bach fugue in c major analysis

This fugue in C major, the first fugue from the first book of Bach's Well-Tempered Clavier, presents several interesting aspects: Some authors propose various numerological symbolism. Incomplete appearances, appear in green color: ©2005 José Rodríguez Alvira. If you play just the bass staff of the above score, you will see that there are some melodic effects that this makes, which are not audible if one just plays each 5 tone chord (upper and lower staves). Published by, Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. BWV 952 ; BC L150 I-Catalogue Number I-Cat. The 14 notes long subject is said to be related to Bach's name: B = 2, A = 1, C = 3, H = 8 This fugue in C major, the first fugue from the first book of Bach's Well-Tempered Clavier, presents several interesting aspects: The voices appear in the exposition in the unusual order of subject - answer - answer - subject. An early version of the prelude, BWV 846A, is found in the Klavierbüchlein für Wilhelm Friedemann Bach. The Prelude and Fugue in C Major, BWV 846, is a keyboard composition written by Johann Sebastian Bach. No. Close. the next measure with the 32ths notes of the subject): Follows the complete analysis of the fugue. incomplete presentations of the subject. We have numbered the subject and answers appearance. 2 + 1 + 3 + 8 = 14. Bach – Prelude No. IJB 202 Key C major Movements/Sections Mov'ts/Sec's: 1 First Pub lication. An analysis of J.S Bach's Prelude and Fugue No.1 in C major, BWV 846, from the Well Tempered Clavier Book 1. Read our privacy policy for more information. The only measures where the subject is not present are measure 23 and the two last measures of the fugue. After the exposition Bach presents numerous. This is because in JSBs original score, the 2 bass notes sustain and form the basis of the chord progression. as you will see in our analysis, there are only 22 complete subjects. Fugue Alt ernative. Period: Baroque: Piece Style Baroque: Instrumentation Clavier But A detailed guide that analyzes the structural, harmonic and thematic frame of the Prelude and the Fugue. No. 1843 Composer Time Period Comp. The voices appear in the exposition in the unusual order of subject - answer - answer - subject. J.S. uses cookies. Please note that in the above score, I have grouped the two bass tones and the upper chords separately. By using our site you agree to the use of cookies. It is the first prelude and fugue in the first book of The Well-Tempered Clavier, a series of 48 preludes and fugues by the composer. Title Composer Bach, Johann Sebastian: Opus/Catalogue Number Op./Cat. 1 in C Major, BWV 846 __ The famous prelude opening Book I of the Well-Tempered Clavier is both wonderfully classical in its harmonic richness and wonderfully modern in its repetitive simplicity. The fugue closes by ways of a warm and splendid organ point with the upper voices rising in counterpointal dialogue to a crowning and lofty C maj. Below is an overview of the 4 sections of the fugue, as well as an indication of the modulations that occur. In my view, both variants are viable, it depends on the overall design, JS Bach, The Well-tempered Clavier - Online Analysis, Comments and Audio © Copyright 2020 Philip Goeth, Oregon Bach Festival Cuepoints on WTC Book 1, see Well-tempered Clavier - Notable Performances. It is also said that the subject appears exactly 24 times in this fugue representing the 24 fugues in the first book of the Well-Tempered Clavier. The first incomplete appearance is in measure 14: The 4 last notes are missing, yet this voice enters in a stretto, so you really hear it as a subject entrance even if the 4 last notes are missing. The second incomplete appearance is in measure 15 where only the first 7 notes are presented: In the third incomplete appearance in measure 20, we only hear the first 3 notes (although you may find some relations between the sixteenth notes in In connection to this topic, the performer has to decide as to whether the 16th notes of the right hand should be sustained until the end of each arpeggio, or if they should be held (only) as long as the notation indicates. To be able to get to the total of 24 subjects you need to include two

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