In celebration of this year’s 9/16 tuplet birthday I am nearing completion of my Sibelius transcriptions for iPad of his Well Tempered Clavier, Books 1 & 2. So far this year I have completed The Art of the Fuge and the Goldberg Variations. Today I will complete both No. 16 Prelude & Fugues in G Minor.
A difficult to play Contrapunctus from Die Kunst der Fuge by Johann Sebastian Bach. It has taken a long time to approach playing this work because some of the finger assignments for the three voices are impossible for two hands. Transcribing Bach’s works into Sibelius helps me to ponder the work measure by measure, note by note.
A Fugue from Book 1 of the Well Tempered Clavier by Johann Sebastian Bach. This post is the first Sibelius transcription in my project to make trackable scores of both books of Sebastian Bach’s Well Tempered Clavier. I hope to improve my understanding of Bach’s contrapuntal harmony.
Plain and simple, I have a terrible memory. Unsurprisingly, my body of memorized scores is slim. At 70, I don’t think that’s going to change. On the one hand this has made me a good sight-reader, but I long to play unattached to a score.
Many years ago I started practicing scales and what I called “my finger exercises.” Musical harmony is not made of great tonal leaps, but subtle tonal changes with feeling. Over the years I’ve learned to just follow my fingers. Early in the morning is the ideal finger exercise time.
Here is a raw sample from 2011 recorded on a Yamaha KX-88 midi controller:
Tonality in the form of consonance and dissonance are the building blocks of harmony in music. They are created when two or more tones are played simultaneously. Unison, third, fifth, sixth, octave, and the intervals made up of these and the octave are consonances. Some of these are perfect consonances, the others imperfect. The unison, third, and fifth are perfect. The sixth, and third are imperfect. The remaining intervals, like the second, fourth, diminished fifth, tritone, seventh, and the intervals made up of these and the octave, are dissonances.
A progression through a variety of these intervals creates an emotional response in the listener that we call music. The progression of intervals is created by the motion of the tones (voices) within the intervals in three possible movements: Direct, Contrary, or Oblique.