Category: Johann Ludwig Krebs

Allein Gott by Krebs with fingering, registration and continuo realization

9/20/2017

Would you like to learn Allein Gott in der Hoh sei Ehr by Johann Ludwig Krebs?

If so, this PDF score with complete fingering, registration suggestions and basso continuo realization will save you tenths of hours and enable the most efficient and stylistically appropriate practice. Because of this fingering, you will be able to play with articulate legato touch naturally, almost without thinking.

4 pages. No pedals. PDF score will be available immediately after your payment. 50 % discount is valid until Semptember 27. Free for Total Organist students.

Enjoy this practice video. Thank you Kae for transcribing the fingering from this slow motion video (as well as Bach's Pastorella, BWV 590). This was tremendous help. By the way, if anybody is interested in doing fingering/pedaling transcriptions from similar videos for a fee in the future, please let us know.

Here's is another video of this piece that Ausra has recorded at the concert tempo:

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Sweet thirds and sixths

8/15/2014

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Johann Ludwig Krebs (1713-1780) was one of the most outstanding students of J.S. Bach. His prolific output for organ crosses the boundaries of the Baroque and often goes into the Galant style. Nevertheless, he's considered as the last master of German Baroque.

This morning I've sight-read his Toccata in G Major in the Galant style. This piece (2/4 meter) for one voice in each hand is written in the binary form with traditional repeats. The most developed voice is the upper part with the harmonic accompaniment in the left hand. Here's the tonal plan of this Toccata:

1. (Page 1-system 1-measure1) G major, tonic.
2. (1-5-1) E minor, relative minor.
3. (1-5-3) D major, dominant.
4. (2-3-1) A minor, relative of subdominant.
5. (2-3-3) G major, tonic.

As I've played it today, I thought some of the more difficult places for some people would be:

1. (1-5-1 to 1-5-2) Changing position on the keyboard with leaps up and down.
2. (1-6-1) Unexpected leap by a perfect fourth in the left hand part.
3. (1-6-2) The highest E is easy to miss.
4. (2-2-1 to 2-2-2) Chromatic tonicizations in both parts - ascending sequence (G major, A major, B minor, and D major).
5. (2-3-1) Prepare the high D in the left hand part in advance (right after the low D in the previous measure).
6. (2-5-2) While sensing the large leap ahead, don't forget to play previous notes in the right hand correctly. Focus your attention on the current moment.
7. (2-6-1 to 2-6-2) Descending chromatic sequence. Large leaps in the right hand part.

Here is the score for printing, if you want to play this charming little piece. I think you have to ignore the editorial markings (except the fingering) as they are not original. Use articulate legato touch.

As you look at each interval which is being played between both hands, you can't help but notice sweet sounding thirds and sixths almost everywhere (with the exception of unprepared dissonances for spice) - an indispensable feature of the free 18th century-style counterpoint.

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Allein Gott by Krebs with fingering, registration and continuo realization

Sweet thirds and sixths

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Allein Gott by Krebs with fingering, registration and continuo realization

Sweet thirds and sixths

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