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A few days ago I have received a request to prepare a score of Bach's Art of Fugue, BWV 1080 for manuals only (for piano or hapsichord or any other keyboard instrument) with complete fingerings above the notes.
While this might be very useful, I have come accross this score which has many fingerings written in (not all, but the most important ones). The rest you can figure out by yourself. If it's too difficult to complete the fingering, it simply means you need an easier piece. Enjoy it but most importanly, I hope you will do something with it.
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The polyphonic masterpiece by Bach - the Art of the Fugue, BWV 1080 presents a certain riddle to the performers who want to master this magnificent work (or separate fugues, called Contrapuncti).
Although originally it is notated in an open score notation on four staves, musicologists believe it is a keyboard work. Bach apparently chose the vocal score model with 3 different types of C clefs because this way all the parts are clearly visible and understandable. The reasoning behind this theory is this: 1) It was a custom at that time to write polyphonically complex keyboard works in an open score notation (compare, for example, Frescobaldi's "Fiori Musicali" which Bach owned). Organists at that time, especially in Italy had to display a skill in reading open score, called Spartitura. 2) Most of the fugues and canons are playable by 2 hands only. In fact, in many cases, the texture falls quite comfortably within the hands. If one adds a pedals for the bass parts (not in all fugues, though), then the writing is very organistic, indeed very similar to that of other Bach's fugues for organ. 3) The range of the voices go far beyond the limits of any solo instrument. The traditional melodic instruments of the Baroque period, such as violin, flute, oboe, bassoon and others have their fixed range. If we assign a certain voice to a certain instrument throughout the cycle, then it is impossible to perform it without some compromises. 4) There are some additional voices at the end of some fugues which is quite customary for the keyboard practice. For example, ad the end of such fugue the texture might increase to as many, as 7 voices (1- in the pedals, and 3 in each hand). Such texture would not be possible to play on any single melodic instrument. I have prepared a practice score of Contrapunctus I from the Art of the Fugue, arranged for the organ with pedals with complete fingering and pedaling written in for easy practice and ideal articulation. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my video Organ Practice Guide. Let's celebrate the 328th birthday of our great master with this wonderful performance of his Contrapunctus I from the Art of the Fugue, BWV 1080 by George Ritchie.
I remember witnessing two complete splendid performances of this magnificent polyphonic masterpiece within the same week, when I was a doctoral student at the University of Nebraska-Lincoln. Dr. Ritchie performed it on the famous landmark 17th century Dutch-style organ by Gene Bedient which stood at the time at Cornerstone chapel. Dr. Ritchie has since released a complete DVD and 2-CD set of the Art of Fugue with FugueStateFilms. You can read more about it and watch the introductory video of this work here. If you like Contrapunctus I, I have also prepared a practice score of this piece arranged for the organ with pedals with complete fingering and pedaling written in for easy practice and ideal articulation. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my video Organ Practice Guide. One of the best known pieces in a fascinating collection of 8 Short Preludes and Fugues, Prelude and Fugue in F major, BWV 556 is an outstanding example of how a composition of superb artistic quality can be created using fairly simple musical language.
The prelude is written in a ternary ABA form in 3/8 meter. The character is joyful, even playful and because of that many performers choose a rather quick tempo. Part A consists of the musical idea which establishes the F major key in opening 4 measures and ends on a half cadence. Then we can see series of ascending sequences with triplet figures which end on a perfect cadence in the tonic key of F major. Part B is much longer the Part A. Here we find the same kind of sequences with triplets and haf cadences in F major, G minor and perfect cadences in D minor, C major, and A minor. The Prelude ends with exact repetition of Part A giving us a complete rounded ABA form. The Fugue (4/4 meter) starts with a subject in the tenor voice the first part of which moves in eighth notes and the second part in sixteenth notes. These sixteenth note figures give the fugue a joyful character which requires a quick tempo. As you listen to the recording of this fugue, it is best to count the number of subjects and notice in which voice it appears. There are total of 6 full subject entrances in this fugue. In other instances, the theme appears either in part or in modification. Below you can see the general plan of this fugue. Exposition: 1. Subject in the tenor (F major) 2. Answer in the alto (C major) 3. Subject in the soprano (F major) 4. Answer in the bass (C major) (This completes the exposition) 5. Episode Counter-exposition: 6. Answer in the soprano (C major) 7. Episode 8. Subject in the bass (F major) 9. Episode 10. Partial subjects 11. Closing cadence in F major. Episodes are written using melodic and rhythmical material from the subject. They are meant to connect various subject entrances and/or key areas. One of the easiest ways to achieve this is through sequences which we also encounter here and there. From the above plan we can see that this is a rather simple fugue without subject entrances in other keys or without the canonic fugal entrances, called Stretto. Nevertheless, this entire Prelude and Fugue is so elegantly crafted that we never hear this simplicity and its artistic quality is very high. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my free Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. Have you tried to make an organ arrangement of a popular aria or a choral work? If not, it is worth giving it a try because not only you will have a lot of fun in the process, will be able to create a new organ piece that you will love to play but also you will learn a lot about the composition itself. In this article, I will describe how to make a 4 part arrangement of the famous Jesu, Joy of Man's Desiring by Bach for organ in 6 easy steps.
1. Take a music staff paper and write the treble clef for the right hand, the bass clef for the left hand, and the bass clef for the pedals. Connect the 3 staves into a system. 2. Add a key signature (F sharp) and a meter signature (3/4). 3. Write the Violin I part in the right hand with the stems up in triplets. 4. Write the Violin II part in the right hand with the stems down. Be aware, that according to the usual practice in Bach's time, in the original score this part is notated using dotted eight notes and sixteenths which should be played together with the last note of each group of three notes in the top voice. When you transcribe it in the right hand part, you can use groups of quarter and eighth notes in triplets. 5. Write the Soprano part in the left hand one octave lower. This way the chorale tune will sound in a tenor range. The chorale tune will sound well on a solo registration, such as a soft reed. 6. Write the Cello part in the pedals which will be played using soft 16' and 8' stops. The Violin II part will fit nicely to the right hand part. Although there are some voice crossings between the two violins, in general, the right hand can play these two voices very easily. You can play this part using flutes 8' and 4'. Because in this arrangement you have to play 2 voices in the right hand, for some people who have little proper organ training experience it might not be as easy as it may seem. If you are at the beginning stages of organ playing, I recommend the 3 part version which will also sound very well. Just omit the step 4. If you want to learn this piece in 10 days while working only 30 minutes a day, you can download my fully edited instructional 3-part arrangement of this composition from here. It comes with complete fingering, pedaling, articulation, tempo and registration suggestions and detailed step-by-step practice plan. After the process of arranging this fantastic piece for the organ you will know how the piece is put together on a much deeper level than before which will also help you to advance in the field of music theory. You can play your arrangement from the written down version on paper or you can use your favorite music notation software to transcribe it. Choose whatever is more comfortable for you but do not forget to treat your arrangement as a genuine organ composition while you play and practice it. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music. One of the most popular movements from the cantatas by Johann Sebastian Bach is the famous "Jesu, Joy of Man's Desiring". This work was originally composed as a choral part from the Cantata No. 147 sung at the end of parts I and II of this cantata. Many organists love to play this work for weddings and other joyful occasions. Because of the popularity of this work, there are so many organ versions available which are not necessarily perfect for you. In this article, I will show you how to make an organ arrangement of this composition for organ in 3 voices which will sound very well and will be comfortable to play.
Before we can make an organ arrangement, we have to become familiar with the orchestral instrumentation. If we take a look at the original scoring, we will discover that this work is notated in 9 staves. The harmonized chorale tune is performed by the 4 part SATB choir which in Bach's time might have been sung by the 4 soloists, too. The top soprano voice is also reinforced by the Trumpet in C. The bass line is performed by at least 5 people: vocal bass, cellist, harpsichordist (or organist), the double bass, and perhaps the bassoonist as well. The vocal bass joins in choral phrases. We can imagine Bach himself playing the harpsichord or the organ and conducting at the same time. He would have been playing the bass line in the left hand and adding chords or another fully worked out solo voice from the basso continuo notation with the right hand. The double bass player would be playing the cello part one octave lower (at 16' pitch level). The 3 instrumental parts are meant for two violins, viola, and also 2 oboes doubling the violin I part. The viola player would have to play from the alto clef. Note that the meter of the violin I part is 9/8 while other voices are notated in 3/4 meter. This is probably done to avoid triplets in the violin I part. As you can see, it must have been quite an ensemble of at least 14 people. In order to make an organ version of this piece, we have to decide which parts are most important because naturally we can't play every part on the organ at the same time. Obviously, there are 3 most important lines in this composition - the chorale tune, the violin I part playing orchestral ritornellos, and the cello part giving the harmonic foundation. By playing these parts on three separate divisions, we could make a very nice and satisfactory organ version in a trio texture. The violin I part could be played using 8' and 4' flute combinations in the right hand. The chorale tune would sound best, if played in the tenor range (one octave lower) in the left hand on the solo registration, perhaps using a soft reed stop, such as an oboe. We can take the cello line in the pedals using 16' and 8' soft stops. The 3 part version of Jesu, Joy of Man's Desiring will sound very well on the organ and it will not be too difficult to learn. Just make sure you treat this arrangement like a real organ composition, and practice slowly with correct fingering, pedaling, articulation, and phrasing. It is best to practice repeatedly one small fragment at a time. If you want to learn this piece in 10 days while working only 30 minutes a day, you can download my fully edited instructional 3-part arrangement of this composition from here. It comes with complete fingering, pedaling, articulation, tempo and registration suggestions and detailed step-by-step practice plan. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music. Since it's Bach's 327th birthday today, I thought it is appropriate to commemorate his genius by outlining some of his greatest achievements. At the end of this article, I hope will enjoy the video of one of my favorites Bach organ compositions - Ton Koopman's performance of chorale prelude "Schmucke dich, o liebe Seele" from the Great 18 organ chorales. Johann Sebastian Bach (1685-1750) was arguably one of the most influential composers, organists, and pedagogues of all time. He surely can be considered as one of the greatest composers in the history of music. The features of D major Prelude and Fugue from the Well-Tempered Clavier II, B flat major Prelude and Fugue from the Well-Tempered Clavier I, the cantata “Ein feste Burge ist unser Gott”, St. Matthew Passion, Clavierübung III, and ”Musical Offering” will demonstrate his genius. The first sign of his greatness is Bach’s productivity. Although part of his compositions is lost, what has survived shows that his compositional output was far greater than any other composer who lived before or after him. In addition, Bach created music in almost all known genres of the time, except opera and ballet. However, his vocal works, such as St. Matthew Passion have elements of baroque opera (da capo arias). Furthermore, he composed instrumental and vocal, sacred and secular music. Bach tends to exhaust all available possibilities within the piece. For example, D major Fugue from WTC II and Kyrie, Gott Vater in Ewigkeit Clavierübung III show that he used all available pitches of the scale for the beginning of the subject, time and pitch intervals, and form of the subject. If one particular possibility was unavailable, he would modify the subject in order to imply that one entrance of the subject. In addition, as is evident from the Fugue in D major and Kyrie, Gott Vater, he draws a piece from a short idea from which everything is constructed. Bach used his musical ideas so economically, that it seems at times there is hardly any other motive besides the theme and countersubject. In case of D major and B flat major preludes and fugues from WTC, Bach seems to be very much concerned with the relationship between the pieces. Very often prelude foreshadows the fugue by having initial notes of the fugue subject. In addition, Bach’s interest in polyphonic devices (double invertible counterpoint) can be seen in the Fugue in B flat major from WTC I. The crucial element in Bach’s music is symmetry. All pieces mentioned above include various forms of architectural thinking. Proportionally, often his pieces can be divided in two (1/2), three (1/3 and 2/3), and four parts (¼ and ¾). Yet symmetry for Bach sometimes means even further (Clavierübung III, St. Matthew Passion or Cantata 80). Here the cycle is symmetrical in terms of general structure. Another feature which makes Bach so great is number symbolism. Perhaps the most evident example of this is Clavierübung III where Trinitarian symbolism is all pervasive. This is not only apparent in chorale-based works, but also in the Fugue in E flat where number of subject entrances reflect on number Mass, catechism, and non-chorale based pieces. In addition, Bach often included his signature in numbers. Bach’s all vocal works, such as Cantata 80 and St. Matthew Passion deal with text painting. In Cantata 80, especially noticeable place is opening Chorus where cantus firmus is in canon in outer voices and symbolizes God the fortress which surrounds us. In the St. Matthew Passion, all of the recitatives are full of instances of text painting where dramatic leaps, dissonant and unresolved chords etc. symbolize the particular dramatic word. Moreover, in case of Passion, Bach often, if not always employs simple images which are apparent from the particular phrase of the aria or chorale verse. Bach’s love for polyphony and learned devices, such as stretto, augmentation, diminution, retrograde, and inversion are most clearly displayed in the Musical Offering. To notice that, one can only look at one of the ten canons which are often notated so that the performer has to figure out the time and pitch interval, and the form of the canonic voice. Here Bach explores all the possibilities where not only accompanying voice but the Royal theme itself is in canon. Ricercare a 6 from the Musical Offering displays another feature of Bach’s music which makes him so unique, namely perfect balance between seemingly opposing and contrasting elements. Here polyphony and vertical chords are in perfect balance. In addition, symmetry and forward drive are in balance as well. Furthermore, his ability in this piece to combine emotions and mind are especially noticeable. Another important feature of Bach’s music in general is his universality in style and influences. He not only uses models of various composers for his own compositions, but often expands them and tries to make them more advanced. In addition, he combined French, Italian, and German practices into one universal musical language. That is especially apparent in E flat major Prelude from the Clavierübung III where Italian ritornello, French overture (dotted rhythms), north German virtuoso pedal part, and central German fugal writing is combined into one unified piece. Italian ritornello influence is always evident in the chorale preludes of the collection and arias of Cantata 80 and St. Matthew Passion. Furthermore, influences on Bach range not only geographically but historically as well. Movement III from the Trio Sonata of Musical Offering shows various features the style galant, the most fashionable style of the day, while Aus tiefer Not from the Clavierübung III is an example of the style antico which was a typical style of the Palestrina music. Sometimes, these two contrasting styles are combined in one piece (Fugue in E flat major from Clavierübung III). Among other composers, Bach is perhaps the only one who can be called musical scientist. His importance, influence, and greatness are often compared with his contemporary scientist Isaac Newton. Like Newton’s universal laws of gravity, Bach’s well tempered tonality is the universal product of reason. Bach, like a scientist works with the smallest musical idea and that way composes a piece of music. Bach’s worldview is still influenced by the classical quadrivium principle (traditional approach) but he also explores the newest tendencies and fashions. For Bach, the ultimate goal and reason of all music is glory of God and recreation of the spirit. In the beginning of the piece, he usually would write Iesu iuva (Jesus help) whereas at the end he would include Soli Deo Gloria (to God alone be Glory). His theological and pietistic statements are not only evident in his music, but in his own commentary to the Bible as well. Therefore, it is evident that Bach’s theological views deeply formed and influenced his music. The features discussed above clearly show that Bach is surely world’s greatest composer. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music. Sinfonia in D minor from the 15 three-part Sinfonias by J.S.Bach was written for the musical instruction of his eldest son Wilhelm Friedemann. Like all the pieces in this collection, it is perfectly playable on any keyboard instrument. Technically and musically it is quite challenging because it has three entirely independent voices. From the performer this piece requires certain level of finger independence and hand coordination since one hand has two manage two parts most of the time. In this video, I will give you the exact steps in practicing and mastering the Sinfonia in D minor by J.S.Bach. If you want to study this and other sinfonias by Bach I recommend G. Henle Verlag Urtext Edition of Inventions and Sinfonias BWV 772-801.
By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music. Bach’s Invention in C major from 15 two-part inventions is one of the best known pieces in this collection. Although technically much more challenging than the easier minuets from the Notebook of Anna Magdalena Bach, this invention is still quite accessible to keyboard players of modest ability. The composer wrote this and other pieces from this collection for the instruction of his eldest son, Wilhelm Friedemann. Just like many of his keyboard works, the invention in C major sounds beautiful on the organ because of its imitative polyphonic style. In this video, I will teach you how to play, practice, and master this exceptional composition. If you want to study this and other inventions by Bach I recommend G. Henle Verlag Urtext Edition of Inventions and Sinfonias BWV 772-801.
By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music. |
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. Our Hauptwerk Setup:
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