I feel like there are certain keys that you can tell that Bach really really loved, and F minor is one of them. Even the F minor Invention is dramatic and harmonically rich, and so is the F minor Sinfonia. This fugue is certainly a standout in the WTC 🔥
Thanks for sharing! Yes, there's something about F-minor and Bach. I was just playing through the Invention and Sinfonia in that same key, today, and thinking about the intrigue and moodiness of these pieces.💜✨
Hi Penny, I recently came across with your channel and I love your contents! Thank you for sharing your study, it’s so informative. I play Bach as a hobby, and your contents means a lot to me. Please keep up your great work. Greetings from Japan/NZ.
Thank you for your reply. Currently I’m working on Contrapunctus IV from the Art of Fugue which also requires tricky fingerings. I uploaded my slow practices on my channel, please take a look if you have time😊
This time Penny decided on Fugue No. 12 in F minor, in which fingering is "impossible" and made it as simple as possible, so that the pressure on each key is equal and the clarity of the sound is impeccable. I am delighted with the way Penny solves “the problems of playing Bach's music”. Honestly, I don't believe that I will ever be able to play this piece correctly (maybe I want even try!?), but when you play the music you love, practice only deepens the love and Penny explains the piece and how to perform it in the most beautiful and "fun" (more precisely, the most pedagogical) way, so thank you Penny for an extremely (as always) interesting and instructive lesson 🎵❤️🎶🎹❤️
@@pennyplaysbach the part where the subject enters in the treble close to the beginning of the piece is kinda giving me trouble, the fingering is very confusing. its the first piece ive played that I have pretty much been completely unable to sightread, mostly because of how complex the subject is and how confusing the fingering is lol
Привет Пенни. У вас лучший канал для понимания музыки Мистера В. И не только для понимания, но для исполнения так же. На мой взгляд, фуга - самое совершенная, красивая и сложная музыкальная форма. Спасибо. P.S. Ох эти прекрасные аккорды, вроде все понятно, но так берет за душу...
(Halfway through: 24 ways to introduce voices is correct. This is because you have 4 * 3 * 2 * 1 choices whenever a voice enters, "pick one drop one". In maths we say "4!", pronounced 4 factorial. With 24+24 fugues I guess Mr. B missed an opportunity for some symmetry here!) Amazed to have found this published just as I've picked it up! This fugue is something like the tenth piece I've ever learned and it's been overwhelmingly difficult for me as a novice adult, but it was just too beautiful to pass on. I found it interesting that for each entry of the subject, after a sequential passage, there is a short pause at a strong consonance: first a single C, then a C with octave, then C and G, then if I remember Eb G and something similar and finally F C (sort of). With the "major mode" subject variation (second note a whole step up) these consonances include thirds, otherwise just perfect intervals. I feel those consonances are like the calm before the storm, as one moves from the bright sequential parts into the deep dark subjective parts. And if the coming subject is in a brighter variation the consonance is allowed more color. I always let these intervals ring out as I try to remember what I'm supposed to play next.
Thank you for this comment and the deep observations you've made about the music! You've hit on some very important points and players of this music would do well to make more of these types of physical associations between consonant and dissonant intervals, as they pertain to the various sections of the piece. I've noticed, too - and it is the case in this Fugue - that Bach begins a lot of pieces with a rest, or at least the hand with the subject begins with a rest (this is certainly the case with the Inventions.) It seems to imply motion on Bach's part. I hope your work with the piece continues to stimulate your mind and give you comfort. This is always the case for me, with Mr. B's music!💙
@@pennyplaysbach Thanks for your insight and encouragement! I just edited my comment -- I was writing "fugue" where I meant "subject". That must have been confusing to read, sorry! (Measure 34 and 40 would be the entries of the subject in the "whole step up" variations, prepared with major chords, while all other entries are prepared with these "consonances" without harmonic context. I really haven't noticed that anywhere else, Bach otherwise so always flowing, always unambiguated. Anyway, it was certainly useful to notice when memorizing the piece, I hope it can be useful in interpreting it as well.) I will take your observation about implied motion from the rests to heart! This is a concept I'm very much struggling with -- that is rhythm -- a few years of math has been helpful in understanding counterpoint, but does nothing much for rhythm. I'm really hoping to find symmetries between rhythmic motifs and counterpoint, similar to how polyrhythms sound like chords when speed up, like 5:4 is a M3 and 3:2 is a P5, but symmetries to groupings and rests rather than to metre. The big idea being to bridge the gap between classical music and electronic dance music, bring some counterpoint into the desolate wastes of pop, and some drum & bass into the fugues. So far I'm stumped, but if there is anything to find I'm certain it will be found in Bach. I will certainly keep playing and studying this music, wish you the same! I expect it will at least keep me occupied for a few more centuries.
I think, a voice often pauses before entering again with the subject so there is enough "space" for it and it's clearer for the listener when the subject begins. By the way - Sviatoslav Richter for instance played the piece quite slowly and it works beautifully. I'm looking forward to your performance.
Thank you! Yes, Richter plays it fairly slowly. I've been listening to Wanda Landowska's performance, which is considerably longer (ruclips.net/video/2PunEV8cLkE/видео.html.) So many ways to interpret the music!✨
Согласен на счёт Рихтера. Каждый голос, каждая тема отчетливо слышны. Он записывал Хорошо темперированный клавир в Зальцбурге, в 1972 году. Поэтому и с акустикой там всё идеально. Эта запись - мировое сокровище, по моему мнению.
That fugue, while brilliant, is not as interesting as this one because some typical fugal devices are missing. As I recall there is no stretto. Maybe there is an inverted theme but no retrograde. The E flat minor fugue from book one is full of thematic variety. It's relatively easy technically and very beautiful and somber
And here is my tutorial for the Prelude✨:ruclips.net/video/Y-GLuINmjT4/видео.html
Thank you for linking it!
Literally the fugue I’m working on right now. This is perfect. I really love the motif for this one and how it expands.
Subject* is what I’m referring to.. I actually really like it because of how it expands with the left hand once it comes in.
@@JcFiscus42 Thank you! Yes, absolutely, it's a delicious Fugue, with a vine-like, creepy-crawly subject!😍
I feel like there are certain keys that you can tell that Bach really really loved, and F minor is one of them. Even the F minor Invention is dramatic and harmonically rich, and so is the F minor Sinfonia. This fugue is certainly a standout in the WTC 🔥
Thanks for sharing! Yes, there's something about F-minor and Bach. I was just playing through the Invention and Sinfonia in that same key, today, and thinking about the intrigue and moodiness of these pieces.💜✨
This was fascinating. I loved watching your progress and process of learning a new score of music.
@@roseanneeklund9627 Thank you, Roseanne! I love working out ideas in this music!✨
I love your passion and joy Penny, you are an amazing musician, it always amaze me how creative you are, your work always inspires me 😊
@@leeceero Thank you so very much!!❤️❤️
Hi Penny, I recently came across with your channel and I love your contents! Thank you for sharing your study, it’s so informative. I play Bach as a hobby, and your contents means a lot to me. Please keep up your great work. Greetings from Japan/NZ.
@@sonar86 Thank you so much!💜 Happy practicing to you!
And greetings back to you from Canada!🍁
Thank you for your reply. Currently I’m working on Contrapunctus IV from the Art of Fugue which also requires tricky fingerings. I uploaded my slow practices on my channel, please take a look if you have time😊
Amazing Penny. Thank you so much !
@@fitness.systems Thank you, Gary!
This time Penny decided on Fugue No. 12 in F minor, in which fingering is "impossible" and made it as simple as possible, so that the pressure on each key is equal and the clarity of the sound is impeccable. I am delighted with the way Penny solves “the problems of playing Bach's music”. Honestly, I don't believe that I will ever be able to play this piece correctly (maybe I want even try!?), but when you play the music you love, practice only deepens the love and Penny explains the piece and how to perform it in the most beautiful and "fun" (more precisely, the most pedagogical) way, so thank you Penny for an extremely (as always) interesting and instructive lesson 🎵❤️🎶🎹❤️
Thank you so much, Agnes!💙I have so much practicing to do on this piece, to get it where I want it to be!✨
@@pennyplaysbach I have no doubt at all that you will bring the performance to perfection 🎶🎹🎵😌
Thank you 🙏 I learned a lot from watching your videos.
Thank you so much, Yo Yi!💛
this was uploaded while i was practicing this fugue on the piano, thats very funny and i think its very hard to play.
@@WolfieNamira Oh that is something, indeed! I’m glad to hear there’s someone working on this piece. We can be practice buddies!🎹
@@pennyplaysbach the part where the subject enters in the treble close to the beginning of the piece is kinda giving me trouble, the fingering is very confusing. its the first piece ive played that I have pretty much been completely unable to sightread, mostly because of how complex the subject is and how confusing the fingering is lol
Привет Пенни. У вас лучший канал для понимания музыки Мистера В. И не только для понимания, но для исполнения так же. На мой взгляд, фуга - самое совершенная, красивая и сложная музыкальная форма. Спасибо.
P.S. Ох эти прекрасные аккорды, вроде все понятно, но так берет за душу...
Thank you so much, Volodia!💛
(Halfway through: 24 ways to introduce voices is correct. This is because you have 4 * 3 * 2 * 1 choices whenever a voice enters, "pick one drop one". In maths we say "4!", pronounced 4 factorial. With 24+24 fugues I guess Mr. B missed an opportunity for some symmetry here!)
Amazed to have found this published just as I've picked it up! This fugue is something like the tenth piece I've ever learned and it's been overwhelmingly difficult for me as a novice adult, but it was just too beautiful to pass on.
I found it interesting that for each entry of the subject, after a sequential passage, there is a short pause at a strong consonance: first a single C, then a C with octave, then C and G, then if I remember Eb G and something similar and finally F C (sort of). With the "major mode" subject variation (second note a whole step up) these consonances include thirds, otherwise just perfect intervals. I feel those consonances are like the calm before the storm, as one moves from the bright sequential parts into the deep dark subjective parts. And if the coming subject is in a brighter variation the consonance is allowed more color. I always let these intervals ring out as I try to remember what I'm supposed to play next.
Thank you for this comment and the deep observations you've made about the music! You've hit on some very important points and players of this music would do well to make more of these types of physical associations between consonant and dissonant intervals, as they pertain to the various sections of the piece. I've noticed, too - and it is the case in this Fugue - that Bach begins a lot of pieces with a rest, or at least the hand with the subject begins with a rest (this is certainly the case with the Inventions.) It seems to imply motion on Bach's part. I hope your work with the piece continues to stimulate your mind and give you comfort. This is always the case for me, with Mr. B's music!💙
@@pennyplaysbach Thanks for your insight and encouragement! I just edited my comment -- I was writing "fugue" where I meant "subject". That must have been confusing to read, sorry!
(Measure 34 and 40 would be the entries of the subject in the "whole step up" variations, prepared with major chords, while all other entries are prepared with these "consonances" without harmonic context. I really haven't noticed that anywhere else, Bach otherwise so always flowing, always unambiguated. Anyway, it was certainly useful to notice when memorizing the piece, I hope it can be useful in interpreting it as well.)
I will take your observation about implied motion from the rests to heart! This is a concept I'm very much struggling with -- that is rhythm -- a few years of math has been helpful in understanding counterpoint, but does nothing much for rhythm. I'm really hoping to find symmetries between rhythmic motifs and counterpoint, similar to how polyrhythms sound like chords when speed up, like 5:4 is a M3 and 3:2 is a P5, but symmetries to groupings and rests rather than to metre. The big idea being to bridge the gap between classical music and electronic dance music, bring some counterpoint into the desolate wastes of pop, and some drum & bass into the fugues. So far I'm stumped, but if there is anything to find I'm certain it will be found in Bach.
I will certainly keep playing and studying this music, wish you the same! I expect it will at least keep me occupied for a few more centuries.
fugue 9 art of the fugue please do a video on it please
Thank you for the suggestion. I would like to get in a tutorial on a fugue from AOF. Lots of music to explore!🎶
@@pennyplaysbach you know what I’m doing when I say this……. But - just learn the first few bars
I think, a voice often pauses before entering again with the subject so there is enough "space" for it and it's clearer for the listener when the subject begins.
By the way - Sviatoslav Richter for instance played the piece quite slowly and it works beautifully. I'm looking forward to your performance.
Thank you! Yes, Richter plays it fairly slowly. I've been listening to Wanda Landowska's performance, which is considerably longer (ruclips.net/video/2PunEV8cLkE/видео.html.) So many ways to interpret the music!✨
Согласен на счёт Рихтера. Каждый голос, каждая тема отчетливо слышны. Он записывал Хорошо темперированный клавир в Зальцбурге, в 1972 году. Поэтому и с акустикой там всё идеально. Эта запись - мировое сокровище, по моему мнению.
Algo is starting to recommend you. But I'm weird. I listen to bach organ non stop 😅
I'm grateful to the Algorithm, nonetheless!🎵
Very chromatic indeed! But what about Chromatic Fantasy and Fugue? There ain't much out there more chromatic than that. :)
'Tis true!
That fugue, while brilliant, is not as interesting as this one because some typical fugal devices are missing. As I recall there is no stretto. Maybe there is an inverted theme but no retrograde. The E flat minor fugue from book one is full of thematic variety. It's relatively easy technically and very beautiful and somber