, Lesson Seven: Bach Analysis

This version of the Bach Chorales is the most helpful edition available on the market as the it contains instant access into the musical language of this great master. Each chorale is neatly arranged and presented in a way that any musician will appreciate. There are no small, cramped pages of difficult to read music that will not sit properly on a music stand. If you are interested in bringing your musical ability to another level, you will save many hours of time and study with this edition of the Bach Chorales.

Johann Sebastian Bach is widely considered to be the greatest musician who ever lived.

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He is known to have taught his own students the principles of music by making them study and write chorales. These brief pieces of music are masterpieces not only of harmonic virtuosity but music pedagogy and musical instruction.

They have been the cornerstone of music education and instruction for more than years and have been extolled by practically all the great musicians who have followed in his wake. Click HERE for a preview. Here are all of his known chorales gathered into one collection in an easy to read format.

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Helpful footnotes and important insights regarding J. Any person wishing to improve his or her skills in music would benefit greatly from the study of J. They have been the bible of western music since the 18th century. This study has now been made significantly easier with this book. What better way to improve your musical skills than by studying the greatest musician who ever lived?

Anyone who has studied music for any length of time knows how easy it is to get stuck at a certain level and to become discontent with the progress they are making.

Here is a simple way to break out of that common problem: Study with a master musician. Unfortunately, this is not always possible for many people.

Most people CAN however study the music of a great musician. However, this can be a very time consuming process. For about the price of a single hour long lesson by a living master you can get a lifetime worth of inspiration and knowledge in a single volume text. Actually, in many cities you would spend much more for an hour lesson with a master musician.

Read for yourself what these great musicians had to say about learning from J. Purchase your copy now! What Customers are Saying about J.

Bach Chorales: Analyzed:. It is indeed surprising that it has taken this long for a work like this to surface.

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Now that it has, it is a blessing. Easy to read with nice typeface. Anyone with an interest in harmony simply can not be without this volume. Just what I was looking for. This is going to give me a lot to study.

I have told several of my musician friends about this resource.

bach chorales analysis

Thanks for making this available. It is spiral bound so opens out flat for easy access and uses both Roman Numerals and chord names.

Bach - Chorales: a guide

This is a great resource for anyone studying the Bach Chorales for a deeper understanding of harmony from the Master himself. I know of no other compendium of harmonic and melodic elements, that is as clear and thorough.Bach's large choral composition in two parts on German text, written to be performed in a Lutheran service on Good Fridayis based on the Passionas told in two chapters from the Gospel of John John 18 and John 19 in the translation by Martin Lutherwith two short interpolations from the Gospel of Matthew in the earliest version, one is from the Gospel of Matthew and one from the Gospel of Mark.

During the vespers servicethe two parts of the work were performed before and after the sermon. The Bible text is reflected in contemporary poetry and in chorales that often end a "scene" of the narration, similar to the way a chorale ends most Bach cantatas. An anonymous poet supplied a few texts himself, quoted from other Passion texts and inserted various stanzas of chorales by nine hymn writers. Bach led the first performance on 7 April in Leipzig's Nikolaikirche. He repeated it several times between andexperimenting with different movements and changing others, which resulted in four versions with a fifth one not performed in Bach's lifetime, but representing the standard version.

The Passion, close to Bach's heart, has an "immediate dramatic quality". The gospel account by John narrates the story in five "scenes". Some musicologists regard movement 24 as the conclusion of scene 3, the aria " Eilt, ihr angefocht'nen Seelen " which locates the action from the courthouse to Golgothathe calvary.

Bach incorporated two short interpolations from the Gospel of Matthew in Version I, one from Matthew and one from the Gospel of MarkMatthew after Johndescribing the weeping of Peter, and Matthew —52 after Johndescribing the tearing of the temple curtain in Version I, this was replaced by Mark The narrator is the Evangelista tenor.

The "immediate, dramatic quality" of the "kind of musical equivalent of the Passion Play" relies on the setting of the interaction between the historical persons Jesus, Pilate, Peter and the crowd "soldiers, priests, and populace". At eleven moments in the Passion, stanzas from Lutheran chorales reflect the narration.

Possibly Bach had an influence on their selection. Five chorales conclude a scene in movements 5142637 and 40 ; while a chorale opens Part II Five chorales comment within a scene 311172228including the central movement One chorale accompanies the bass soloist in an aria The central chorale is not part of a common hymn, its text being taken from a libretto by Christian Heinrich Postel.

The third source for the text is contemporary poetry that reflects the biblical narration. Barthold Heinrich Brockesetching by Christian Fritzsch Christian Weiseetching by J. The work is scored for vocal soloists sopranoaltotenor and bassa four-part choir SATBand an orchestra of two flauto traverso Fttwo oboes Obtwo oboes da caccia Octwo oboes d'amore Oatwo violinsviola Vaand basso continuo.

Bach added some instruments which were already old-fashioned at the time in arias for special effects, such as the archlutethe viola d'amore and the viola da gamba Vg. Bach did not differentiate the vox Christi voice of Christsinging the words of Jesus, from the other bass recitatives and arias, nor the evangelist from the tenor arias.

The work displays a thoughtful symmetry. In the center of the five parts is the court hearing which confronts Jesus, Pilate, and the people. In the middle of the hearing, a chorale 22 interrupts the argument, which is a discussion about freedom and captivity.

It is surrounded by two choral movements, which not only both ask for the crucifixion of Jesus, but also use the same musical motifs, the second time intensified.By using our site, you acknowledge that you have read and understand our Cookie PolicyPrivacy Policyand our Terms of Service. It only takes a minute to sign up. But it's also "no" because there really aren't "melodic minor keys.

In practice, music in minor flows freely between the natural, harmonic, and minor forms of the minor scale. So it's a bit of a misnomer to ask whether Bach ever used a "melodic minor key"; instead, we simply acknowledge that music is in a minor key, and scale-degrees six and seven have a particular fluidity that allows them to be adjusted at various points.

Yes, all the time. Because Bach although he was quite prepared to be 'modal' at times set down the foundations of functional harmony, built on dominant-tonic resolutions. And if you want a perfect cadence in a minor key, you need a major dominant chord including the leading note.

bach chorales analysis

And, for smooth voice-leading, that implies a melodic minor scale. The raised 6ths and 7ths in minor are mostly used when the line is ascending toward the tonic. Bach used this very often. When the line is descending away from the tonic, the 6th and 7th degrees are often used as they would be in the natural minor.

It is quite common to have both the natural and raised 6th and 7th degrees in the same phrase, depending on how the line flows. One line can easily go up and down in relation to the tonic within the same phrase, and the notes would be adjusted accordingly.

bach chorales analysis

Sign up to join this community. The best answers are voted up and rise to the top. Home Questions Tags Users Unanswered. Did Bach ever use melodic minor keys in chorales?

Ask Question. Asked 1 year, 6 months ago. Active 6 months ago. Viewed times. Richard Historical note: If you're talking about the chorales proper rather than any other vocal music by Bachthe melodies of the chorales set in the soprano voice by Bach were not written by Bach himself, but rather come from various composers early in the Reformation including Luther himself.In the following four-part chorales by Johann Sebastian Bach are submitted for download. The purpose is to provide connoisseurs and notably students in musical education at universities, conservatories, music colleges and other educational institutions with challenging musical material that can be used inter alia to rehearse functional harmonic analyses.

And above all: no exercise without a workable solution! Therefore ONE functional harmonic analysis solution is proposed for each chorale alternative analysis readings are basically possible.

Please note: The chorales offered here for download in the main have the function of exercises for the elaboration of functional harmonic analyseswell knowing that one does not approach the heart and soul of this music with a functional harmonic analysis alone; the spirit of the thorough bass and the counterpoint is essentially inherent in them.

This, in turn, is mainly to be traced back to a collection by Carl Philipp Emanuel Bach, the manuscript of which was acquired by Johann Philipp Kirnberger in The collected chorales were already regarded at that time as didactic works and as patterns of the four-part harmony.

With the disappearance of the thorough bass from musical practice towards the end of the 18th century, the possibility of chordal terminology is lost with the thorough-bass figuring. Since Hugo Riemann developed a new way of chordal terminology, which received its final formulation in in his Theory of the tonal functions of chords functional theory.

And now have fun and gain knowledge with the functional harmonic analysis of the small Bach masterpieces of art! Four-part chorales by Johann Sebastian Bach with functional harmonic analysis!Bach's arrangements of hymn tunes found their way into cantatas, organ preludes, motets and other pieces. Find out more about them here. A chorale is usually a simple and catchy melody to which a hymn is sung by soprano singers with a congregation, while the three lower voices provide the harmony.

The church reformer Martin Luther advocated the use of hymns sung in German during services and himself translated texts from Latin so that the people could understand them and participate.

This created an immediate need for a large repertoire of new chorales. Luther wrote several, worked on their tunes, and helped publish them. Today, many of the Lutheran chorales are familiar as hymns used in Protestant churches, sung in four-voice harmony.

He included them in his church cantatas, typically as the closing chorale. Chorales are used in some of Bach's earliest cantatas, although he usually incorporates them into just one or two movements. In his Passions, he often used chorales to complete a scene, as in this example from the St. Matthew Passion. In his second annual cycle in Leipzig, beginning with the first Sunday after Trinityhe set out to compose a cantata for each occasion of the liturgical year.

He began with O Ewigkeit, du Donnerwort and went on to compose forty chorale cantatas in that cycle until Palm Sunday of Also termed the "chorale cantata year", the cycle has been called "the largest musical project that the composer ever undertook". In later years, Bach added several works for any occasions he had omitted during the year.

List of chorale harmonisations by Johann Sebastian Bach

The cantatas are based on hymns by a wide range of poets, from early reformers such as Luther to poets of the 17th century. Although there are no accounts of the reception given to Bach's chorale cantatas by the Leipzig congregration, it is known that some of these cantatas were the only works that the city was interested in keeping alive after Bach's death. Chorales also appear in chorale preludes, pieces generally for organ designed to be played immediately before the congregational singing of the hymn.

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A chorale prelude includes the melody of the chorale, with added counterpoint. Bach's many chorale preludes are the best-known examples of the form. The Great Eighteen Chorale Preludes are a set he prepared in Leipzig during his last decade, from earlier works composed in Weimar where he was court organist.

These pieces, conceived on a large and often epic scale, have been described as the summit of Bach's sacred music for solo organ. Chorale harmonizations can also be found in Bach's motets and in his Notebook for Anna Magdalena Bach. Almost all of the melodies of these chorales are not by Bach but go back to older sources.

The first record of the existence and sale of groups of collected chorale harmonizations and chorale melodies with figured bass extracted from larger works by J.