1.

Who is the composer of your composistion

2. What is the nationality of the composer
3. Describe about the composer (biography, personality)

The composer of the composition is J.S. Bach. He was a German composer, organist,
violist, and violinist whose ecclesiastical and secular works for choir, orchestra, and
solo instruments drew together the strands of the Baroque period and brought it to
its ultimate maturity. Johann Sebastian Bach was born in Eisenach, Saxe-Eisenach. He
was the youngest child of Johann Ambrosius Bach, the director of the Stadtpfeifer or
town musicians,[2] and Maria Elisabeth Lämmerhirt. His father taught him to play
violin and harpsichord.[3] His uncles were all professional musicians, whose posts
ranged from church organists and court chamber musicians to composers. One
uncle, Johann Christoph Bach (1645–93), was especially famous and introduced him
to the art of organ playing. When Bach was 10 year-old, both of his parents passed
away, he moved in with his oldest brother, Johann Christoph Bach, who instructed
him on the clavichord.

At the age of 14, Bach, along with his older school friend George Erdmann, was
awarded a choral scholarship to study at the prestigious St. Michael's School. Here
he encountered the organist, George Bohm, and experienced the French repertoire
and style of local orchestra.

He spent most of his life time moving from city to city. Thus we can his lifetime into
three period.
 Weimar’s period 1708-1717
After barely a year at Mühlhausen, Bach left, to become the court organist
and concertmaster at the ducal court in Weimar. . It was in Weimar that the
two musically significant sons were born—Wilhelm Friedemann and Carl
Philipp Emanuel Bach. Bach's position in Weimar marked the start of a
sustained period of composing keyboard and orchestral works. . From the
music of Italians such as Vivaldi, Corelli and Torelli, he learned how to write
dramatic openings and adopted their sunny dispositions, dynamic motor-
rhythms and decisive harmonic schemes. Bach inducted himself into these
stylistic aspects largely by transcribing for harpsichord and organ the
ensemble concertos of Vivaldi; these works are still concert favourites.
a. 5 toccatas out of 7. (D, d, e, g, G)
b. Orgelbuchlein – “the little organ book” BWV 599–644
 Cothen’s period 1717-1723
Prince Leopold of Anhalt-Cöthen hired Bach to serve as
his Kapellmeister (director of music). Prince Leopold, himself a musician,
appreciated Bach's talents, paid him well, and gave him considerable latitude
in composing and performing. However, the prince was Calvinist and did not
use elaborate music in his worship; thus, most of Bach's work from this
period was secular. His compositional productivity focused on chamber
music, concertos, and orchestral arrangements of keyboard works.
a. Well-tempered-clavier 1st volume.
b. Final two Toccatas (f-sharp, c)
 c. Bradenburg concertos BWV 1046-1051
d. 6 English suites BWV 806-811
e. 6 French suites BWV 812-817
f. Two part inventions BWV 772-886
g. Three part inventions (sinfonias) BWV 787-801
h. The six suites for solo cello
For members of the collegium musicum
i. Clavier buchlein
Is a collection of keyboard music written by Bach for his eldest
son, W.F. Bach. He began compiling the collection in 1720.
Most of the pieces included are better knowns as parts of the
WTC and the Inventions and SInfonias. The collection are
arranged by complexity, beginning with the most simple
works.
 Leipzig’s period 1723-1750
Bach was appointed Cantor of Thomasschule as well as Director of Music in
the principal churches in the town. . In March 1729, he took over the
directorship of the Collegium Musicum, a secular performance ensemble that
had been started in 1701 by his old friend, the composer Georg Philipp
Telemann. He was widely respected as a composer, musician, teacher,
organist, and specialist organ construction.
a. Christmas Oratorio BWV 248
b. 6 Partitas (German Suites) BWV 825-830
c. Italian concerto BWV 971
d. French overture BWV 831
e. The Art of Fugue
Published posthumously but probably written years before
Bach's death, is unfinished. It consists of 18 complex fugues
and canons based on a simple theme. A magnum opus of
thematic transformation and contrapuntal devices, this work is
often cited as the summation of polyphonic techniques.

4. Name the composers who has the same nationality

George Friedrich Handel

George Philipp Telemann
C.P.E. Bach
Franz Joseph Haydn
L.V. Beethoven
W.A. Mozart
F.P. Schubert
Felix Mendelssohn
Johannes Brahms
Paul Hindemith
Richard Strauss

5. Describe about the composer’s music style

 Old Fashioned
Bach’s music was too rich for some of his contemporaries who preferred less
complex and more tuneful music. Throughout the 1720’s and 1730’s, the new
style emanating from the opera house of Italy invaded Germany and the rest
of Europe, making Bach’s music seem old-fashioned.
 Nevertheless, his music is not overtly emotional. As a musical craftsman, he
has too much aristocratic reserve to make common display of his joy and
sadness.
 Bach can be called as the most famous composer with counterpoint
technique because all his contrapuntal compositions don’t contain any
broken counterpoint where there is homophonic texture in them middle.
Also, for example, if he wanted to make a harmony of dominant in circle, he
could compose with some voices without interrupting the harmony.
 He learned composition primarily by copying or arranging the music of other
composers. Among his pieces are adaptations of music by Torelli, Vivaldi,
Telemann, and numerous others. In this way, he became familiar with the
methods of the foremost composers in:
1. French
a. marked by elegance and emotional restraint
b. centrality of dance and suite music
c. French overture: each opera began with overture (opening), marking
the entry of the king, welcoming him and the audience to the
performance. Form ll:A:ll:B:ll; A—is usually homophonic and majestic,
marked by dotted rhythms and figures rushing toward the downbeat.
B – is usually faster and begins with fugal imitation, sometimes return
to the A tempo. Pioneered by Jean-Baptiste.
2. Italian
a. emotionally expressive, a variety of melodic style (lyrical,
arpeggiation, virtuoso passages)
b. development of opera, cantata, sonata, instrumental concerto.
3. German
a. absorbed elements from Italy and France, combining them with native
traditions
b. Germane composer, Froberger, carried French harpsichord style:
suites and establish the structural code ACSOG.
 While at Weimar, Bach became fascinated by the music of Vivaldi. He
arranged several Vivaldi concertos for organ or solo harpsichord. As a
consequence , he learned to write concise (short and clear) theme, to clarify
the harmonic scheme, and to develop subjects into grandly proportioned
formal structures based on the ritornello idea.
 Bach's apparently devout, personal relationship with the Christian God in
the Lutheran tradition and the high demand for religious music of his times
inevitably placed sacred music at the centre of his repertory; more
specifically, the Lutheran chorale hymn tune, the principal musical aspect of
the Lutheran service, was the basis of much of his output.
 Bach’s church music was not confine to cantatas but included motets,
Passions, and latin service music. Most important are his Passions and Mass
in B minor:
a. Passions
Bach wrote two surviving Passions, telling the story of Jesus’ crucifixion.
Both the St John Passion (1724, later revised) based on John 18-19, and
the St Matthew Passion (1727, revised 1736) based on Matthew 26-27,
employ recitatives, arias, ensembles, choruses, chorales sung by chorus,
and orchestral accompaniment.
b. Mass in B minor
Bach assembled the Mass in B minor between 1747 and 1749. He drew
most of it form music he had composed much earlier.

6. Name and describe another compositions of this composer. Its instrument.

J.S. Bach's works are indexed with BWV numbers, an initialism for Bach Werke
Verzeichnis (Bach Works Catalogue). The catalogue, published in 1950, was compiled
by Wolfgang Schmieder. The catalogue is organised thematically, rather than
chronologically: BWV 1–224 are cantatas; BWV 225–249, the large-scale choral
works; BWV 250–524, chorales and sacred songs; BWV 525–748, organ works; BWV
772–994, other keyboard works; BWV 995–1000, lute music; BWV 1001–
40, chamber music; BWV 1041–71, orchestral music; and BWV 1072–
1126, canons and fugues. Many of Bach’s works have uncertain composition dates.
Even if it is dated, it can be the date when it was copied, rearranged, etc.
Nonetheless, this system helps music scholars establish many more probably and
certain composition date.
 Organ works
Bach was best known during his lifetime as an organist, organ consultant, and
composer of organ works in both the traditional German free genres—such
as preludes, fantasias, andtoccatas—and stricter forms, such as chorale
preludes and fugues.
1. Orgelbuchlein – “the little organ book” BWV 599–644
It’s an unfinished collection of 46 short chorale prelude that demonstrate
compositional technique in the setting of chorale tunes. It was planned to be
a total of 164.
*chorale prelude: smaller scale composition based on chorale melodies.
It was composed for his son W.F. Bach. It is also a collection of organ music
for church services, a treatise on composition, a religious statement and a
pedagogical manual.

2. The third part of the Clavier-Übung,

a setting of 21 chorale preludes uniting the traditional Catholic Missa with the
Lutheran catechism liturgy, the whole set interpolated between the mighty
"St. Anne" Prelude and Fugue on the theme of the Trinity.
a. Prelude in E-flat Major BWV 552/i
b. German Kyrie and Gloria settings BWV 669-677
 c. Catechism chorales BWV 678-689
d. For duets BWV 802-805
e. Fugue in E-flat Major BWV 552/ii
 Keyboard works
Bach wrote many works for the harpsichord, some of which may also have been
played on the clavichord.
1. Three collections of dance suites: the English Suites (BWV 806–811),
the French Suites (BWV 812–817) and the Partitas for keyboard (BWV 825–
830).
Each collection contains six suites built on the standard model (Allemande–
Courante–Sarabande–(optional movement – galanteries, for example minuet,
gavotte, bourree, passepied)–Gigue). Often there would be two contrasting
galanteries with the same name. E.g minuet l and ll, to played
alternativement, meaning that the first dance is played again after the
second, thus l-ll-l.
a. The English Suites closely follow the traditional model, adding a prelude
before the allemande and including a single movement between the
sarabande and the gigue. As a group, Bach’s english suites are less
impressive than either his French suites or Partitas. Although there are
many beautiful dances in the English suites, the collection as a whole
displays neither the elegance and sophisticated simplicity of the French
suites nor the imagination and ingenuity found in the partitas. This suites
are the second hardest.
b. The French Suites omit preludes, but have multiple movements between
the sarabande and the gigue.
Allemande – grave and serious
Courante – amiable and lively
Slow Sarabande – lyrical and full of ornaments
Gigue – resources of the keyboard are used with ingenuity.
Bach may have been inspired by the suites os Charles Dieupart, a French
composer. He is known to have copied out several movements from
Dieupart’s suites to use as a models for his own compositions. This suites
are the easiest of all.
c. The partitas expand the model further with elaborate introductory
movements and miscellaneous movements between the basic elements
of the model. He only inserts one or two galanteries in each partita, and
he avoids the traditional names and dance types. Opening movements of
Partita
Praeludium
Sinfonium
Fantasia
Ouverture
Praeambulum
Toccata
2. The 15 Inventions (2 parts) and 15 Sinfonias (3 parts) ( (BWV 772–801).
These were originally written for Wilhelm Friedemann’s ClavierBuchlein. But
then were revised in 1723. These short two- and three-part contrapuntal
 works are arranged in the same chromatic order as the Well-Tempered
Clavier, omitting some of the less used keys. The outward form of the two
and three-part inventions is similar to song form in three parts: A B A except
no 6 in E major which is in biparte form. The pieces were intended by Bach
for instructional purposes.
3. Clavier Buchlein
Is a collection of keyboard music written by Bach for his eldest son, W.F.
Bach. He began compiling the collection in 1720. Most of the pieces included
are better knowns as parts of the WTC and the Inventions and SInfonias. The
collection are arranged by complexity, beginning with the most simple works.
4. Clavier Ubung I – six partitas BWV 825 - 830
For harpsichord, Leipzig’s period (1726-1730)
B-flat Major no 1 – 1726
C minor no 2 – 1727
A minor no 3 – 1727
D Major no 4 – 1728
G Major no 5 – 1730
E minor no 6 – 1730
5. Clavier Ubung ll
For two manual harpsichord, 1735.
a. Italian concerto BWV 971
original title: Concerto nach Italienische Gusto (Concertoafter the Italian
taste), published in 1735 as the first half of Clavier-Übung II (the second
half being the French Overture) is a three-movement concerto for two-
manual harpsichord solo composed by Johann Sebastian Bach. The Italian
Concerto has become popular among Bach's keyboard works, and has
been widely recorded both on the harpsichord and the piano. It is called
Italian Concerto because it comprises of three movements – Allegro,
Andante, Presto – conform to the general plan of concerto in Italy.
b. French overture BWV 831
Original title Ouvertüre nach Französischer Art, also known as the French
Overture and published as the second half of Clavier-Übung II
in 1735 (along with the Italian Concerto), is a suite in B minor for two-
manual harpsichord written by Johann Sebastian Bach. An earlier version
of this work exists, in the key of C minor (BWV 831a).
6. Clavier Ubung IV – The Goldberg Variations BWV 988
For double manual harpsichord, 1741. an aria with thirty variations. The
collection has a complex and unconventional structure: the variations build
on the bass line of the aria, rather than its melody, and musical canons are
interpolated according to a grand plan. There are nine canons within the 30
variations, one placed every three variations between variations 3 and 27.
These variations move in order from canon at the unison to canon at the
ninth. The first eight are in pairs (unison and octave, second and seventh,
third and sixth, fourth and fifth). The ninth canon stands on its own due to
compositional dissimilarities.
7. Notebook for Anna Magdelena
 refers to either of two manuscript notebooks that
the German Baroque composer Johann Sebastian Bach presented to his
second wife Anna Magdalena. Keyboard music
(minuets, rondeaux, polonaises, chorales, sonatas,preludes, musettes, march
es, gavottes) makes up most of both notebooks, and a few pieces
for voice (songs, and arias) are included.
The two notebooks are known by their title page dates of 1722 and 1725. The
title "Anna Magdalena notebook" is commonly used to refer to the latter. The
primary difference between the two collections is that the 1722 notebook
contains works only by Johann Sebastian Bach (including most of the French
Suites), while the 1725 notebook is a compilation of music by both Bach and
other composers of the era. It provides a nearly unparalleled glimpse into the
domestic music of the 18th century and the musical tastes of the Bach family.
 Orchestral and Chamber music
1. The Art of Fugue
Published posthumously but probably written years before Bach's death, is
unfinished. It consists of 18 complex fugues and canons based on a simple
theme. A magnum opus of thematic transformation and contrapuntal
devices, this work is often cited as the summation of polyphonic techniques.
2. Brandenburg Concerto BWV 1046–1051, original title: Six Concerts à plusieurs
instruments
are a collection of six instrumental works presented by Bach to Christian
Ludwig, margrave of Brandenburg-Schwedt,[2] in 1721
3. Air on the G string
is an arrangement for the violin made in the nineteenth century from the
second movement of the Orchestral Suite No. 3.
 Vocal and Choral works
1. Cantatas BWV 1 – 224
His cantatas vary greatly in form and instrumentation. Some of them are only
for a solo singer; some are single choruses; some are for grand orchestras;
some only a few instruments. A very common format, however, includes a
large opening chorus followed by one or more recitative-aria pairs for soloists
(or duets) and a concluding chorale.
2. Mass in B minor 1747 – 1749
It was assembled by Bach near the end of his life, mostly from pieces
composed earlier (such as cantata BWV 191 and BWV 12). It was never
performed in Bach's lifetime, or even after his death, until the 19th century.
3. Motets BWV 225 – 231

7. What is the title of the piece

Prelude and Fugue no 7 in E-flat Major BWV 852, volume 1 of the Well Tempered
Clavier.

Well tempered means that the twelve notes per octave of the standard keyboard are
tuned in such a way that it is possible to play music in most major and minor keys
and it will not sound perceptibly out of tune.
Clavier while nearly identical to the modern German word for piano and closely
related to the word clavichord, did not originally include any specification other than
that the action of the instrument should contain “claves” of “keys”. Thus “clavier”
could refer to an organ or a spinet, to a clavichord or a harpsichord as well as to the
instrument that was to become our modern piano.

At Bach’s early time the tempered scale began to be generally applied to keyboard
instrument. Yet, for this scale to be used and recommended by artists like Bach, it
had to guarantee important advantages over the older system. Previous to tempered
tuning, the performer who wished to play in all keys on instruments with fixed
sounds (organ, clavichord, harpsichord) would have required so many notes on his
instrument that the playing would have been impossible. Also, the presence of half
notes of different size meant that keys employing many sharps or flats could not be
used without returning the instrument. Consequently, the composers had limited
themselves to certain keys.

The Well-Tempered Clavier is a collection of solo keyboard music composed

by Johann Sebastian Bach.
 He first gave the title to a book of preludes and fugues in all
24 major and minor keys, dated 1722, Cothen’s period , composed "for the profit
and use of musical youth desirous of learning, and especially for the pastime of
those already skilled in this study."
 Bach later compiled a second book of the same kind, dated 1742, Leipzig’s
period, but titled it only "Twenty-four Preludes and Fugues." The two works are
now usually considered to comprise the Well-Tempered Clavier and are referred
to respectively as Books I and II. The Well-Tempered Clavier is generally regarded
as one of the most influential works in the history of Western classical music.

Each of the ninety-six pieces has its individual complete form, each has its own
physiognomy; yet the Well Tempered Clavier as a whole reflects the spirit of the
master. Nevertheless, his music is not overtly emotional. As a musical craftsman, he
has too much aristocrastic reserve to make common display of his joy and sadness.
He does not insistently impose his emotions on the music, and in his discourse he
avoids speaking too freely of his sentiments. Sometimes the prelude can either
related to the fugues or is in complete opposition with the fugues.

The difference between the first book and the second

Book 1
 3 manuscripts of book 1, in addition to the “Volkmann-wagener Autograph”,
were then thought to be in Bach’s own hand. These copies are now known to
have been written by Bach’s wife and pupils
 Over formal and structural ones
 Bach used Ariadne Musica by Johann Kasper Ferdinand Fischer as a model for the
Well-Tempered Clavier. His pieces were smaller and less developed. Published in
 1702, it is a set of 20 prelude and fugue in 10 major and 9 minor keys and the
Phrygian mode, plus five chorale-based ricercars. His pieces were smaller and
less developed. The WTC of Bach has a high degree of similarity with the Ariadne
Musica in the style and mood of the pieces on a given key. But Bach wrote that
structured pieces in the significant length, using all 24 keys, arranging them in
ascending chromatic order from C to B, placing parallel major and minor keys
side by side.
Book 2
 In the case of book 2, the British Library autograph now the primary source was
unknown to Kroll and Bischoff. Tovey knew it, but only at second hand through
the list of readings given by Alfred Dorffel
 There’s often an over emphasis on the formal logic of contrapuntal writing
( stricter and more academic)

Bach recycled some of the preludes and fugues from earlier sources: the
1720 Klavierbüchlein für Wilhelm Friedemann Bach, for instance, contains versions of
eleven of the preludes. The C-sharp major prelude and fugue in book one was
originally in C major - Bach added a key signature of seven sharps and adjusted
some accidentals to convert it to the required key.

Bach's title suggests that he had written for a (12-note) well-tempered tuning system
in which all keys sounded in tune (also known as "circular temperament"). The
opposing system in Bach's day was meantone temperament in which keys with
many accidentals sound out of tune. (See also musical tuning). It is sometimes
assumed that Bach intended equal temperament, the standard modern keyboard
tuning which became popular after Bach's death, but modern scholars suggest
instead a form of well temperament. There is debate whether Bach meant a range of
similar temperaments, perhaps even altered slightly in practice from piece to piece,
or a single specific "well-tempered" solution for all purposes.

The relationship between the preludes and the fugues in the WTC varies infinitely.
Frequently, the preludes sparkles rapidly, giving the impression of an etude.
Sometimes it is related to the fugue. At other times it is in complete opposition to
the fugue, the only similarity being the common key in which the two are written.

Each consist of a prelude and a fugue.

 Prelude
Typically the preludes are built on a single idea, presented in the tonic key at the
start of the piece and then developed, using modulations to several closely
related keys. There is always a return to the home key near the end of the piece.
It is a short piece of music, the form of which may vary from piece to piece.[1]
[2]
The prelude can be thought of as a preface. It may stand on its own or
introduce another work. While, during the Baroque era, for example, it may have
served as an introduction to succeeding movements of a work that were usually
longer and more complex, it may also have been a stand alone piece of work
 during the Romantic era. It generally features a small number of rhythmic and
melodic motifs that recur through the piece. Stylistically, the prelude is
improvisatory in nature. The prelude can also refer to an overture, particularly to
those seen in an opera or anoratorio.
Several preludes suggest
A. Etudes : presenting toccata-like technical display ( no 2, 3, 5, 6, 11 and 21)
B. Lyrical ( no 4, 9, 12, 13, 6, 18, 19)
C. Slower pieces; suggest an emotional intensity reminiscent of Bach’s religious
works (no 8 and 22)
D. Gigue like ; suggested by the triplet figures (no 15 and 17)
 Fugue
A type of contrapuntal composition for particular number of parts or voices. The
point of fugue is that the voices enter succesively in imitation of each other. The
fugue employ a full range of contrapuntal devices (fugal exposition, thematic
inversion, stretto, etc) but are generally more compact that Bach’s fugues for
organ. A fugue begins with what is known as the exposition and is
characteristically written according to certain predefined rules.
1. Main idea:
a. Subject: melody that comprises the primary melodic and rhythmic
material of the fugue.
b. Answer: subject imitation which immediately follow the frist statement of
the subject in different voices (usually fifth higher).
Tonal answer: stays in the same key as the subject. To do this it is
necessary for the intervals of the subject to change somewhat.
Real answer: transposes the subject to another key, usually to the
dominant.
c. Countersubject: substantive figure that sometimes recurs immediately
following the subject or answer (in the same voice). Countersubjects
serve as counterpoint to subjects or answer sounding simultaneously in a
different voice.
d. False subject: an entry of the subject of answer that begins but never
finishes. When the subject enters – breaks off – follow with a complete
statement.
2. Main sections:
a. Exposition: consisting of subject(s) with at least one answer and possibly
countersubject(s). To qualify of an exposition, the subject or answer must
appear in all voices. The exposition normally concludes immediately after
the subject or answer appears in the last voice.
A fugue begins with the exposition of its subject sounding in one of the
voices alone in the tonic key. After the statement of the subject, a second
voice enters with the subject transposed to another (often closely
related) key, usually the dominant, which is known as the
answer. Sometimes the answer is the tonic or subdominant (see
J.S.Bach's Toccata and Fugue in D minor, BWV 565, and the opening
fugato of the Partita No 2 in C minor, BWV 826); to avoid disturbing the
sense of key, it may also have to be altered slightly. When the answer is
 an exact transposition of the subject to the dominant, it is classified as
a real answer; if it has to be altered in any way it is a tonal answer.
b. Developmental episode: section in which motives from the exposition are
treated in :
- Stretto: entry of a motive (subject, answer countersubject, or any
other melody/rhythmic entity) in a second voice before the first voice
has finished its statement.
- Augmentation/Diminution: statement of a motive in rhythmic
durations that are proportionately doubled or halved.
- Pedal point: suspension of one pitch, often the bass, that it is
alternately consonant then dissonant with the chord progression.
Fugues often conclude with episodes of pedal point.
- Retrograde: (rare) statement of the motive’s pitches in reverse order.
- Melodic inversion: interval directions are made to move in the
opposite direction of the original motive.
- Sequence: repetition of a motive at another pitch level, usually op or
down a step.
- Contrapuntal inverseion: (double or triple counterpoint)
reappearance of a pair of voices or trio of voices in which register
have been reassigned in such a way that the voices have crossed and
the interval relationship between voices is altered.
c. Coda or codetta: concluding segment of a section (codetta) or of the
entire fugue (coda).
When Bach wrote in fugal form, he always created a theme with some
identifiable characteristic. This might be a subtle emotional quality or a
rhythmic principle, either of which could then provide the basic mood or
motion for the whole movement. Consequently, his fugues portray every
sentiment, from profound melancholy to spontaneous gaiety.
8. Describe the characteristics of the piece (movt, tonality, form, time signature,
texture)

Prelude
 Fairly long and complex piece
 bars 1-10 is built along the lines of a "prelude determined by motivic
development", ending with a virtuoso passage and a cadential close.
 The second segment (bars 10-25) displays polyphonic texture in which voices
enter one after the other presenting a short motive. This motive is imitated in
stretto right from the start, although later, this tight imitative pattern grows
looser rather than denser. Such a passage in free imitative style based on a single
motive is usually referred to as a "fugato".
 The third segment of the prelude (from bar 25 onward), and by far its largest, is
also polyphonic. It begins with two contrapuntal voices and, as a quick glance
through the remainder of the piece reveals, works with this material in many
different ways. As there are several definite cadences in related keys and new
presentations of the material after these cadences, this segment within the
Eb major prelude must be called a "fugue".
 To sum up, Bach's prelude in Eb major is conceived as an integrated three-
movement composition comprising "prelude", "fugato" and "fugue".
 Both the “fugato” and “fugue” part have a rather calm character.
 The only ornament occurs in this prelude only in bar 9
Fugue
 The subject of this fugue is one and a half bars long
 The rhythm in the subject consists mainly of sixteenth-notes and eighth-notes,
with the exception of the quarter-note which carries the trill.
 The subject appears all together 9 times in this piece.
 Broken chord is a prevalent feature throughout the piece.
 There’s only one countersubject invented by Bach for this fugue. CS is introduced
in bars 3/4, against the second subject statement, where it commences slightly
later than the subject with the eighth-note Ab and ends, together with the
subject, on the G in the middle of bar 4. This counter-subject appears as a faithful
companion to the subject in all but the initial and final entries, featuring only one
slight variation of its beginning in bar 20.
 In this fugue, the number of episodes equals that of the subject statements
 Both the steady rhythm pattern with its predominance of sixteenth-note and
eighth-note values, and the pitch pattern with its high content of broken chords,
clearly characterize this fugue as rather lively.
 The only ornament in this fugue is the trill in the subject.

9. Name another composers who also compose this compositions (same title)

 The 24 prelude and fugues op 87 by Shostakovich

It follows the form of Bach’s WTC, each piece is in two parts: A prelude and a
fugue, woven from a musical idea taken from the prelude. The pieces vary in
pace, length and complexity. The set proceeds in relative major and minor pairs
around the circle of fifths: C Major – A minor – G Major – E minor – etc – D minor
(same with Chopin’s 24 prelude in arranging the set and influenced by Bach)
 “Ariadne Musica neo-organoedum” by Johann Kasper Ferdinand Fischer
His pieces were smaller and less developed. Published in 1702, it is a set of 20
prelude and fugue in 10 major and 9 minor keys and the Phrygian mode, plus five
chorale-based ricercars. His pieces were smaller and less developed.
 6 prelude and fugue op 35 by Felix Mendelssohn
There are no key scheme, and it is not a perfect counterpoint.
a. No 1 in E minor
Prelude: in the style of songs without words
Fugue: 4 voices. Begin calmly, then increases in excitement and texture.
b. No 2 in D major
Prelude: chorale prelude
Fugue: slow with interesting opening in submediant triad
c. No 3 in B minor
Prelude: gigue-like
Fugue: 3 voices
d. No 4 in A-flat Major
Prelude: written as a duet over an accompaniment figure
 Fugue: brings to mind the subject of fugue in A-flat Major in the 1 st volume of
WTC.
e. No 5 in F minor
Prelude: another song without words type.
Fugue: 4 voices
f. No 6 in B-flat Major
Prelude: presents a sustained melody with an elaborate accompaniment of
octaves and double notes.
Fugue: is influenced by subject of Hammerklavier fugue by Beethoven.
 24 preludes op 28 by F. Chopin
a. many of them are through-composed (single
section) – C Major, A minor, A-sharp Major, E-flat minor, F minor, F Major
b. Another are divided into two sections – E
minor, D Major, E Major, B-flat minor.
c. ABA patterns can be seen in longer preludes –
F-sharp Major, D-flat Major.
d. The prelude in A-flat Major also longer using
ABABA pattern
e. Main idea is developed in a contrasting section,
then returned to the main idea like a coda.

10. Influence from other composers…explain….

 Georg Bohm
It is believed he influenced Bach during early period. He was an organist at the
nearby Johanneskische. His influence of Bach was proved by the fact that one of
Bach’s minuet was found in the Clavier Buchlein of Anna Magdalena Bach.
Bohm’s harpsichord works consist mainly of eleven suites, most of them ordered
ACSG. He invented chorale partita – his partitas generally have a rustic character
and can be successfully performed on either the organ or harpsichord. Bach took
up this genre
 Dietrich Buxtehude
He was a German-Danish composer and organist of the Baroque period. His style
strongly influences Bach. Buxtehude’s prelude can be described as either free of
fugal. His works were undoubtedly among the strongest influences on Bach
whose organ preludes, toccatas and fugues frequently employs similar
technique.
 The last is Johann Kasper Ferdinand Fischer.

11. Did Bach influence other composers? What were his influences?

 Beethoven’s last five sonatas (no 101, 106, 109, 110, 111) are the evidences of
Bach’s influence on Beethoven. They contain fugue.
 Mozart was introduced to Bach’s music by Baron Gottfried van Swieten. Mozart
became acquainted with Bach’s Art of Fugue, WTC, and other works. He
arranged several of Bach’s fugue for string trio or quartet and composed his own
 fugue in C minor for two pianos, K426. Bach’s deep and lasting influence makes
itself known in the increased contrapuntal texture of Mozart’s later works.

12. What is chorale?

Chorale is a protestant hymn with German words and a melody designed for
congregational singing. Chorales tend to have simple and singable tunes, because
they were originally intended to be sung by the congregation rather than a
professional choir. They generally have rhyming words and are in a strophic
form (with the same melody being used for different verses). Within a verse, most
chorales follow the AAB pattern of melody that is known as the German Bar form.
Today, many of the Lutheran chorales are familiar as hymns still used in Protestant
churches, sung in four-voice harmony. Often the harmonizations are taken from the
final movements of cantatas by Johann Sebastian Bach. The melodies of the chorales
were only in a few instances composed by Bach; the large majority of melodies were
already familiar to his congregation.
Chorale tunes also appear in chorale preludes, pieces generally for organ designed to
be played immediately before the chorale in worship. A chorale prelude includes the
melody of the chorale, and adds other contrapuntal lines.

13. What instrument do you think WTC is composed for?

It is written for harpsichord. A harpsichord is a musical instrument played by

means of a keyboard. It produces sound by plucking a string when a key is pressed.
The harpsichord was widely used in Renaissance and Baroque music. During the late
18th century it gradually disappeared from the musical scene with the rise of
the piano. Harpsichords vary in size and shape, but they all have the same basic
functional arrangement. The player depresses a key pivoted in the middle of its
length, which causes the far end of the key to rise. This lifts a jack, a long strip of
wood, to which is attached a small plectrum(a wedge-shaped piece of quill or,
nowadays plastic), which plucks the string. When the key is released by the player,
the far end returns to its rest position and the jack falls back. The plectrum, mounted
on a tongue that can swivel backwards away from the string, passes the string
without plucking it again. As the key reaches its rest position, the string's vibrations
are halted by the damper, a piece of felt attached to the top of the jack. Many
harpsichords have exactly one string per note.
Figure 3. When the key is pressed, the jack is raised, and the plectrum touches the string and begins
to bend. Then the plectrum plucks the string and causes it to sound. The jack hits the jack rail. When
the player's hand is released from the key, the jack falls back down under its own weight, and the
plectrum pivots backwards to allow it to pass the string.

14. What’s the difference between harpsichord and piano?

Piano:
 Hammer
 The note can be sustained or made longer just by using pedal or pressing the
note
 Has pedal
 The key dip is deeper
 Has 7 octaves
 Was only introduced in the 18th century
 Has control over the volume of the sound produced.

Harpsichord:
 Worked by plucked
 Can’t hold a long note
 No pedal
 The composer added ornamentation to make a note seems longer
 The key dip is more shallow
 Most harpsichord have only 4 - 4.5 octaves
 Harpsichord’s keys are generally slimmer, so that an octave on the piano might
be a 9th on a harpsichord.
 Some harpsichord have a “reverse keyboard”, in which the sharps are white and
the naturals are black.
 Ascents, decrescendos and crescendos are not possible.
 Popular in the 14th century