J.S. Bach Fugue BWV 1001, Tutorial Part 3 | Heather DeRome
HTML-код
- Опубликовано: 3 окт 2024
- Honestly, I think this is one of my most important tutorials. I made it and deleted it three times, because I wanted to be sure to make it as clear as possible, so that people with even limited theory would understand.
The video talks about the overall arch of the fuga. It shows clips of Julian Bream masterclasses asnd several other examples of how Bach deals with the long range arch in other movements from the Sonatas and Partitas.
Let us know what you think, by commenting below.
Appreciate the pains you've taken to dissect this interesting composition.
Thanks Harry.
This a such a gold mine of insight. Thanks Heather.
Thank you.
Loved the discussion of the golden mean, and how it applies to his phrase structure. It is a clear explanation of a topic I have always heard about without much detail. Thanks Heather.
Thanks David. This topic of the overall arch is really important to me. It really helped so much as a player, when I understood it. And the Golden mean is just a "trick" to give us clues as to how to find it. It's in every one of the movements in the Sonatas and Partitas. Maybe I should make a video, just about the golden mean in the S&P.
@@sonatasandpartitas I love the idea. Visual aids are great as well. I liked seeing the golden mean curves in your discussion. I used to think the french curve was based one fractal mathematics but after comparing them I guess they are different. I like the idea that phrase structures in the music of Bach could be represented in the curvatures of sea shells on the beach.
@@sonatasandpartitas Another cool topic for a video might but the pre-cadential "CRUNCH" chord Bach always used close to the end of the movement. It's placement in the scheme of the composition. Would love to know your thoughts on the topic.
Like my daughter said when she was 8ryrs old, Everything in Nature is in Bach. But then she went on to say, "but I prefer Opera" So I thought "wow, Ok, she is not saying that lightly"@@franzenmusic
@@sonatasandpartitas I love specific Opera arias as much as any music, but Opera as a whole not as much as Bach.
Thank you very much Heather
You are welcome. Best wishes from Canada
Just watched this all over again and got even more out of it than the first time. Thanks so much Heather. And what other Bach analysis videos do you get Rubber Duckies!!! ❤😂❤🐤🐤🐤🐤
hee hee I was verrrry proud of the rubber Duckies
@@sonatasandpartitas
🐥😂🐤
Love this. I have been playing this for several years. This analysis feels so right.
Thank you. You can apply this to all the pieces in the Sonatas and Partitas. All the fugues and all the shorter ones (even the binary ones) work with this principle, in that they go somewhere, get there at around or EXACTLY at the golden mean, the music in some sense stops, and then turns around and comes back home. Once I realized that, I felt like I understood every piece at such a deeper level.
@@sonatasandpartitas Thanks again. The golden mean and the Fibonacci series show up in many seemingly unconnected places. Its an interesting universe. Bach is humbling and amazing.
@@sonomabob humbling and amazing. Totally agree.
Thank you so much, i love this fuga 🎉🎉❤and your amazing analysis!
Thank you!
What do you use to edit your videos? I love all of your videos
Thank you.
I have been using I movie. I just got Final Cut Pro, so I think this video might be the last I movie video.
You're amazing! let me ask you, what's the transcription you use?
just found it!
Thanks. Frank Koonce and I spent over ten years working at those transcriptions. They are for sale at Les productions d'Oz, or at our website SonatasAndPartitas.com. They are published in a full set, and in separate individual BWV's. There are over ten pages of performance notes, and honestly, the fingerings and small changes to what Bach wrote were hashed and re hashed out probably thousands of times. So... Not to be putting a sales pitch or bragging, but I honestly believe in that book. All my videos come from the learning process we went through making the arrangements. It is very different than playing the Lute music, which pretty much fits on the guitar, note for note. When making the violin transcriptions we ran into so many questions, and walls that took years to solve. It was amazing... Awe inspiring, really.