J. S. Bach/Schemelli: Ach, daß nicht die letzte Stunde (continuo demonstration by BSG) (now with Mietke Hauptwerk harpsichord)

J. S. Bach/Schemelli: Ach, daß nicht die letzte Stunde (continuo demonstration by BSG) (now with Mietke Hauptwerk harpsichord)

3 parts1 page00:54a day ago101 views
Voice, Harpsichord, Cello
This is the first song in the Schemelli Gesangbuch. I have realized the continuo (for harpsichord/cello) in my usual style for demonstration. Note how this differs from a choral realization of the same figures for the same piece ( https://www.bach-chorales.info/SchemelliChorales/S001.html ), which is a different exercise.

NOTE WELL that the vocal and continuo right-hand are not (within this paradigm) constrained to mutual contrapuntal independence.

See here for lessons: https://musescore.com/bsg/continuo

Currently with Mietke harpsichord (in Hauptwerk) supplied by R, Collu. If video score doesn't play on Chrome, use a different browser, or select the MuseScore audio source.

J. S. Bach’s canonic Sarabande, BWV 1067#3, presented, decomposed, and reassembled into a new canon by BSG

7 parts9 pages16:026 days ago77 views
Flute, Violin(3), Cello, Contrabass, Harpsichord
CLICK "Show More!" One of the most affecting and beautiful canons in Bach, the Sarabande of the B Minor Orchestral Suite, previously available as https://musescore.com/bsg/scores/830006 , but here represented with another purpose, as the first of five sections. Please read THERE ( https://musescore.com/bsg/scores/830006 ) for my lengthy encomium (and analysis) to this singular movement.

In subsequent sections, I strip the canon (between the top part (flute/vn1) and the bass) down to its essentials in two successive stages, until it reads one note per measure, note-against-note, in canon at the 12th. One can hear that the great beauty and poignant harmony of the Sarabande are all latent in that skeleton; it is the secret of this superlative movement incomparably perfectly balancing technique and beauty.

Then, to show how one might reverse that process, and use it as a model of engineering a complex canon at a non-unison interval, the lower 5th/12th in particular, I flesh out a wholly new canon (or is it truly wholly new?) upon that skeleton, and provide inner parts in style and instruments (part V of this posting).

If you like canons and the lower 12th/5th generating suite movements, check out my earlier canonic menuet in this style (not based upon Bach's skeleton, so to speak (currently in Leipzig)) https://musescore.com/bsg/scores/4905490 .

[5/17: Harpsichord operating properly now in Bach and BSG canons].

Vivaldi: Concerto RV 565 D minor for 2 violins, violoncello, and strings

9 parts43 pages09:05a month ago124 views
Violin(2), Cello(2), Strings(3), Harpsichord, Contrabass
Vivaldi's famous D Minor RV 565 (transcribed as BWV 596 by Bach (how ironic that BWV 565 is also in D minor!), but not here). Continuo realized by me. Developed from a score posted by Eric Holden.

No phrasing, but ritardandi added.

J.S. Bach/Pergolesi: Wasche mich - complete analysis of Bach's viola contribution by BSG, 2018

5 parts13 pages03:08a year ago85 views
Violin, Viola, Voice, Harpsichord, Cello
CLICK "Show more". Complete analysis of the content and genesis of Bach's viola part for the "Eja mater" of Pergolesi's "Stabat mater" https://musescore.com/user/1831606/scores/5090495 . Analysis and note-by-note comparison of vocal line changes at https://musescore.com/user/1831606/scores/5091480 .

See my set https://musescore.com/user/1831606/sets/5093144 for all.
Y'all might like to visit my own “I added an active viola to a piece that was fine without it” works inspired by this, the second here being the first movement of P's same Stabat Mater:


J.S. Bach/Pergolesi: Wasche mich doch rein von Sünden - comparison and analysis of Bach's changes to Pergolesi's vocal line

6 parts10 pages02:26a year ago57 views
Violin, Viola, Voice(2), Harpsichord, Cello
CLICK "Show more". Analysis and comparison of Bach's changes to Pergolesi in https://musescore.com/user/1831606/scores/5090495 . Analysis of viola part content and genesis at https://musescore.com/user/1831606/scores/5093086 .

https://musescore.com/user/1831606/sets/5093144 all three scores.

J.S. Bach (from Pergolesi) Wasche mich doch rein von Sünden (BWV 1083, #8)

5 parts10 pages02:27a year ago112 views
Violin, Viola, Voice, Harpsichord, Cello
A central and outstanding movement from Bach’s rework of Pergolesi’s Stabat Mater. Bach has added an active viola part, and effected other changes, subtly changing the character of the piece.

Y'all might like to visit my own “I added an active viola to a piece that was fine without it” works inspired by this, the second here being the first movement of P's same Stabat Mater:


J.S. Bach: Largo, from Double Violin Concerto BWV 1043 (as organ trio (Hauptwerk/Doesburg), with hidden full score)

13 parts7 pages06:37a year ago1,074 views
Violin(6), Viola, Harpsichord(3), Cello(2), Contrabass
One of the most beautiful slow movements of the Baroque, set here as a trio, which contains and implies all the harmonic content. The string parts (which are hidden and muted, but there accurately, and can be un-hidden and un-muted) can be derived from this trio.

You can play it on the organ from this three-staff score, as recorded here on the Hauptwerk/Sonus Paradisi Doesburg organ. Choose the MuseScore sound source if you want to hear it wiith solo violins, bass, and harpsichord (whether the 2 latter are "continuo" or not is a major issue).

The continuo figures are from the Bachgesellschaft Ausgabe, but there are complex problems surrounding them, discussed on the first page. The harpsichord you hear is the “literal, verbatim, unadjusted orchestral string parts” “realization”. There is half of an original realization according to the figures in there, but the very concept is fraught with problems here, and I gave it up in the middle (it’s both silenced and hidden). There are copious “detailed execution” (XEQ) parts, well, … detailing the execution of the phrasings and ornamentation, including cello and contrabass. There is some piano-roll editing, but I should have abandoned that for XEQ tracks early on.

The three hidden/silent violin and viola parts are not “by continuo rules” – they are in true six-part counterpoint with the two soli and the bass, although (except at two points, where one of the soli is silent) wholly devoid of melodic interest and replete with large jumps and devious crossings – they are subsidiary parts in every sense, in a six-part obbligato texture, but composed “ex post facto” as the implied accompaniment to the three principal parts. The “hch redux” part copies them exactly, and is, thus, not “continuo” either. All the ugliness is darkly squished into them so that the solo parts can shine as paragons of melodic and contrapuntal beauty.

If we compare this movement to the slow movements of the other extant violin concerti (BWV's 1041, 1042) or, say, BWV 1052, or even the outer movements of the present concerto, this one stands out as lacking in "tutti" texture, passages by the orchestra without the soloists; the soloists are always present, at least one. That leads me to suspect an earlier trio as the basis of the present movement, perhaps an organ or chamber trio, which might account for the continuo peculiarities noted. Works quite well as an organ trio movement, no?

Note that the notes of resolution of the Baroque appoggiature in mm. 39 and 40 are sounded simultaneously with them by obbligato parts (as well as the implications of the figuring).

Please excuse me for discussing extremely abstruse technical details when I should be praising the heart-rending beauty of this incomparable utterance of deep human feeling.

Handel's “The Trumpet shall sound” (Messiah), B section only, with new Violino Solo by BSG 2017

7 parts3 pages01:36a year ago506 views
Strings, Voice, Cello, Bassoon, Harpsichord(2), Contrabass
Another Bach-on-Pergolesi-like augmentation of a classic score, a violin solo added to the “B section” of this renowned aria from Händel’s “Messiah”.

That’s really all that needs be said. I was helping Gertim prepare this aria for MuseScore, and fell in love with the “B Section”, which has no instruments other than “continuo” (without figures) accompanying the basso vocalist; the trumpet and strings are silent. His score is here https://musescore.com/user/1685616/scores/4565991, and my comments quoted in his “About” should be noted.

The instrumental bass (marked “continuo”) and vocal here are unaltered from Händel (other than period-appropriate trills added to the latter). The continuo realization is my supplementation of that provided in the Deutsche Händel Gesellschaft 1892 edition, with occasional changes to support the new violin solo in various ways (including complementary melodic interest). The hidden backing instrumentation of the continuo line is Gertim’s.

I have added a great many staccato dots to the violin part, and even some in the vocal part to correspond to my “scheme” — if you don’t like ‘em, click right on one, ”Select all similar” and hide.

As with some of my other augmentations, Bach’s work on Pergolesi’s couldn’t-be-more-famous “Stabat Mater” is my model. Adding such a part involves a ferret-like search for ”open contrapuntal space”, gestures not already taken by the two parts working overtime to occupy all such space in the absence of the instruments (the same is even more true of completely solo instrumental lines, i.e., the cello and violin suites/partitas). Some of the melodic gestures (“haccho di Perg.”) are from the famous Italian (cf., https://musescore.com/user/639721/scores/1080991 , a pure score (my own best SM1 score is an augmentation)).

J.S. Bach: Fugue in G Minor for Violin and Continuo (BWV 1026) (with fully realized elaborate continuo by BSG)

4 parts9 pages04:52a year ago692 views
Violin, Harpsichord(2), Cello
A truly unusual accompanied fugue for virtuoso polyphonic violin and continuo. Little is known about its origins: its sole source is a copy by J. G. Walther dated after 1712. The eminent Robin Leaver’s Routledge Companion to Bach cites Jean-Claude Zehnder’s suggestion of an origin from Weimar ca. 1712-1714 on grounds of style.

Seeing an inauthentic version of this work on line, I was moved to check it out further and create an authentic version of this unfamiliar work with realized continuo, if that is not an oxymoron—Baroque composers intended the performers to participate in composition in this way. The elaborate harpsichord realization at time takes on the character of a cembalo concertato part, but retains the permission, nay, responsibility, to double obbligato gestures as figured, impermissible in a free part.

Echoes of familiar patterns in well-known Bach works abound, e.g., the 5th Brandenburg concerto’s (BWV 1050) harpsichord solo, Cantata 4, the double violin concerto (BWV 1043) and, most of all, the renowned solo violin fugue, also in G minor, in the G minor violin sonata, BWV 1001. The technique of accompanied fugue is not at all common in Bach’s instrumental works, but it occurs all over the cantatas. Here, the violin starts with the ostensible subject, as the continuo enters with what is best called a countersubect- it recurs many times, including with the subject “straight” (m.7) in invertible counterpoint (m. 84).

The virtuosic violin part features dramatic double stops putting forth gorgeous suspension chains against the continuo, as well as two solos, the first completely unaccompanied, and the second an astonishing cadenza with a lengthy dominant pedal (for which I have used a cello along with the harpsichord left hand), The internal patterns and rhetoric of the second solo in particular echo the Solo Suites and the magnificent solos of the instrumental concerti, aforesaid Brandenburg and BWV 1052 in particular.

Bach's mastery of the violin (among all else, he was a violinist) is evident everywhere, in the choice of intervals in violin polyphony, including the wild arpeggii in the solo/cadenzas. This music cannot be transcribed; its whole effect lies in the violin magic.

The MuseScore violin (as of this writing) has serious tuning problems above the staff. It is possible to retune each note carefully, but it's a lot of work and I haven't done it. You can use any sound font you like ("this is not a recording') and maybe one day it will be fixed.

Two corrections to 8/10/17 D. Daily fughetta

1 part2 pages00:41a year ago139 views
I've done what I've recommended here in measures 5 and 11-12, and made no other changes. In a fugue, when voices enter, it should usually be with the subect (or, as here, because I wanted to preserve your text), the "answer-form" subject.

Note that in M. 5, first half, the C chord implied by the right hand (which actually echos your figure in m. 3) is the harmony, and it is the Bb in the bass, the seventh of the chord, properly resolved, which is dissonant.

I've added a measure between 11 and 12 to preserve your measure numbering, and changed the LH in 11 (and the new measure) to a subject entry ("answer" form), with new material in the RH to connect to your measure 12. I've added a "double neighbor figure" (see https://musescore.com/user/1831606/scores/3895601), like (and echoing/answering) yours in m. 10, except that the last tone is not consonant but dissonant -- the whole figure becomes an extended "A", and final A has the sound of an "échapée", an "escape tone", a common and understood figure. See that tutorial.

Sarabande (di BSG, 1982)

2 parts2 pages03:532 years ago207 views
The Sarabande of the D minor clavier suite I wrote in 1982, of the first years after I acquired a harpsichord. It is quite playable.

There are things herein (like the reversely-resolving suspensions in M. 6, or the 7->8 in the next) I would not do today.

There is a hidden single-staff right-hand harpsichord part with some of the more difficult ornaments (e.g., addressing correct rep rate and MuseScore's inability to accidentalize ornament neighbor-notes credibly). While impeding copying the parts, it obtains correct appearance and execution.

This was composed the “old way”, i.e., pencil and staff paper at the harpsichord.

Canone alla settima (di BSG, 2015)

4 parts4 pages01:373 years ago245 views
Oboe, Viola, Bassoon, Harpsichord
A new canon at the seventh, of the dark and brooding character often cast by that interval, col basso continuo.

[12/15 - Added mm. 35/36; 12/18 - improved cto. mm. 24-25].

Inventio (di BSG, 1981) (performed on Soni Musicae's "Petit Italien" a 17th century italian virtual harpsichord)

1 part3 pages01:553 years ago230 views
From my first year of living with a harpsichord, 1981. I would not write this in this way today.

This early three-voiced invention has its beauties, but suffers from naïvété in regard to imitation placement; while the persistent octave imitation is ok in 2 voices, three ought be fugally staged. The long suspensions don't really work on the harpsichord, either, but this is how it was written (at the harpsichord). It is at its best when faithful almost-canons arise (e.g., m 11 at the seventh.), but they ought be more deliberate.

[3/22/2017] Auto-performed on a Soni Musicae virtual harpsichord, their "Petit Italien" free samples, courtesy Riccardo Collu.