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	BACH motif - Wikipedia, the free encyclopedia
		In music, the BACH motif is the sequence of notes B flat, A, C, B natural.
		A fugue for keyboard in F major by one of Bach's sons, probably either Johann Christian Bach or Carl Philipp Emanuel Bach, exists using the motif, but it was not until the 19th century when interest in Bach was revived that the motif began to be used with any regularity.
		Perhaps because it was used by Bach himself in a fugue, the motif is often used by other composers in fugues or other complex contrapuntal writing.
	en.wikipedia.org /wiki/BACH_motif (712 words)

	Bach (disambiguation) - Wikipedia, the free encyclopedia
		Carl Philipp Emanuel Bach (1714–1788), composer, harpsichordist and pianist
		Johann Bernhard Bach (1676–1749) composer, harpsichordist and organist
		BACH motif, a four-note sequence (b-flat, a natural, c natural, b natural) which features in a number of pieces of music, usually in homage to J.S.Bach.
	en.wikipedia.org /wiki/Bach_(disambiguation) (203 words)

	J.S.Bach biography - 8notes.com (Site not responding. Last check: 2007-11-07)
		Bach was born in Eisenach, Germany, in 1685 and died in 1750 at the age of 65.
		Bach's mother died when he was still a young boy and his father suddenly died when J. Bach was nine, at which time Bach moved in with his older brother Johann Christoph Bach, who was the organist of Ohrdruf in Germany.
		Bach's representation of the essence and message of Christianity in his religious music is considered by many to be so powerful and beautiful that in Germany he is sometimes referred to as the Fifth Evangelist.
	www.8notes.com /biographies/bach.asp (3174 words)

	Cantata BWV 127 - Mvt. 1 - Melody Variants [by Thomas Braatz]
		This means that Bach can depart from the restrictions imposed by embellishing or quoting a note-for-note version of the melody in an unexpected fashion where the listener must be able to recognize the statement of the theme or it presents itself clearly upon closer examination of the score.
		Bach must have tested the limits of a normal listener’s ability to discern a changed melody as still being essentially the same as the original motif.
		Bach controlled the musical progressions he used; they did not control him and force him to use these notes which did not conform to the established chorale incipit motif.
	www.bach-cantatas.com /Scores/BWV127-M1-Inc.htm (4023 words)

	Fugue
		Bach was sufficiently expert that he could tell exactly what entrances could occur simply by hearing the first playing of a theme.
		Bach's most famous fugues are those for the harpsichord in The Well-Tempered Clavier and the (unfinished) Art of Fugue, and his organ fugues, which are usually preceded by a prelude or toccata.
		Bach also wrote smaller single fugues, and incorporated fugal writing in many of his works that were not fugues per se.
	www.mp3.fm /Fugue.htm (2961 words)

	[No title]
		Furthermore, Bach could easily have returned to the theme some time after the composition of the violin sonata, and there is no reason why the aria should not have preceded the sonata.
		In short, we have no idea when Bach wrote the cantata, beyond the fact that the music is too sophisticated for it to be a very early work, and that the text suggests it was intended for performance in the spring.
		Bach illustrates the text with an exceedingly florid vocal line, rising at one point to a high C sharp — the highest note he ever wrote for a soprano.
	www.aam.co.uk /features/9905.htm (1264 words)

	Bach’s Inventions (Site not responding. Last check: 2007-11-07)
		Clearly, Bach used advanced musical concepts in harmony, counterpoint, etc., that music theoreticians are still debating to this day, while others wrote “lesson music” mainly for their finger training value.
		However, the fact that they are created using the most basic parallel sets suggests that the “motifs” were not chosen because of their musical content, but were chosen for their pedagogical value and the music was then added with the genius of Bach.
		Bach’s clever use of the counterpoint obviously serves many purposes, one of which is to create the music.
	members.aol.com /chang8828/bach.htm (1875 words)

	"Derivation of Chopin's fourth Ballade..." article (Site not responding. Last check: 2007-11-07)
		Chopin has translated Bach's fermata into the "repeated-note" figure at the climax in one of many displays of the combination of logic and effectiveness, for, from one aspect, a repeated note is not unlike a long-held note.
		The first presentation of the imitation is in just two voices, the next is in four, and in the final presentation the number is increased to five, with the aid of a pair of entries in parallel sixths in bar 143.
		Bach's stretto incorporates his whole three-bar subject, Chopin's only his one-bar motif, and this provides a possible reason for the repetition in Chopin's theme (bars 8b-9a, 9b-10a): by this means he gained extra length, in effect doubling the returns for his smaller contrapuntal investment.
	users.bigpond.net.au /nettheim/bal4/bal4.htm (7007 words)

	Cantata BWV 172 - Discussions - Part 2
		Bach's predecessor at Leipzig, Johann Kuhnau, had specified in 1717 that the pitch of the organs at the Thomaskirche and the Nikolaikirche was Cornet-ton.
		During Bach's first year and a half at Leipzig, he took advantage of this option by writing several pieces at tief-Cammerton: Cantatas BWV 22, BWV 23, BWV 63, and BWV 194, and the first version of the Magnificat (BWV 243).
		Bach adapted five of them for Leipzig (BWV 31, BWV 155, BWV 161, BWV 182, and BWV 185), putting all the parts in the same key (except, of course, the organ), but in the process much more transposition was necessary, and some parts had to be eliminated or replaced by other instruments.
	www.bach-cantatas.com /BWV172-D2.htm (7672 words)

	BACH motif
		Francis Poulenc - Valse-improvisation sur le nom Bach for piano (1932)
		Anton Webern - String Quartet (1937-38) - the tone row is based on the BACH motif
		The motif features in passing in a number of other works including Arnold Schoenberg's Variations for Orchestra (1926-28) and his String Quartet No. 3 (1927), Krzysztof Penderecki's St Luke Passion, and Johannes Brahms' cadenza for the first movement of Ludwig van Beethoven's Piano Concerto No. 4.
	www.mp3.fm /BACH_motif.htm (631 words)

	Classical Net - Vaughan Williams - Symphony #4 Third Movement
		This derives from the fanfare motif and tune B of the first movement (the one which begins with the repeated notes), as well as the "shake" of the second movement.
		These begin with a very soft horn entry (71) of the grinding semitone, BACH in the brass (78-79), and almost-BACH in the high winds and strings against the fanfare's rising 4ths in the low winds (80-84).
		The movement begins as a dialogue between the fanfare motif (the main matter of the scherzo) and the symphony's opening grinding semitone.
	www.classical.net /~music/comp.lst/works/v-w/v-w43.html (753 words)

	Share and Discover Johann Sebastian Bach Bio, Pictures, News at BlinkBits. (Site not responding. Last check: 2007-11-07)
		Bach was best known during his lifetime as an organist, organ consultant, and composer of organ works both in the traditional German free genres such as preludes, fantasias, and toccatas, and stricter forms such as chorale preludes and fugues.
		Bach was also extensively engaged later in his life in consulting on various organ projects, testing newly-built organs, and dedicating organs in afternoon recitals.
		Bach's other large work, the Mass in B minor, was assembled by Bach near the end of his life, mostly from pieces composed earlier (such as Cantata 191 and Cantata 12).
	www.blinkbits.com /blinks/johann_sebastian_bach (4845 words)

	Sleeve Notes - Bach: Attributions
		One only has to think how many members of the Bach family were writing music at this time to see how the slightest confusion over the forename on a piece could be magnified every time the work was copied.
		The motifs are generally quite striking, well defined and characterful, but there are moments of harmonic infelicity and clumsy part-writing.
		The opening motif of this binary work - semiquaver figuration over punctuating chords - has a flavour of the north German praeludium, while the chugging chord accompaniment of its continuation is typically Italianate.
	www.hyperion-records.co.uk /notes/67263.html (1685 words)

	Amazon.com: Johann Sebastian Bach: The Learned Musician: Books: Christoph Wolff (Site not responding. Last check: 2007-11-07)
		Wolff has excavated contemporary documents, giving remarkable detail on Bach's earnings and on the disposition of his manuscripts after his death to the various members of his multitudinous family; also included are charming examples of the musician's youthful zeal, such as his journey, 250 miles on foot, to see and hear the admired organist/composer Buxtehude.
		Bach thought that there were rules of causality in canons just like there is causality in Nature, and used other musical pieces to explore theological concepts.
		Bach refused to divorce theory from practice, so his collections of music like the Well-Tempered Clavier and the Art of the Fugue served to show how a particular form of music (e.g., the keyboard or the fugue) could be applied in just about any combination imaginable.
	www.amazon.com /exec/obidos/tg/detail/-/0393322564?v=glance (2237 words)

	Bach Plucked ! - Whats New (Site not responding. Last check: 2007-11-07)
		Bach is especially noted for his complex and ingenious contrapuntal writing; more than any other composer, Bach is associated with the fugue.
		Bach wrote much of his music for the Lutheran Church; in particular, his many cantatas were composed for normal Sunday services, and the St.
		The trust Johann Sebastian placed in one of his elder sons (Wilhelm Friedman) was ill-fated; to finance his drinking and gambling habits he sold away several Passions, inter alia, left behind by his father that could have been the equal of the St. Matthew and St. John.
	www.bachplucked.com /biobach.htm (397 words)

	Bach on the Piano
		If Bach had wanted it played on the fortepiano (which was available to him at the time), he would have notated the music differently and it would have been idiomatic for the foretepiano.
		One of the primary beauties of Bach is in the admiration of his structure: how he uses a motif and transmogrifies it, how he derives a new motif from an old one, his harmonic progression, his unexpected U-turns in the melody, and such.
		For example, in Bach's Invention #4, in the RH in measure 2, be careful on that C-sharp.
	www.serve.com /marbeth/bach_on_piano.html (852 words)

	INKPOT#56 CLASSICAL MUSIC REVIEWS: TELEMANN 12 Fantasias for Solo Violin. Gulliver Suite. Manze/Balding (HM)
		Unlike Bach's music, there is no extensive use of doublestops for counterpoint melodies, and the music is quite simple technically speaking, with almost all the twelve Fantasias playable on the violin without a shift of position from the first.
		They are baroque violin music of a different sort altogether, and Telemann's contribution to the violin repertoire with these seems to be a development of the Vivaldi style with their similarities.
		Where Bach seems to be exploring the possibilities of the counterpoint on the violin by looking from the perspective of an organ player, Telemann is more concerned with musical ideas that are more organic in nature.
	inkpot.com /classical/televnfan.html (1330 words)

	Douglas Yeo FAQ: Bach Cello Suites
		The Bach Cello Suites are among my most beloved pieces of music, despite the fact that they were not originally written for the trombone.
		This had the advantage of having all the notes as Bach wrote them (although there are mistakes and a few editorial liberties taken).
		Originally written for natural horn (if you can believe it after seeing them!), they are great preparation for the Bach Suites (King's edition is for F tuba but they can just as easily be played in a horn edition, or tranposed, read in tenor clef, etc.).
	www.yeodoug.com /resources/faq/faq_text/bachsuites.html (2914 words)

	Fugues
		Bach wrote these pieces to be played on the harpsichord (or the organ).
		In an imitative piece, the motif (or the subject, if we are discussing a fugue) is always delineated with the same combinations of slurs and detached notes.
		Preludes BWV 939 and 941 seem to me to be a bit more shallow than one would expect from Bach, but they are good little pieces for the purpose of beginning study of imitative music, and I use them (and call them "Bach" without compunction).
	www.serve.com /marbeth/fugues.html (2311 words)

	BACH motif at opensource encyclopedia (Site not responding. Last check: 2007-11-07)
		This four-note motif has been used by a number of composers, most usually as a homage to Johann Sebastian Bach.
		Bach himself used it as a fugue subject in the final part of Die Kunst der Fuge (around 1750), a work he did not complete before he died.
		In many pieces, while the exact notes B-A-C-H are not played, a transposition of the motif is used (a note sequence with the same intervals: down a semitone, up a minor third, down a semitone).
	www.wiki.tatet.com /BACH_motif.html (569 words)

	Helmut Rilling on Bach Cantata No. 79 (Site not responding. Last check: 2007-11-07)
		The process of composition began when Bach himself drew the staffs on the music paper, since he had to have already decided what instruments he was going to use.
		The voices enter quickly one after another and Bach shows the most consummate contrapuntal skill in illustrating the overabundance of God’s benevolence mentioned in the text.
		Bach underscores this word, "Mittler" ("mediator"), with the motif of the cross, as if to imply that the cross is necessary for any intercession between God and mankind.
	www.drmm.net /wksu/lc/bach79.html (892 words)

	Zeynep Ucbasaran - Santa Barbara LISZT Album
		The fugue starts with a mysterioso bass figure for the left hand and is dominated by the ever present superpositions of the Bach motif.
		For the majestic ending, the motif is transposed into a pattern of ascending double-octaves.
		The tune known as 'La Folia', which derives from a Portuguese dance of the sixteenth-century, was originally a fast dance, which transformed into a slower, solemn, and somewhat sad form by the end of the seventeenth-century.
	sevensouth.com /recordshop/Ucbasara/01.php (948 words)

	CD Spotlight. Soul-cleansing - Pergamenschikow plays the Bach solo cello suites, appreciated by Tess Crebbin. '... he ...
		In the first three suites, Pergamenschikow is at his most experimental, something that is especially highlighted in the C major's Sarabande section [listen -- CD1 track 16, 2:42-3:45], which is bursting with ornaments and inventive genius.
		For example, is the BACH motif in the 22nd bar of the Courante from the fifth suite just a sequence of seconds that seems natural to us, or is it the composer marking the work with a hidden signature?' he asked.
		So, in listening to Pergamenschikow's Bach, we are listening to someone who not only tries to bring the innate beauty out of the music but also to get into the composer's mind.
	www.mvdaily.com /articles/2004/09/bachcello3.htm (439 words)

	Sleeve Notes - Bach: Organ Cornucopia
		We know little about Bach's training as a composer and it surely does him no disservice to accept that he could have written music which does not achieve the standard of perfection of the rest of his output.
		When the autographs of so many of Bach's completed organ works have disappeared it is worthy of some comment that, with the exception of the Pedal-Exercitium, BWV598, all of the fragmentary works on this disc have survived in the composer's hand.
		Bach', the Concerto in E flat, BWV597 is in effect a trio sonata without a slow movement.
	www.hyperion-records.co.uk /notes/67139.html (1667 words)

	Schnittke (Site not responding. Last check: 2007-11-07)
		The third is the antithesis of the first two: it is a positive, harmonious ideal taken from a past culture (a chorale harmonisation of the ‘BACH’ motif in the piano part, and the separate tonal chords).
		In the Andante episode (c.30-31) the ‘BACH’ motif is harmonised in the Romantic style of ‘Les Preludes’ by Liszt.
		The ‘BACH’ motif, used by J.S.Bach as a subject in the final unfinished fugue of his ‘Art of the Fugue’, became a sort of obsession in music of both 19th and 20th centuries for composers such as Schumann, Liszt, Reger, Piston, Casella, Busoni, Honneger, Schoenberg, Webern, Paert, Denisov, and many others.
	www.smirnov.fsworld.co.uk /Schnittke.html (5811 words)

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