2003.09.02 16:59
J. S. BACH CHACONNE FROM PARTITA II, BWV 1004 - 제4부
(*.147.245.91) 조회 수 7170 댓글 0
THE PRESENT TRANSCRIPTION FOR GUITAR
The process of transcription of a piece like Bach's Chaconne is a complex process. From understanding the historical and musicological background to having a secure grasp of analytical details, a transcription has to undergo revision after revision to satisfy the ultimate stage, the performance. Thus, the present transcription for guitar is far for being a final one. Indeed, it is just the seed for a satisfactory product.
Based mainly on the urtext and the manuscript, this transcription intends to keep close to Bach 's music without being far from the guitar idiom. Thus, by considering the Chaconne as abstract music this transcription becomes more than a simple translation: it becomes a truly piece of music in the guitar.
Further support for this idea comes from the words of Rosalyn Tureck: "In Bach's music, the form and structure is of so abstract a nature on every level that it is not dependent on its costume of sonorities. Insistence on the employment of instruments of the seventeenth and early eighteenth centuries reduces the work of so universal a genius to a period piece. [? In Bach everything that the music is comes first, the sonorities are and accessory." (*20)
------------------------------------
(*20) ; Rosalyn Tureck, An Introduction to the Performance of Bach. (London: Oxford University Press), 11.
The basic techniques pertain to the following areas:
Harmony and Counterpoint:
Fill-in notes in chords.
Implied harmony.
Octavation and counterpoint.
Introduced bass lines from tetrachord formul?
Rhythm:
Rhythmic pulse and the sarabande pattern.
The chaconne second beat.
Subsidiary rhythmic patterns and implied polyphony.
Odd rhythmic grouping.
Dynamics:
The Baroque music writing tradition.
The arch form.
Articulations:
The manuscript as a source.
Role of slurs.
Tempo:
The Baroque tradition.
Performance practice.
Harmony and Counterpoint
Changes from the original were made to fit the tessitura and idiom of the guitar while trying to be faithful to the music itself. Although the music was transposed an octave down, the lower and middle registers of the guitar would be virtually untouched by the original music alone. Thus, important harmonic points were filled considering elemental rules of voice leading. Such is the case in measures 197~198:
Ex. 11
In this example the three voice texture that is the maximum possible in the violin is expanded to six since this passage is part of the climatic section in Part II, thus adding more sound within the guitar dynamics.
Sometimes the voice leading does not allow for this type of fill-in notes. The simpler recourse is octavation from the original music. In measure 38 (Ex. 12), the original first note is c#, which is brought down to the lower voice in order to continue with the introduced bass line (see next paragraph). This procedure created a situation in which if the place of this note in the upper line is not filled, we encounter register problems. On the other hand, if the c# is doubled, we find an unsatisfactory counterpoint situation. The solution is, then, to fill the place with a note from the harmony, in this case a.
Ex. 12
Introduced bass line is that which is not present in the original but is nonetheless implied by the harmony. Its function is melodic and rhythmic. In general, the tetrachord formul?are the source for these bass lines, which follow a rhythmic pattern used by Bach in the Chaconne. The most used pattern is the sarabande rhythm. The following example, from variation 4 (mm. 33) shows this process.
Ex. 13
In the original, the type b tetrachord in the lower voice (see Ex. 5, page ) is presented by the last eighth note of the first three measures in this example. However, by anticipating the last eighth note of the measure over the second beat we have the sarabande rhythm. The fill-in notes on the tenor voice create resolutions of the tritone over the downbeat and connect the register 32 between the upper and lower voices. This tenor voice then connects with f in measure four, a note that is present in the original.
Another technique is that of extrapolation. This occurs between variation 6 (from measure 49 to measure 51) and variation 8 (from measure 65 to measure 68). In variation 6, the tetrachord in the lower voice in the original takes the tenor voice in the transcription, while notes taken from variation 8 fill the bass (within squares in the example). The purpose of this extrapolation is to solve a technical problem inherent to the guitar idiom. The thirds in the
original in variation 8 cannot 'speak?properly due to the small rhythmic values and the register in which they are presented in the guitar. Since variations 6 and 8 share the same harmonic progression, it is proper to extrapolate these notes.
Ex. 14
Rhythm
Although in the original the sarabande rhythm disappears from the foreground in measure 24, it is quite latent over the whole piece. This is a very important consideration for a transcription and subsequent performance. The inherent polyphonic texture and implied harmony of some of the passages gives enough support for this idea. One instance is the variation 6 again. If we divide the original line into independent voices, there is an upbeat eight-note which is characteristic of the sarabande rhythm.
Ex. 15
It is worth to point out that the sarabande rhythm is not always in the same rhythmic level than the beginning. Different levels are implied in the original music as well as in introduced bass line (such is the case in the first arpeggio passage, mm. 89~91):
Original sarabande rhythm:
Diminution (variations 1 and 2, mm.9~24):
Transformed augmentation (variation 11, mm. 89~91):
The augmentation of the sarabande rhythm would not be exact given the meter of the piece. However, the quarter note in the upbeat provides a similar momentum to the following beat. It is also worth noting that the present pattern inverts the one given by the second beat pattern in the Chaconne.
Although the second beat pattern that begins the Chaconne is not always present, it is a concern where to locate the places in which it is implied. In the first arpeggio passage, it is very easy to overlook the beginning of a new variation due to the static rhythmic pattern. However, a closer study will show the right places.
In analyzing the implied polyphony, we can find subsidiary rhythmic patterns that are carried along the piece. In identifying these patterns, the performer is able to discriminate rhythmic postings that help to maintain the flow of the music. The most important is a four-note pattern that consists of three upbeat sixteenth notes resolving in the following downbeat. One of the clearest examples is variation 10 (m. 77): Here, this subsidiary pattern becomes an essential part of the variation as one follows the other delineating the descending tetrachord.
Ex. 16
Another rhythmic device used by Bach is that of odd grouping, which is extremely important to take into account during the process of fingering. Patterns like that of variation 10, mm. 81~83 are excellent examples. The line of continuous sixteenth notes is broken in small cells like thus: 1+2+2+2+2+3. By doing this, Bach avoids repetition and predictability.
Even more, this same variation is one of the most interesting harmonic passages in the whole piece: the upper voice over the descending tetrachord delineates a series of diminished chords, a brilliant way to present all twelve notes.
Ex. 17
Dynamics
Baroque composers, who where in general the performers of their own works, relied on performance practice for interpretation of their work. Thus, indications like tempo, dynamics, and ornaments were left to the performer for realization, following the few indications by the composer, and what the experience of music has taught. (*21)
------------------------------------
(*21) ; Robert Donington. A Performer's Guide to Baroque Music. (New York: Scribner, 1973).
In this sense and unlike music of later periods, the score was just the blueprint of the final product. In our case as modern musicians, however, we have lost these traditions, although musicologists have brought to light a fair number of them. In consequence, the main source of interpretation is the manuscript itself or the earliest printed editions.
Regarding dynamics fluctuation, Robert Donington writes: "It is desirable, on the whole, to preconcert the overall scheme, but to feel one's way through the finer nuances. It is most often the harmony, which is the best guide to the finer nuances whereas the melodic line is most often indicative on a rather larger scale. Rising dynamically to the peak of an ascending phrase, and falling away from it again as the melody descends, is one of the most natural of musical responses. This can often happen intuitively, within the yet larger planning (best preconcerted) of loud and soft passages." (*22) The Chaconne is an open book in this regard. In order to arrange a preconcerted performance of the piece, the inherent arch form of the overall architecture should be taken into account (see page 25). However, smaller architectural levels are the ones that insure the momentum of the performance and provide evident dynamic flow.
Baroque composers regarded phrases as being "strong?(S) or "weak?(W), usually pairing them.(*23) Considering this concept is extremely helpful to set the different strata of dynamics. Per example, the statement of the theme can be divided into strong and weak cells in many different levels. In the first architectural level, the antecedent is strong and the consequent is weak. Within each sub-phrase, the first seven beats are strong and the rest weak, and so on.
--------------------
22 Ibid., 293.
23 Ibid.
Ex. 18
Articulations
Bach provides very few types of articulation in his work. Long and short slurs are, however, the most frequently found. In the Chaconne, Bach provides long slurs to underline a given melodic line, thus indicating a specific phrase. On the other hand, short slurs are more related to violin technique as they indicate bowing and grouping of small melodic cells. Both indicate how the given line has to be articulated and grouped by indicating the accented note.
Long slurs help to understand the direction of specific runs, like those of measures 72~73. They do not appear in the present transcription in order to avoid confusion. However, the manuscript or the urtext should be studied in order to realize the proper phrasing. By accenting the first note of every group the basic quarter-note pulse can be supported, thus obtaining a parallel effect in the guitar to that of the violin.
Ex. 19
Note that in measure 73 Bach does not write a slur. It indicates a change of affekt since it is a new variation. The change is signed by the low d in the bass and change of dynamics.
It is not always possible to translate literally small slurs written for the violin into the guitar. However, they serve as an important guide for articulation in the guitar. A similar directionality should be attained.
Bach does not indicate slurring in some instances. However, slurs were included in the transcription in order to give rhythmic momentum to certain motivic cells.
Ex. 20
Tempo
Bach does not provide a tempo markings for the Chaconne. Nevertheless, sufficient historical data provides enough information to make decisions regarding tempo. Quantz assigns T=160 for the chaconne and T=80 for the sarabande. Quantz refers to the human pulse (80/min.) for his calculations.24 The chaconne tempo given by Quantz might be based in early chaconnes, however unrealistic, at least for Bach's Chaconne. A more proper tempo is one closer to the French sarabande.
Quantz himself points out in Essay (Berlin, 1752, XI, 15): "There are indeed various degrees of liveliness and sadness?[XII, 2] It is necessary [to take tempo] more from the content of the piece than from the [time] word?[XI, 13] The performance should be easy and flexible 꿾ithout stiffness and constraint.?5 C. P. E. Bach in Essay (1753, III, 10) writes: "The tempo of a piece?is derived from its general mood together with the fastest notes and passages which it includes. Proper attention to these considerations will prevent an allegro from being hurried and an adagio from being dragged." (*26)
Scholars suggest those multisectional pieces like chaconnes, toccatas, passacailles, etc. "may require different tempos to suit the different characters of successive sections.?7 However, a multiplicity of tempos might sound unclear and restless. In the case of Bach's Chaconne, an overall steady tempo is more suitable to the structure of the piece and rhythmic proportions
among the variations. The fastest passages from variations such as 8, 9, 10, and the arpeggio passage from measure 89 set the limits of how fast the Chaconne can be performed. On the other hand, the two main affekts of the piece (Part II contrasting Parts I and III) determine the average tempo: If too fast, Part II will lack the proper calmness inherent in the music; if too slow, the proportions between phrases and their corresponding diminution can be lost. Thus, a band of tempos ranging from T=60 to T=80 could be suitable for Bach's Chaconne.
------------------------------------------
24 Robert Donington. Baroque Music: Style and Performance: A Handbook. (New York: Norton, 1982), 19.
25 Robert Donington, Op. cited, 248.
26 Ibid., 249.
27 Ibid., 250.
THE SCORE
This score of the transcription for guitar of Bach's Chaconne is the product of the studies above. Some changes to the original music, however, where made according to personal taste, and they do not mean to be definite. The fingerings proposed here are the ones that best fit my own current technique. They are also expected to evolve into more sophisticated fingerings that
would help to convey the content in a deeper musical way.
There are some features worth mention:
Unlike the original autograph, most of the notes within harmonies do not have individual stems. This is due to laying-out reasons, since it would be cumbersome to read. For a guide to the polyphonic texture and direction of the voices, see the manuscript after this section.
The arpeggio passage in variations 11 to 14 shows only one pattern, similar to the Segovia version. The extension over the dominant of variation 27 features the same technique used by Narciso Yepes as it anticipates the sixteenth-note triplets by four measures (see page 17).
In this transcription, there are some indications that are not standard in guitar music:
IV5 Bar on the fourth fret up to the fifth string.
III0 Hinge-bar on the third fret.
Ex. - Chaconne 전체 악보
THE MANUSCRIPT
Following there is a copy of J. S. Bach autograph of the Chaconne, taken from the manuscript of the works for solo violin.
Several features are worth noting: Bach uses a separate stem for each note, rather than writing simultaneous notes on a single stem thus reflecting the polyphonic nature of the music.
His choices of stem directions might be influenced by an overriding extra-musical consideration: the closeness of the staves, which Bach himself ruled with a five-prong pen. (*1)
At the bottom of each right-hand page are the instructions V[olti] S[?ito]: volti presto ( "turn immediately; turn quickly").
In Part II, Bach follows the custom of his day in writing the key signature of D major with two f#, one for each location on the staff where the altered note occurs. Other baroque conventions of notation include: connected, rather than separate, ledger lines in series of notes above or below the staff; use of the so-called French violin clef (a G clef centered on the bottom line of the staff, instead of the second line) for passages lying in the extreme upper register of the instrument; an enforcement of accidentals only for the notes next to which they are written, or for immediate repetitions of such notes, rather than for an entire measure. (*2)
Note on the PDF file: The manuscript is not included in this file for obvious reasons of space in the server. Carlevaro's transcription of the Chaconne has this manuscript included.
----------------------------
(*1) ; Jon F Eiche, "History of the Arrangements of Bach's Chaconne,?in The Bach Chaconne for Solo Violin,
A Collection of Views.
(*2) ; Ibid.
The process of transcription of a piece like Bach's Chaconne is a complex process. From understanding the historical and musicological background to having a secure grasp of analytical details, a transcription has to undergo revision after revision to satisfy the ultimate stage, the performance. Thus, the present transcription for guitar is far for being a final one. Indeed, it is just the seed for a satisfactory product.
Based mainly on the urtext and the manuscript, this transcription intends to keep close to Bach 's music without being far from the guitar idiom. Thus, by considering the Chaconne as abstract music this transcription becomes more than a simple translation: it becomes a truly piece of music in the guitar.
Further support for this idea comes from the words of Rosalyn Tureck: "In Bach's music, the form and structure is of so abstract a nature on every level that it is not dependent on its costume of sonorities. Insistence on the employment of instruments of the seventeenth and early eighteenth centuries reduces the work of so universal a genius to a period piece. [? In Bach everything that the music is comes first, the sonorities are and accessory." (*20)
------------------------------------
(*20) ; Rosalyn Tureck, An Introduction to the Performance of Bach. (London: Oxford University Press), 11.
The basic techniques pertain to the following areas:
Harmony and Counterpoint:
Fill-in notes in chords.
Implied harmony.
Octavation and counterpoint.
Introduced bass lines from tetrachord formul?
Rhythm:
Rhythmic pulse and the sarabande pattern.
The chaconne second beat.
Subsidiary rhythmic patterns and implied polyphony.
Odd rhythmic grouping.
Dynamics:
The Baroque music writing tradition.
The arch form.
Articulations:
The manuscript as a source.
Role of slurs.
Tempo:
The Baroque tradition.
Performance practice.
Harmony and Counterpoint
Changes from the original were made to fit the tessitura and idiom of the guitar while trying to be faithful to the music itself. Although the music was transposed an octave down, the lower and middle registers of the guitar would be virtually untouched by the original music alone. Thus, important harmonic points were filled considering elemental rules of voice leading. Such is the case in measures 197~198:
Ex. 11
In this example the three voice texture that is the maximum possible in the violin is expanded to six since this passage is part of the climatic section in Part II, thus adding more sound within the guitar dynamics.
Sometimes the voice leading does not allow for this type of fill-in notes. The simpler recourse is octavation from the original music. In measure 38 (Ex. 12), the original first note is c#, which is brought down to the lower voice in order to continue with the introduced bass line (see next paragraph). This procedure created a situation in which if the place of this note in the upper line is not filled, we encounter register problems. On the other hand, if the c# is doubled, we find an unsatisfactory counterpoint situation. The solution is, then, to fill the place with a note from the harmony, in this case a.
Ex. 12
Introduced bass line is that which is not present in the original but is nonetheless implied by the harmony. Its function is melodic and rhythmic. In general, the tetrachord formul?are the source for these bass lines, which follow a rhythmic pattern used by Bach in the Chaconne. The most used pattern is the sarabande rhythm. The following example, from variation 4 (mm. 33) shows this process.
Ex. 13
In the original, the type b tetrachord in the lower voice (see Ex. 5, page ) is presented by the last eighth note of the first three measures in this example. However, by anticipating the last eighth note of the measure over the second beat we have the sarabande rhythm. The fill-in notes on the tenor voice create resolutions of the tritone over the downbeat and connect the register 32 between the upper and lower voices. This tenor voice then connects with f in measure four, a note that is present in the original.
Another technique is that of extrapolation. This occurs between variation 6 (from measure 49 to measure 51) and variation 8 (from measure 65 to measure 68). In variation 6, the tetrachord in the lower voice in the original takes the tenor voice in the transcription, while notes taken from variation 8 fill the bass (within squares in the example). The purpose of this extrapolation is to solve a technical problem inherent to the guitar idiom. The thirds in the
original in variation 8 cannot 'speak?properly due to the small rhythmic values and the register in which they are presented in the guitar. Since variations 6 and 8 share the same harmonic progression, it is proper to extrapolate these notes.
Ex. 14
Rhythm
Although in the original the sarabande rhythm disappears from the foreground in measure 24, it is quite latent over the whole piece. This is a very important consideration for a transcription and subsequent performance. The inherent polyphonic texture and implied harmony of some of the passages gives enough support for this idea. One instance is the variation 6 again. If we divide the original line into independent voices, there is an upbeat eight-note which is characteristic of the sarabande rhythm.
Ex. 15
It is worth to point out that the sarabande rhythm is not always in the same rhythmic level than the beginning. Different levels are implied in the original music as well as in introduced bass line (such is the case in the first arpeggio passage, mm. 89~91):
Original sarabande rhythm:
Diminution (variations 1 and 2, mm.9~24):
Transformed augmentation (variation 11, mm. 89~91):
The augmentation of the sarabande rhythm would not be exact given the meter of the piece. However, the quarter note in the upbeat provides a similar momentum to the following beat. It is also worth noting that the present pattern inverts the one given by the second beat pattern in the Chaconne.
Although the second beat pattern that begins the Chaconne is not always present, it is a concern where to locate the places in which it is implied. In the first arpeggio passage, it is very easy to overlook the beginning of a new variation due to the static rhythmic pattern. However, a closer study will show the right places.
In analyzing the implied polyphony, we can find subsidiary rhythmic patterns that are carried along the piece. In identifying these patterns, the performer is able to discriminate rhythmic postings that help to maintain the flow of the music. The most important is a four-note pattern that consists of three upbeat sixteenth notes resolving in the following downbeat. One of the clearest examples is variation 10 (m. 77): Here, this subsidiary pattern becomes an essential part of the variation as one follows the other delineating the descending tetrachord.
Ex. 16
Another rhythmic device used by Bach is that of odd grouping, which is extremely important to take into account during the process of fingering. Patterns like that of variation 10, mm. 81~83 are excellent examples. The line of continuous sixteenth notes is broken in small cells like thus: 1+2+2+2+2+3. By doing this, Bach avoids repetition and predictability.
Even more, this same variation is one of the most interesting harmonic passages in the whole piece: the upper voice over the descending tetrachord delineates a series of diminished chords, a brilliant way to present all twelve notes.
Ex. 17
Dynamics
Baroque composers, who where in general the performers of their own works, relied on performance practice for interpretation of their work. Thus, indications like tempo, dynamics, and ornaments were left to the performer for realization, following the few indications by the composer, and what the experience of music has taught. (*21)
------------------------------------
(*21) ; Robert Donington. A Performer's Guide to Baroque Music. (New York: Scribner, 1973).
In this sense and unlike music of later periods, the score was just the blueprint of the final product. In our case as modern musicians, however, we have lost these traditions, although musicologists have brought to light a fair number of them. In consequence, the main source of interpretation is the manuscript itself or the earliest printed editions.
Regarding dynamics fluctuation, Robert Donington writes: "It is desirable, on the whole, to preconcert the overall scheme, but to feel one's way through the finer nuances. It is most often the harmony, which is the best guide to the finer nuances whereas the melodic line is most often indicative on a rather larger scale. Rising dynamically to the peak of an ascending phrase, and falling away from it again as the melody descends, is one of the most natural of musical responses. This can often happen intuitively, within the yet larger planning (best preconcerted) of loud and soft passages." (*22) The Chaconne is an open book in this regard. In order to arrange a preconcerted performance of the piece, the inherent arch form of the overall architecture should be taken into account (see page 25). However, smaller architectural levels are the ones that insure the momentum of the performance and provide evident dynamic flow.
Baroque composers regarded phrases as being "strong?(S) or "weak?(W), usually pairing them.(*23) Considering this concept is extremely helpful to set the different strata of dynamics. Per example, the statement of the theme can be divided into strong and weak cells in many different levels. In the first architectural level, the antecedent is strong and the consequent is weak. Within each sub-phrase, the first seven beats are strong and the rest weak, and so on.
--------------------
22 Ibid., 293.
23 Ibid.
Ex. 18
Articulations
Bach provides very few types of articulation in his work. Long and short slurs are, however, the most frequently found. In the Chaconne, Bach provides long slurs to underline a given melodic line, thus indicating a specific phrase. On the other hand, short slurs are more related to violin technique as they indicate bowing and grouping of small melodic cells. Both indicate how the given line has to be articulated and grouped by indicating the accented note.
Long slurs help to understand the direction of specific runs, like those of measures 72~73. They do not appear in the present transcription in order to avoid confusion. However, the manuscript or the urtext should be studied in order to realize the proper phrasing. By accenting the first note of every group the basic quarter-note pulse can be supported, thus obtaining a parallel effect in the guitar to that of the violin.
Ex. 19
Note that in measure 73 Bach does not write a slur. It indicates a change of affekt since it is a new variation. The change is signed by the low d in the bass and change of dynamics.
It is not always possible to translate literally small slurs written for the violin into the guitar. However, they serve as an important guide for articulation in the guitar. A similar directionality should be attained.
Bach does not indicate slurring in some instances. However, slurs were included in the transcription in order to give rhythmic momentum to certain motivic cells.
Ex. 20
Tempo
Bach does not provide a tempo markings for the Chaconne. Nevertheless, sufficient historical data provides enough information to make decisions regarding tempo. Quantz assigns T=160 for the chaconne and T=80 for the sarabande. Quantz refers to the human pulse (80/min.) for his calculations.24 The chaconne tempo given by Quantz might be based in early chaconnes, however unrealistic, at least for Bach's Chaconne. A more proper tempo is one closer to the French sarabande.
Quantz himself points out in Essay (Berlin, 1752, XI, 15): "There are indeed various degrees of liveliness and sadness?[XII, 2] It is necessary [to take tempo] more from the content of the piece than from the [time] word?[XI, 13] The performance should be easy and flexible 꿾ithout stiffness and constraint.?5 C. P. E. Bach in Essay (1753, III, 10) writes: "The tempo of a piece?is derived from its general mood together with the fastest notes and passages which it includes. Proper attention to these considerations will prevent an allegro from being hurried and an adagio from being dragged." (*26)
Scholars suggest those multisectional pieces like chaconnes, toccatas, passacailles, etc. "may require different tempos to suit the different characters of successive sections.?7 However, a multiplicity of tempos might sound unclear and restless. In the case of Bach's Chaconne, an overall steady tempo is more suitable to the structure of the piece and rhythmic proportions
among the variations. The fastest passages from variations such as 8, 9, 10, and the arpeggio passage from measure 89 set the limits of how fast the Chaconne can be performed. On the other hand, the two main affekts of the piece (Part II contrasting Parts I and III) determine the average tempo: If too fast, Part II will lack the proper calmness inherent in the music; if too slow, the proportions between phrases and their corresponding diminution can be lost. Thus, a band of tempos ranging from T=60 to T=80 could be suitable for Bach's Chaconne.
------------------------------------------
24 Robert Donington. Baroque Music: Style and Performance: A Handbook. (New York: Norton, 1982), 19.
25 Robert Donington, Op. cited, 248.
26 Ibid., 249.
27 Ibid., 250.
THE SCORE
This score of the transcription for guitar of Bach's Chaconne is the product of the studies above. Some changes to the original music, however, where made according to personal taste, and they do not mean to be definite. The fingerings proposed here are the ones that best fit my own current technique. They are also expected to evolve into more sophisticated fingerings that
would help to convey the content in a deeper musical way.
There are some features worth mention:
Unlike the original autograph, most of the notes within harmonies do not have individual stems. This is due to laying-out reasons, since it would be cumbersome to read. For a guide to the polyphonic texture and direction of the voices, see the manuscript after this section.
The arpeggio passage in variations 11 to 14 shows only one pattern, similar to the Segovia version. The extension over the dominant of variation 27 features the same technique used by Narciso Yepes as it anticipates the sixteenth-note triplets by four measures (see page 17).
In this transcription, there are some indications that are not standard in guitar music:
IV5 Bar on the fourth fret up to the fifth string.
III0 Hinge-bar on the third fret.
Ex. - Chaconne 전체 악보
THE MANUSCRIPT
Following there is a copy of J. S. Bach autograph of the Chaconne, taken from the manuscript of the works for solo violin.
Several features are worth noting: Bach uses a separate stem for each note, rather than writing simultaneous notes on a single stem thus reflecting the polyphonic nature of the music.
His choices of stem directions might be influenced by an overriding extra-musical consideration: the closeness of the staves, which Bach himself ruled with a five-prong pen. (*1)
At the bottom of each right-hand page are the instructions V[olti] S[?ito]: volti presto ( "turn immediately; turn quickly").
In Part II, Bach follows the custom of his day in writing the key signature of D major with two f#, one for each location on the staff where the altered note occurs. Other baroque conventions of notation include: connected, rather than separate, ledger lines in series of notes above or below the staff; use of the so-called French violin clef (a G clef centered on the bottom line of the staff, instead of the second line) for passages lying in the extreme upper register of the instrument; an enforcement of accidentals only for the notes next to which they are written, or for immediate repetitions of such notes, rather than for an entire measure. (*2)
Note on the PDF file: The manuscript is not included in this file for obvious reasons of space in the server. Carlevaro's transcription of the Chaconne has this manuscript included.
----------------------------
(*1) ; Jon F Eiche, "History of the Arrangements of Bach's Chaconne,?in The Bach Chaconne for Solo Violin,
A Collection of Views.
(*2) ; Ibid.
번호 | 제목 | 글쓴이 | 날짜 | 조회 수 |
---|---|---|---|---|
1313 | Arcadi Volodos | 콩쥐 | 2007.12.06 | 12243 |
1312 |
[Guitar Trivia] 세고비아와 바리오스
2 ![]() |
김상욱 | 2007.11.20 | 19405 |
1311 | 연주회 후기에 대해... 65 | 쏠레아 | 2007.10.03 | 17119 |
1310 | [모셔온글] 피아노 이야기에서 - 러셀셔먼 4 | 밀롱가. | 2007.09.03 | 12976 |
1309 | classic 10 | 희주 | 2007.05.22 | 19383 |
1308 | 삐에리 연주 & 마스터클래스 후기 17 | 발자취 | 2007.05.10 | 30974 |
1307 | 산골strs가 드리는 유용한 정보(안보면 후회함) 26 | 산골스트링즈 | 2007.05.03 | 14112 |
1306 | My mind to me a kingdom is... 2 | 이브남 | 2007.02.22 | 11722 |
1305 | 햇빛 쏟아지는 사이렌의 숲속... 2 | 이브남 | 2007.02.11 | 13215 |
1304 | 테오르보... 3 | 이브남 | 2007.02.09 | 12634 |
1303 |
음악과 이념 - 알베니스의 피아노 협주곡을 중심으로
6 ![]() |
1000식 | 2007.02.06 | 12726 |
1302 |
아베마리아
3 ![]() |
이브남 | 2007.01.10 | 13117 |
1301 |
새로 발견된 소르의 환상곡 d단조
2 ![]() |
1000식 | 2006.12.22 | 14491 |
1300 | 헤레베헤의 연주가 나온김에 한곡더!~ 1 | 이브남 | 2006.12.20 | 10954 |
1299 | 그의 날과 눈물의 날인저... 3 | 이브남 | 2006.12.18 | 11711 |
1298 | 기타의 외계인들 15 | 섬소년 | 2006.12.12 | 14056 |
1297 | 내가 대지에 누웠을때... 3 | 이브남 | 2006.12.04 | 9740 |
1296 | 더 이상 날지 못하리... 1 | 이브남 | 2006.12.01 | 13934 |
1295 | 사랑의 괴로움을 그대는 아는가... 2 | 이브남 | 2006.11.29 | 11718 |
1294 | 15년 만의 재회... 3 | 이브남 | 2006.11.27 | 10352 |
1293 | 선율의 즉흥연주(Improvisation) 4 | 이브남 | 2006.11.26 | 9220 |
1292 | 류트와 르네상스, 바로크 시대의 트릴연주 5 | 이브남 | 2006.11.26 | 12560 |
1291 | 류트와 르네상스, 바로크 시대의 장식음 3 | 이브남 | 2006.11.26 | 44685 |
1290 | 깊고 깊은 고악기의 음색... 4 | 이브남 | 2006.11.25 | 11200 |
1289 | 클라비코드 10 | 이브남 | 2006.11.24 | 11588 |
1288 |
아랑훼즈 협주곡
13 ![]() |
진성 | 2006.11.24 | 12816 |
1287 |
사찌꼬
2 ![]() |
항해사 | 2006.11.18 | 18146 |
1286 |
안개낀 장충당 공원
8 ![]() |
항해사 | 2006.11.18 | 13358 |
1285 | 엔카와 트로트 (펌) 7 | 두레박 | 2006.11.17 | 22405 |
1284 | Adam_Fulara_BWV_848 1 | 소품 | 2006.10.31 | 10815 |
1283 | 기타연주와 숨쉬기(호흡)에 관련하여 11 | 밀롱가. | 2006.10.16 | 11493 |
1282 |
타레가 신원조사서
11 ![]() |
조국건 | 2006.10.12 | 12998 |
1281 | 저........질문이 있는데요 2 | 이임재 | 2006.10.12 | 8952 |
1280 |
Flamenco 기타음악
5 ![]() |
조국건 | 2006.09.30 | 12600 |
1279 | Chopin과 John Field의 Nocturnes 14 | 고정석 | 2006.09.29 | 10045 |
1278 | 여음을 오래 남기는 방법좀. 16 | 밀롱가. | 2006.09.19 | 9135 |
1277 | 제가 추천하는 Alfonsina y el mar 8 | 고정석 | 2006.09.09 | 21515 |
1276 | 음악하는 사람이 공부를 못한다는 의견에 대해 - 음악의 천재들 에피소드 소개 3 | 으니 | 2006.09.06 | 7267 |
1275 |
남미음악지도 그리고 porro......조국건
6 ![]() |
콩쥐 | 2006.09.04 | 15321 |
1274 | 기타줄은 왜 E-B-G-D-A-E 으로 튜닝하는건가요??? 16 | 미스터엠 | 2006.08.28 | 13063 |
1273 | 기타줄은 왜 E-B-G-D-A-E 으로 튜닝하는건가요??? 18 | 미스터엠 | 2006.08.28 | 14440 |
1272 | 장식음(꾸밈음)의 음가에 대해... 22 | 쏠레아 | 2006.08.28 | 10912 |
1271 | 올해의 어록....."튜닝은 전주곡이다." 5 | 콩쥐 | 2006.08.26 | 6688 |
1270 | 효과적인 연습방법 - 연주의 성공은 연습의 질에 달렸다 4 | 고정석 | 2006.08.20 | 11760 |
1269 |
오디오에서의 24 bit 기술
![]() |
np | 2006.07.24 | 7287 |
1268 | 오디오에서 디지털의 매력 (audioguy) 3 | 수 | 2006.07.23 | 6583 |
1267 | 오디오에서의 아날로그의 매력 ( 레거리즘) | 콩쥐 | 2006.07.21 | 5768 |
1266 | 조이름의 비밀-당신은 아시나요? 46 | 금모래 | 2006.07.17 | 19373 |
1265 | 클렌쟝 작품 번호별 리스트 6 | 희주 | 2006.07.12 | 11347 |
1264 | 박자에 대해 질문 7 | ZiO | 2006.07.05 | 7121 |
1263 | John Williams – Richard Harvey 공연 후기 2 | jazzman | 2006.06.18 | 6041 |
1262 | 마적 주제에 의한 변주곡 난이도가? 1 | 후라이곤 | 2006.06.07 | 8580 |
1261 | 음악과 관계된 영화 추천해 주세요 42 | 백 | 2006.05.23 | 6746 |
1260 | 이번에 기타콩쿨에 나가는 칭구에게 보내는편지. 3 | 콩쥐 | 2006.05.21 | 5950 |
1259 | Carlos Saura 감독의 "Salome" 5 | 정천식 | 2006.04.12 | 8853 |
1258 | Carlos Saura의 "El Amor Brujo" 2 | 정천식 | 2006.04.07 | 8634 |
1257 | Carloe Saura의 "Carmen" | 정천식 | 2006.03.30 | 7400 |
1256 |
◈ 이 곡 제목 좀 알려주세요
1 ![]() |
쭈미 | 2006.03.27 | 7537 |
1255 |
[re] Bodas de Sangre(피의 혼례)
1 ![]() |
정천식 | 2006.03.22 | 8406 |
1254 |
[re] Bodas de Sangre(피의 혼례)
![]() |
정천식 | 2006.03.22 | 7269 |
1253 |
[re] Bodas de Sangre(피의 혼례)
![]() |
정천식 | 2006.03.22 | 7774 |
1252 |
[re] Bodas de Sangre(피의 혼례)
![]() |
정천식 | 2006.03.22 | 7785 |
1251 |
[re] Bodas de Sangre(피의 혼례)
![]() |
정천식 | 2006.03.22 | 8232 |
1250 |
[re] Bodas de Sangre(피의 혼례)
![]() |
정천식 | 2006.03.22 | 7073 |
1249 |
[re] Bodas de Sangre(피의 혼례)
![]() |
정천식 | 2006.03.22 | 7631 |
1248 |
Bodas de Sangre(피의 혼례)
3 ![]() |
정천식 | 2006.03.22 | 9965 |
1247 | 전사(戰士)들의 땅 바스크, 그 소박한 민요 1 | 정천식 | 2006.03.17 | 8324 |
1246 | 스페인 음악의 뿌리를 찾아서 | 정천식 | 2006.03.16 | 8833 |
1245 |
정답 - 바흐의 마지막 작품
8 ![]() |
1000식 | 2006.03.01 | 9033 |
1244 | 디지털 악학궤범 1 | 1000식 | 2006.02.28 | 7757 |
1243 | 바하의 기타음악이란 18 | 샤콘느1004 | 2006.02.27 | 7731 |
1242 |
전지호의 음악백과사전 소개
1 ![]() |
1000식 | 2006.02.23 | 7947 |
1241 | 악보. 1 | 오리지날 | 2006.02.22 | 6660 |
1240 | 음악성이란 그 무엇을 좇아서.... 44 | 그림이 | 2006.02.22 | 9557 |
1239 | 음악성이란 그 무엇을 좇아서.... 26 | 그림이 | 2006.02.22 | 6476 |
1238 | 인터넷악보의 위험성. 10 | 인터넷악보 | 2006.02.22 | 6494 |
1237 |
바하의 바디네리악보 쓸만한가요?
6 ![]() |
콩쥐 | 2006.02.20 | 20722 |
1236 |
[re] 3/8박자의 의미는?
6 ![]() |
혁 | 2006.01.23 | 9132 |
1235 | 심리적 악센트? 9 | ZiO | 2006.01.22 | 6715 |
1234 | 3/8박자의 의미는? 21 | ZiO | 2006.01.21 | 11199 |
1233 | [re] 밑의 글들을 일고... | 푸하하하하 | 2006.01.21 | 4691 |
1232 | 진짜(?) 피아노와 디지털 피아노?? 19 | jazzman | 2006.01.20 | 9317 |
1231 |
신현수님의 "악상해석과 표현의 기초"....넘 좋아요.
15 ![]() |
수 | 2005.12.31 | 8795 |
1230 | 기타 음악 감상실에여...... 음반구하고 싶은 곡이 있는데여!!! 2 | 강지예 | 2005.12.28 | 6432 |
1229 | 피하시온(fijación)이 무엇인가요? 3 | 궁금해요 | 2005.12.19 | 7408 |
1228 | 감동을 주는 연주를 하려면 ? 34 | np | 2005.11.23 | 9020 |
1227 |
음악영화."투게더".....감독(첸카이거)
![]() |
콩쥐 | 2005.11.21 | 15021 |
1226 |
마르찌오네 그의 사진 한 장
2 ![]() |
손끝사랑 | 2005.11.15 | 7676 |
1225 |
카를로 마키오네 연주회 후기
18 ![]() |
해피보이 | 2005.11.15 | 7808 |
1224 | 후쿠다 신이치 공연 후기... 33 | jazzman | 2005.11.05 | 7670 |
1223 | 사랑의 꿈 - 리스트 클레식기타로 연주한.. 4 | 박성민 | 2005.11.04 | 8086 |
1222 | [기사] 국제 음악콩쿠르 韓-中-日이 휩쓸어 1 | 고정석 | 2005.11.01 | 5398 |
1221 | 재즈쪽으로 클래식기타를 가르치시는 스승님 안계신가요? 스승님을 찾습니다ㅠㅠ 10 | 꿈 | 2005.10.04 | 6438 |
1220 | 암보를 했다는 건 이제야 시작할 준비가 되었다는 뜻.... 12 | 아이모레스 | 2005.09.30 | 6166 |
1219 |
까탈이의 세계여행
2 ![]() |
1000식 | 2005.09.24 | 6273 |
1218 | 기타에 대한 명언 알려주세요^-^ 24 | 콘푸라이트 | 2005.09.19 | 8953 |
1217 |
빌라로보스 연습곡 전곡 부탁드립니다.
9 ![]() |
기타초보 | 2005.08.08 | 7565 |
1216 | [질문]고전파시대음악 | 딸기 | 2005.08.01 | 6773 |
1215 | 암보에 대해... 꼭 외워야 하는가??? 16 | 쏠레아 | 2005.07.25 | 8607 |
1214 | 기타음악 작곡자들은 보쇼~ 26 | 바부팅이 | 2005.07.25 | 12988 |
Designed by sketchbooks.co.kr / sketchbook5 board skin
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5