J.S. Bach: Genügsamkeit (BWV 144 #5)

3 parts5 pages02:517 months ago99 views
Oboe, Voice, Cello
A beautiful aria from BWV 144 "Nimm, was dein ist", for soprano, oboe d'amore, and continuo (the latter a first-class example of the "JSB walking bass" genre). There are no figures in the BGA, so I did not supply a continuo "realization". Note the outrageous "resolution" of a 6-4-2 in m. 32. There are hidden 85% portati implementing the phrasing.

Stile antico senza parole (di BSG 2018)

2 parts2 pages01:518 months ago165 views
For all the folks here learning to write stile antico counterpoint. There are a few, but limited, Baroque gestures here.

J.S. Bach: Prelude and Fugue in B minor (Prelude only), BWV 544.1 (on Hauptwerk/Sonus Zwolle Schnitger organ)

4 parts8 pages06:268 months ago635 views
Fugue URL below. Score entered by Clarin Pardo; performance details, including ornamentation/\ & tempi, hidden and Bach staccati at 70%, hidden portati at 85 and registrations via Hauptwerk, on the Sonus Paradisi imaging of the 1720 Schnitger organ at Zwolle, Holland, by BSG.

The B Minor Prelude (Fugue posted separately) is one Bach’s densest and most mature conceptions for organ, a massive, lyrical Italianate aedifice which looks more forward to sonata form than back to Buxtehude, with ritornelli of its opening/closing material enclosing flowing episodes in 32’nds, held together with magnificent -pedaliter- transitional passages that drive it to a conclusion of fitting, tremendous power. As Williams duly notes, the key of B Minor calls to mind tragedy: the Matthew Passion (Erbarme dich), the Traueröde, the great Mass (esp the opening Kyrie), and the elegiac B minor prelude and fugue of WTC-1 (well, yes, the -Badinerie- too, but, …).

Fugue at https://musescore.com/user/1831606/scores/5221868 .
Hoofdwerk: Octaav 8', Octaav 4, Superoctaav 2, Mixtuur
Rugwerk: Praestant 8', Quintfluit 3'
Pedaal: Praestant 16', Subbas 16', Octaav 8, Superoctaav 4, Bazuin 16'

J.S. Bach: Der Gott, der hat mir versprochen (BWV 13, #3)

9 parts12 pages03:189 months ago173 views
Violin(2), Viola, Flute, Oboe, Voice, Other Woodwinds, Cello, Contrabass
A superlative concerted chorale-prelude movement on "Freu' dich sehr, o meine Seele" from the incredible cantata "Meine Seufzer, meine Thränen", BWV 13.

Those who, like myself, strive to learn this art are encouraged to study the bass chosen to underlay the Cantus when it appears. The harmonic creativy in these places is deeply inspiring.

DeNood Choral exercise mm 1-13 by BSG

2 parts1 page01:089 months ago53 views
Voice, Contrabass
I did this about a week ago. It adds a lot of ninth suspensions and accented passing tones etc. The difficult problems of the difficult melody in 8 necessitated difficult solutions, and the texture gets a bit "motetty" (as oppose to "choraly", as it were) there.

from Timon de Nood: Choral exercise in G major version 2.03: add alto

1 part1 page00:429 months ago57 views
Now add an alto voice. I have started as an example in mm. 2-5 (and 9). I have also figured the resulting chords -- do that, too. Note that there are some ?'s in the figures when the quality of the interval is still not known You do the rest. Except at I6-4,V,I cadences, you may not introduce fourths (such as at *). Of course, keep the alto in singable range and in the treble clef and below the soprano, and as linear as possible. Other than the cadential 6-4's, the alto, too, will be from the same consonant palette, i.e., 3,5,6,8. You may use 5's, and we can have open fifths (no third in the chord -- the tenor can handle it later) Good luck!

J.S. Bach: Vater unser im Himmelreich (R/K 316, BWV 416) (examples of handling of unequal fifths)

5 parts2 pages00:459 months ago139 views
Voice(4), Contrabass
This version of Luther’s famous chorale contains several contrapuntal eyebrow-raisers. First of all, it is curious that the signature has a flat, i.e., is D minor and not D (natural) Dorian.

The greatest shock is the first tenor note of M.2, a suspended fourth over the bass that does not resolve, unless “vicarious resolution” into the alto (poor her!) is believed – it just vanishes. Interestingly, this is the point in this chorale where a progression of iv minor 7 to V (which this is not; it's I-6-4 to V) generally requires ungainly jumps to avoid parallel fifths; see my monograph on that, https://musescore.com/user/1831606/scores/4987428 . The alto outlining an augmented chord there (A C# F) is "unusual", too.

The next greatest shock is the circled quadrangle of notes in measure 1, the soprano and alto. They go from a diminished fifth (C#-G) to a perfect fifth (D-A). Countless counterpoint books forbid that gesture. I have many other examples in the chorales where he admits it.

But in m. 6, when the same connection threatens in the alto and tenor, Bach adds an eighth-note to “clean it up.” He couldn’t do that in m. 1 without destroying the cantus.

In m. 12, the same threatens in the soprano and tenor, and he “cures” it with a large leap and colorful figure in the tenor; an A G pair of eighths would have been fine, were he willing to tolerate what he did in measure 1.

So there.

J.S. Bach: Er denket der Barmherzigkeit (BWV 10 #5)

5 parts5 pages01:549 months ago360 views
Trumpet, Voice(2), Other Woodwinds, Cello
The magnificent brief duetto for Alto and Tenor from the cantata BWV 10, based upon the -tonus-peregrinus- Magnificat plainchant, which sounds in the trumpet. The chromatic, broken-line vocals are exceptionally rich in unexpected harmony, contrasting the seemingly "plain" plainchant. Bach obviously thought highly of this movement, as it became one of the six "Schübler" chorale-preludes for organ, BWV 648.

It is also a showcase for the uncommon 5-2 bass suspension (e.g., the very first 2 notes).

"He, remembering His Mercy, helpeth His servant Israel." (Lk 1:54)

Continuo by me. Phrasing by portato.