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Found 2 results

  1. If I told you this without proof, you wouldn't believe me. "Leck mich im Arsch" (Lick me in the Ass) is a Canon for six voices written by Mozart in 1782.
  2. Johann Sebastian Bach wrote two series of "study pieces" for his students to prepare for his full-blown fugues. These can be thought of as "semi-fugues," or "preparatory studies" if you will, but they are by no means simple, elementary works; quite the contrary, they are extremely complex, and the Sinfonia (three-part inventions) are just one step away from being fugues. Bach wrote fifteen two-part inventions (cataloged as BWV 772-786) which are definitely the easier of the two sets - they have two voices, but are fully contrapuntal (with a theme, answered in a "call and response" fashion with the other hand). The fifteen "Sinfonia" (also called three-part inventions, and cataloged as BWV 787-801) are a level up in difficulty, and some of them are more difficult than some of Bach's Fugues. I'm currently studying BWV 800, a three-part invention in B-flat major, and it is quite difficult. I have chosen - as many pianists do - to take all the untied eighth notes in the piece, and release them just before the end of the full eighth-of-a-beat, giving a small "breath" of silence after each one. The problem with this is *seeing* where these eighth notes are in this three-voiced piece - it's very difficult to memorize, and since you only have one brain and can't possibly think of three things simultaneously, you have to get these things in your "brain-to-muscle" memory. This afternoon, I spent some time extracting all the eighth notes from the piece, and have written them down separately, as their own piece of "music" (if you can call it that). It will help any aspiring student who wishes to allow these eighth notes to breathe, by giving the student a better idea of where they occur in the piece. For each note, I've included the correct fingerings which should be used when playing the *entire* piece. If you study the score, you'll see that the main theme ends with 1) eighth note 2) eighth note 3) two sixteenth notes 4) eighth note, just before resolving exactly one octave below where the statement began. I have highlighted all of these patterns with bold, underlined text - they signify the end of a statement has arrived. The slashes ("/") indicate "not an eighth note" - they could be an eighth rest, or two sixteenth notes, for example. In *all* cases where my notation is bold and underlined, the slashes are two sixteenth notes, as those are all occurrences of the main theme, and the main theme contains two sixteenth notes at that point. This is admittedly a very unconventional technique; nevertheless, I believe students will find it very useful in sorting out the eighth notes in this piece. This extraction consists of "eighth notes, and only eighth notes" - I hope somewhere, some student will stumble upon this, and that it helps them learn this fine piece of music. At first glance, it may appear unreadable, but it's actually pure mathematics, and very logical. Each section represents one line of the piece, with two measures in each line (it's a thirteen-line piece, with each line containing two measures). In each section, there are seven lines: * The top two lines are the upper voice and its fingerings * The middle three lines are the middle voice and its fingerings (notice that this can be either in the right hand (notated above the notes) or the left hand (notated below the notes)) * The bottom two lines are the lower voice and its fingerings * A dash ("-") simply indicates the beginning of a beat - each measure has four beats. 1 4 4 2 4 4 -- always right hand - - F G - / F - - Bb D - / C UPPER -- right hand - C / - - MIDDLE 2 -- left hand Bb D - C Bb - A G - F Eb - - - LOWER 3 1 2 3 1 2 3 4 -- always left hand -------------------------------------------------------------------------------------------------- 4 3 5 1 2 5 - Eb - - C F - G Bb - F / - 1 2 1 2 - G Bb - Eb G - - - A / - 1 C / - - F G - / F 2 3 1 2 -------------------------------------------------------------------------------------------------- 3 3 - A / - - C / - F / - 3 Bb Eb - / D - G C - / Bb Eb / - - D G - 4 1 1 4 1 1 5 5 2 -------------------------------------------------------------------------------------------------- 4 5 1 5 5 - / C - D / - - - D F - / D - - 2 3 3 2 1 F# G - / F - - / Ab - / F - Eb C - - 4 5 -------------------------------------------------------------------------------------------------- 3 4 G B - - - - - - 1 1 1 3 2 - - B D - - F A - - E - - - G G C / - - F A - / G 1 5 5 3 1 1 -------------------------------------------------------------------------------------------------- 2 2 5 5 - - - F / - - E G - / E 2 2 1 1 - F A - - - - - E G - - - C C - D / - - 1 5 4 -------------------------------------------------------------------------------------------------- 5 - - - - - D - 1 / E - A / - - - - - 1 - - - Bb A - A A - - D 2 1 1 1 1 -------------------------------------------------------------------------------------------------- 2 4 4 3 4 B D - / B - - - Bb A - - 1 2 2 - - - F A - / F - D - 1 - B G - - - - - 3 5 -------------------------------------------------------------------------------------------------- 5 3 4 4 5 5 4 - Bb F - G / - C F - / D - G / - 1 2 1 1 3 2 1 - / D - Eb / - / F - G Bb - / G - C F 1 2 - - - - - - -------------------------------------------------------------------------------------------------- 4 5 / 5 A D - / Bb - Eb / - - - - 1 1 1 1 1 - Bb D - / C - - - F A - / F 1 F Bb - - - - - - 3 5 -------------------------------------------------------------------------------------------------- 3 5 3 Bb D - - - C - - - 1 1 - C - D - - - - G - - Bb D - / C D D - Bb D - Eb Eb - C / 4 5 3 1 5 1 3 1 5 1 4 -------------------------------------------------------------------------------------------------- 5 - - - Bb - - - 2 1 - - - D C - - - / Eb - D Bb - G Eb - F F - - - 1 1 3 1 3 1 5 Here's the piece played in full by Glenn Gould (with my apologies for the inexplicably strange picture, but this is (in my opinion) the better of Gould's two recordings, and it's the only one I can find on YouTube). My advice to any aspiring student is *not* to let the extreme speed discourage you - nobody else plays it like this, and Gould is Gould - not much more to say except that God himself couldn't play it any better:
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