Analysis Of J. S. Bach Concerto Bach 593 No 3 No 2

The fifth and final section of Bach’s work is overall the shortest and the most contrasting of all of the other parts. This section is also almost entirely in the tonic major; which is most commonly used as the representation of a final resolution. During the last section, the pedal is used to its greatest extent which covers the full range present on the organ.

The C♭=B♮ and E♭= D♯ and E=F♭, which is ♭^6 of A♭ ultimately acting as the enharmonic pivot into the flattened submediant with a PAC in m. 44 establishing the key of E major. The section carries on with a V-I confirmation of the new tonic until m. 48 where the home key of A♭ is brought back in through the use of secondary dominants and tension that ends the section with a HC at m. 50 and is released with the MT into the final A section.

In addition, Bach was a virtuoso on the organ. He also served as an organ consultant, and composer of organ works, like toccatas, chorale preludes, and fugues. He had a reputation for having great creativity, and he was able to integrate many national styles into his works. Many of his works are said to have North German influences that were taught to Bach by Georg Bröhm. Bach also copied the works of many French and Italian composers in order to decipher their compositional languages. Later on, he arranged several violin concertos by Vivaldi for organ. Most experts of musical composition believe that the years, between 1708 and 1714, were his most productive. Within this period, he composed several preludes, fugues, and toccatas. During this span, Bach wrote the Little Organ Book, Orgelbüchlein. This book remains an unfinished collection of forty-nine short chorale preludes.

Organ is one of the most complex of all musical instruments; has the longest and most involved history and the largest and oldest existing collection of any instrument in Western music. There are other instruments as well on which different artists have performed the Bach’s Toccata and Fugue in D Minor. Such as, on Glass-Harp, Guitar or Piano etc.The first part of Bach’s piece is a “toccata”, is derived from the Italian word “toccare”, which means “to touch.” It represents a musical form for instruments that is designed to reveal the virtuosity of the performer’s touch. In Bach’s Toccata a great many fast harmonies (notes of a chord played in a series than simultaneously) and runs up and down the keyboard but otherwise is generally free form and gives the composer much latitude for personal expression.

When Bach was in Arnstadt when he was younger, the organ ordinarily lacked a 16-foot register on the keyboard; consequently, it sounds an octave lower than the normal 8-foot register. Accordingly, in order to create the effect, Bach used octave doubling; consequently, he continued the resounding effect of the opening bars; conversely, there is no octave doubling in any of Bach’s later organ works; moreover, the fugue sounds furious with its uninterrupted series of fast notes. Also, Bach felt embarrassed about his crude style, and he put the work aside; consequently, Bach lost a lot of his other early organ work completely. Conversely, the Tocca and the Fugue has an unstructured form, and that means that keyboard players can let their imagination run wild; as a result, Johann Gottfried Walther described the Toccata as a long piece in which both hands alternate, sometimes accompanied by long pedal notes. For this reason, Bach connected the Toccata’s freedom to the stylus phantasticus; moreover, stylus phantasticus was popular in North Germany from the seventeenth century; in addition, people described this style of composition as “freed from all constraint”. Moreover, it’s remarkable that Bach paired the toccata with the prelude and the fugue because it’s subject to strict compositional rules; nevertheless, the fugue derives its thematic material from the preceding part.

Composers since the early classical era have used sonata form to express through music ideas which are at once complex and unified. This form contains a variety of themes and permutations of these themes, but is brought together into a comprehensible whole when these excerpts reappear. Beethoven, in the first movement of his Piano Sonata Opus 2 Number 3 utilizes this form to its full potential, modifying the typical structure in his characteristic way.

Texture – The texture is homophonic throughout the whole of Section A. There are three layers of sound in the Section A. The first is the melody – played by the violins and trumpets. This is the layer of sound which is most prominent throughout A. The second is the timpani and viola part. This is the softest layer throughout the section. It provides harmony to the melody, using the notes of the D major chord. The last layer is the continuo bass It provides accompaniment and bass.

The trio sonata leaves on an incomplete cadence which causes the expectancy of more, it is later completed in the other movements. The piece seems to cut off the melody and start back over from the beginning.

The third piece, “Danza del trigo” and “Danza final” from the ballet Estancia, by Alberto Ginastera created quite a few pictures in imagination. What started as a soft and

I had always heard that Bach was a very technical, almost mechanically perfect composer. When I first began to listen

Bach’s attention was the music in the text. There was singing, the playing of cymbals, harps,

When Bach was eight years old he went to the old Latin Grammar School. He was taught reading and writing, Latin grammar, and a great deal of scripture, both in Latin and German. The boys in the school formed the choir of the St. Georgenkirche. This also gave Bach an opportunity to sing in the regular services, as well as in the nearby villages. He has an uncommonly fine treble voice.

This work was composed during the Classical period, 1750- 1820. One aspect of the classical music style beign applied to this work includes the reoccurance of two or more contrasting themes. Another is the use of short and clearly defined musical phrases. Lastly, this piece, on a purely musical level, was simply more to hum along to. This type of melody took over the complex polyphony of the Baroque period.

In regards to the decoration of Baroque music, amateurs often think that Baroque music is extremely ornamented. This practice is a more recently acceptable practice: scholar Ronald

Before looking more closely at the composers’ works, they must be placed in their proper historical contexts. Bach was a great composer of the