BACH PRELUDE IN C MINOR BWV 847 PDF

The rising chromatic pattern continues until every key has been represented, finishing with a B minor fugue. Bach knew the collection and borrowed some of the themes from Fischer for the Well-Tempered Clavier. See also musical tuning. Bach would have been familiar with different tuning systems, and in particular as an organist would have played instruments tuned to a meantone system. This represents an equation of the most tonally remote enharmonic keys where the flat and sharp arms of the circle of fifths cross each other opposite to C major. Any performance of this pair would have required both of these enharmonic keys to sound identically tuned, thus implying equal temperament in the one pair, as the entire work implies as a whole.

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Coda, Tonic Pedal: Bars The fourth note of the Answer is altered for the sake of tonality. It has a Counter-subject. This is constructed according according to the rules of Double Counterpoint in the octave, so that when used above, and when used below the Subject and Answer, it may produce good harmony. The material upon which the four Episodes are constructed is as follows Episode I is constructed from the first limb of the Subject in the Treble and Alto, the latter imitating the Treble at the 5th below.

The running Bass part is built upon the first limb of the Counter-subject. All three parts move in a descending sequence. Episode II. The Treble has a running Counterpoint formed from the first limb of the Counter-subject taken here in an ascending direction.

The two underparts formed from the quaver eighth note portion of the same move in 3rds with each other. Episode III. The Bass is formed from the first limb of the Subject, the Alto from the first limb of the Counter-subject taken in an ascending direction, the Treble having a detached figure. The Treble and Alto are formed from the first limb of the Subject, the latter imitating the Treble at the 5th below, the running Bass part being taken from the first limb of the Counter-subject.

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