JS BACH: Goldberg Variations BWV988 RNZ
- JS BACH: Goldberg Variations BWV988 RNZ
- Bach's (Epic) Goldberg Variations: An Analysis of Theme ...
- HarmonicScore
- Sister Canons in the Goldberg Variations Dan Tepfer
- Goldberg Variations — Wikipedia Republished // WIKI 2
- The Quodlibet as Represented in Bach's Final Goldberg ...
- Bach: Partita No. 2 in D minor, Chaconne: Analysis - Mara ...
- Bach’s Monumental ‘Goldberg Variations’: Masterpiece Guide
- "Goldberg Variations" by J.S. Bach
- Bach: Goldberg Variations - KGS0049-D - Johann Sebastian ...
goldberg variations harmonic analysis
goldberg variations harmonic analysis - win
Composition Challenge #20: May 11, 2020 – Theme and Variations, Part 2: Character Variations
Greetings,
/musictheory! Welcome to our fortnightly composition challenge. This is a space to put theory into practice by writing your own original music. This is a work in progress, so suggestions for formatting and future challenges are more than welcome! An archive of all composition challenges, past and present, can be found in the
wiki.
Rules
The emphasis here is on skill acquisition. In order to build a knowledge base that will enable you to engage with the larger corpus of music theory and analysis, observe the following:
- Submissions must include standard notation. If you don't know how to read or write with standard notation, consult a music theory textbook or websites such as https://www.musictheory.net/ or http://teoria.com/.
- Satisfy all items on the challenge prompt. There is always room to write in excess of the prompt, but you should solve the compositional problems given in the challenge.
- Post submissions as replies to this thread.
- There is no deadline to submit and we encourage you to explore these prompts whenever you feel like it. However, know that challenge threads will receive less attention after their 2 weeks are up.
Challenge
Compose two more variations.
- At least one must be a character variation.
- If you did not participate in the last challenge, you may compose a theme and do one ornamental or character variation.
Theory
There is a PDF and a video about sectional theme and variations on West Virginia University's website. Variations 2 and 3 on the PDF are character variations: changing meter, and changing mode.
Character Variations
Character variations create a contrast in mood from the theme by changing any or all of the following:
- Key (ex. from G major to D major)
- Mode (ex. from E major to E minor)
- Meter (ex. from 4/4 to 6/8
- Tempo-feel (ex. from allegro to adagio; don't think in terms of BPM necessarily)
- Style (ex. from waltz to march).
Whereas an ornamental variation is composed out from the theme (e.g. embellishing a note from the theme with a turn figure), character variations are more general, more abstract (e.g. referencing a different style).
Just because character variations emphasize things like key, mode and time signature doesn't mean that you can't have an embellished melody (like you would with ornamental variations). By all means, make your character variations florid.
Examples
There are some examples in the previous thread, but here are some more:
Louise Farrenc – Souvenir des huguenots, Op. 19 – Recording / Score
Time | Section | Type | Notes |
0:00 | Fantasy | | |
1:49 | Theme | | F major, 2/2, Maestoso |
2:40 | Variation 1 | Ornamental | Un poco piu animato |
3:34 | Variation 2 | Character | March |
4:19 | Variation 3? | Character | B♭ major, compound meter |
5:12 | Variation 2 | Character | March, F major |
5:49 | Coda | |
Johannes Brahms – Piano Sonata No. 1, Op.1, II. – Recording / Score
Time | Section | Type | Notes |
8:03 | Theme | | C minor |
8:58 | Variation 1 | Ornamental | |
9:54 | Variation 2 | Ornamental | |
10:19 | Variation 3 | Ornamental | |
11:27 | Variation 4 | Character | C major |
12:27 | Coda | | C major |
Frederick Septimus Kelly – Theme, Variations and Fugue for Two Pianos, Op.5 – Recording / Score
- This set ends with a fugue based on the theme. Because of that, one might think the fugue is another variation. However, Robert Nelson says otherwise: "There are, of course, extensive concluding fugues in certain eighteenth- and nineteenth-century variations, but these true fugues are developed with complete freedom and lack any reference to the structural frame of the theme. On the other hand, the fughettas of Bach's Goldberg Variations maintain the binary plan of the theme, as well as its main harmonic outlines, with entire fidelity." (The Technique of Variation, 49)
Time | Section | Type | Notes |
0:00 | Theme | | D minor, 2/4 |
1:39 | Variation 1 | Ornamental | Andante con moto, D minor, 2/4 |
2:42 | Variation 2 | Character | Allegro agitato (double time) |
3:34 | Variation 3 | Character | Andante mosso, D major |
5:09 | Variation 4 | Ornamental | Energico e agitato, D minor |
6:37 | Variation 5 | Character | D minor, 6/8 |
7:43 | Variation 6 | Character | Andante con moto, D major, 6/8 |
9:36 | Variation 7 | Character | Andante con moto, D minor, 6/8 |
11:06 | Variation 8 | Character | Adagio, D major, 3/8 |
13:08 | Variation 9 | Character | D minor, 3/8 |
13:52 | Variation 10 | Character | Leggiero e scintillante, B♭ major 4/8 |
14:40 | Variation 11 | Ornamental | D minor, 4/8 |
16:42 | Fugue | | |
Notation Resources
You can find links to a variety of notation programs in the wiki.
submitted by Xenoceratops to musictheory [link] [comments]
Is a 1969 recording of Bach's music by Glenn Gould in the public domain in Canada?
Hello, i've been doing a few educational videos on Youtube on harmonic analysis, using classical music, which is clearly in the public domain (mostly piano pieces by Bach, Mozart, etc)
First, I was young and naive and I simply used a copyrighted CD. Youtube made a copyright claim and they just put an ad before my video, the copyright holders make money with it. Fair anough.
After, I wanted to continue with public domain recordings. I found one on
archive.org, but I was wondering if I could use other ones. After talking to a lawyer, maybe 10 years ago, she said that here in Canada/Quebec, the right of the interpretation of a piano piece is called "neighboor rights" - as they are not the creator of the work. I understood that a music piece would enter the public domain 50 years after the composer's death, and the recording would enter the public domain 50 years after the recording. But that last piece of information, I could never confirm it.
Because if it is so, that would mean that Glenn Gould's recording of the Goldberg variation would be in public domain in Canada, and I would be able to use it to make my videos and simply let it in the public domain without ads, etc. Or, If I can't use the song on youtube because it is based in the U.S. (and the copyrights in the U.S. are stronger now), I could use it in festival projections or such.
Does anyone know more about this? Thank you!
submitted by zviane to publicdomain [link] [comments]
Rip it apart please
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submitted by thatsmeviney to Resume [link] [comments]
goldberg variations harmonic analysis video
The Goldberg Variations, BWV 988, is probably the most famous Baroque variation (with a shout-out to Handel’s Harmonious Blacksmith). Composers across all other eras wrote variations, including Mozart, Beethoven, Schubert and Brahms. Explore our masterpiece guide to Bach’s ‘Goldberg Variations’ featuring Lang Lang’s studio and live recordings of the monumental work. It consists of 30 variations on one aria, it lasts ... The Goldberg Variations, BWV 988, is a musical composition for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, it is named after Johann Gottlieb Goldberg , who may also have been the first performer of the work. HarmonicScore is a web-based visualization tool for understanding the overtonal harmonic interactions of music in different tuning systems (Equal Temperament, Just Intonation in various keys, etc.). It is optimized for Chrome and is in beta. The distinguished reputation of Bach’s Goldberg Variations (BWV988) is inextricably linked with a restorative and healing quality that theologians, theorists and critics alike ascribed to the best kinds of music in the 18th century. In keeping with a venerated philosophical tradition, which was traced back by Bach’s contemporary Johann Mattheson, for example, to the French Neoplatonist ... The Goldberg Variations, one of the monuments of keyboard literature, was published in 1742 while Bach held the title of Polish Royal and Saxon electoral court-composer. ... One might justifiably expect that in view of the constancy of the harmonic foundation the principal pursuit of the variations would be the illumination of the motivic ... In Bach’s Goldberg Variations, every third variation is a canon at an increasing interval. The first (Variation 3) is at the unison (the canonic voice repeats the leading voice verbatim), the second (Variation 6) is at the second (the response repeats the subject a diatonic second away), and so on until Variation 27, which is a canon at the ninth. The entire bass line of the Goldberg Variations can be reduced to the following outline/framework which forms the harmonic basis for all 31 mvts. ... 1992] pp. 336-337, has the following insightful analysis: In his article on the Goldberg Variations contained in the “Oxford Composer Companions: J. S. Bach [Boyd, ed ... The Goldberg Variations ... The Goldberg Variations includes an astonishing variety of styles, which Bach makes into a coherent whole through the harmonic framework. First you’ll hear the Aria, an elegant dance form called a sarabande, but it’s on the harmonies of the Aria, not the melody, that the following 30 variations are constructed. Bach’s other great variation cycle—the Goldberg Variations—is quite a bit longer than the Chaconne but is clearly a composite of its numerous individual movements, ... (which only include the notes of a D harmonic-minor scale and a single C♯ in m. 3) to the descending chromatic tetrachord D–C♯–C–B–B♭–A of the fifth ...
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