Prelude Three for Four (di BSG 2017)

1 part2 pages01:13a year ago289 views
Piano
The notation of eighth-beamed-to-sixteenth to a quarter note, albeit confusing at first, was often used in the Baroque, and is achieved in MuseScore by calling for a tuplet of "3 (sixeenths) for 4" on the quarter-note, i.e., LESS time-notation substituted for it.

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

13 parts7 pages06:37a year ago1,111 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
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Handel's “The Trumpet shall sound” (Messiah), B section only, with new Violino Solo by BSG 2017

7 parts3 pages01:36a year ago513 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 ins
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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 ago712 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. 171
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J.S. Bach: Wenn aber jener, der Geist der Wahrheit (BWV 108, #4)

5 parts12 pages03:48a year ago156 views
Voice(4), Contrabass
A fugue on three subjects (not combined) on ideas from the Gospel of John. The extremely unusual third subject introduced at m. 30 features an upward major seventh, an extremely unusual gesture, let alone in a fugue subject. The first subject (m. 1) resembles it a bit, but does not -usually- contain
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Two corrections to 8/10/17 D. Daily fughetta

1 part2 pages00:41a year ago139 views
Harpsichord
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
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Frescobaldi: Capriccio di Durezze (1624) (with analytical figuring)

1 part2 pages02:37a year ago475 views
Viola
Frescobaldi’s (1583-1643) stunning 4-voiced fantasia showcasing lavish “durezze” (suspensions) from his first book of capriccii from 1624. Given resources available, I render on MuseScore strings.

From Wikipedia, “Girolamo Alessandro Frescobaldi was a musician from Ferrara, one of the most im
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