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Bach's chorale harmonisations are all for a four-part choir (SATB), but Riemenschneider's and Terry's collections contain one 5-part SSATB choral harmonisation (Welt, ade! ich bin dein müde, Riemenscheider No. 150, Terry No. 365), not actually by Bach, but used by Bach as the concluding chorale to cantata Wer weiß, wie nahe mir mein Ende, BWV 27.
The piece starts in compound quadruple meter (12 8).This movement is very dynamic and cheerful, and features complete absence of the pedal.The broken chords shared between left and right hand do not seem to have a parallel in any work by another composer, though Williams notes a similarity in the "idea of running semiquavers for hands followed by a sustained durezza passage with pedals" with a ...
In music, the BACH motif is the motif, a succession of notes important or characteristic to a piece, B flat, A, C, B natural. In German musical nomenclature , in which the note B natural is named H and the B flat named B , it forms Johann Sebastian Bach 's family name .
A pair of recitative and aria deals with the love of God, while a symmetrical pair deals with the love of the neighbour. Bach did not write the text of the closing chorale in the score, but probably his son Johann Christoph Friedrich Bach. Bach scored the cantata for four vocal soloists, mixed choir, tromba da tirarsi, two oboes, strings and ...
The coda in bar 20 uses an extended arpeggio in the tonic that confirms the key of B-flat major. One copy of the prelude by a Bach pupil has the word adagio to the big chords in bar 11, which suggests that the second period should have a more improvisatory rhythm. [2] [3] Below are the opening bars of the prelude:
The chromatic fantasia begins as a toccata with fast, up and down surging runs in thirty-second notes (demisemiquavers) and broken chords in sixteenth-note (semiquaver) triplets, which are often diminished seventh chords lined up in semitones. The second part is a series of very clear and remotely modulating soft leading chords that are written ...
The prelude continues like so for 33 bars, with different harmony and changes of key.The coda begins at the 34th bar, where a sudden change of texture and tempo occurs. In the first bar of the coda, an arpeggiated chord is followed by a rapid succession of thirty-second notes.
Bach structured the cantata in six movements, beginning with a duet, followed by a series of alternating recitatives and arias and concluded by a chorale. [7] Similar to several other cantatas on words by Franck, it is scored for a small ensemble: four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), oboe (Ob), two violins (Vl), viola (Va), and basso continuo (Bc) including ...