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Bach and forth *music pedagogy trigger alert
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Ricardo
Posts: 15151
Joined: Dec. 14 2004
From: Washington DC
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 RE: Bach and forth (in reply to estebanana)
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quote:
ORIGINAL: estebanana
Let me double check
Yeah it seems to be in Amin
https://youtu.be/O-zHxwWkktM?feature=shared
The arrangement we are playing is by Lou Warde
I have another book with 12 chorales from BWV 244 I’m trying to get more of them in practice. We are finishing up learning a three part arrangement of Narváez’s version of Cancion del Emperador, it was trickier that it seemed because it has those back and forth melodic passages divided between guitar 2 and guitar 3, with guitar 1 playing lots of whole and half notes. The people with guitar 2&3 parts do the work and guitar 1 part is easy. I picked it because usually the less advanced players are relegated to thumping around like a tuba in a marching band, but this arrangement gives them the opportunity to play high on the treble E string with long held melody notes.
In December we practiced diligently and rented the local concert hall to make a recording of all of our Bach stuff. A friend of mine recorded us, we sounded clear, in tune, very tight, but one problem, the HVAC system kicked on during our recording and nobody noticed it until later that afternoon when the guy recording went over the session, our sound was smeared over by hissing air sounds.
Cool, would like to hear all that stuff.
So this one you linked was in D major. However the tune melody (soprano) is the main church theme Bach did not write:
http://bach-chorales.com/BWV0244_44.htm
So in the same Passion the last chorale version of the same tune might be closer to the traditional harmonization (in A minor but actually the melody is considered PHRYGIAN mode, ie., mode 4). You can see this version is more “flamenco”. So I am still curious if your last chord is Major version, or the Phrygian version? 
http://bach-chorales.com/BWV0244_62.htm
PS. Note the long list of other harmonizations.
Just another footnote…in school, and for me this goes back to high school music theory class, first year theory students learn harmony by harmonizing Bach chorale. But as per the circle of 5ths, they only choose the Major or minor key harmonizations from the repertoire, and therefore all students of theory lack the tools for dealing with the Phrygian cadential techniques. Worse, they force us to fill in voices bottom up, as in figured bass being the formal structural basis. The irony is Bach himself was thinking EXACTLY OPPOSITE to this…top DOWN. As in the MELODY is the formal structure (the cante) and you accompany it based on the tradition (his church). It boggles my mind as to how many chorales were ruined by “education”.  . And now people are so confused about flamenco harmony as if it is some exotic high jazz Arabic thing, when it is simply old school cante melody harmonization, mode 3 or 4.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Apr. 10 2024 13:24:54
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Ricardo
Posts: 15151
Joined: Dec. 14 2004
From: Washington DC
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RE: Bach and forth *music pedagogy t... (in reply to estebanana)
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quote:
Now I'm curious to compare it to the score of the SMP
The tune is set, as I said 5 times in the Matthew Passion….the different keys are designed to express better what ever the chosen verses are, and the harmonies too. For example happy and triumphant vs sad and dark. He also sets several other church melodies he did not compose, in the same passion (yes, he hardly composed anything here LOL). The main melody is up in the high soprano range because the little kids in choir could sing that easier than the old school discant which was too difficult to navigate for children (swapped for tenor parts). Dropping some of the notes to a lower octave wouldn’t really harm the structure IMO. Plus, as a guitar instrumental, no lyrics means the pitch range is arbitrary. The site I linked has all the chorales in the original keys, just so you know,
BWV 244.10 is “por Minera”, main theme starts and ends on G#,
BWV 244.17 is “por Cañizares”, or G sol Phrygian,
BWV 244.44 is “Por Taranta”, F#, your first half guitar chorale based on this,
BWV 244.54 is “por medio”, A, your second half guitar chorale based on this,
BWV 244.62 is “por Arriba”, E. And Proper Phrygian harmony as the old hymn likely used. This would be the more “flamenco” sounding version for guitar ensemble IMO.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Apr. 13 2024 16:26:35
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