Thank you Julian, your analysis of the chord progressions, and particularly the alternative resolutions of the diminished seventh was so helpful and interesting, and sounded beautiful.
Thank you Julian. I'm learning this at the moment...it's so captivating and as you say the last bass note is really key. Such an erudite contribution...
Diminished chords … ‘Nature’s little back doors’ (LvBeethoven). Another point to make, regarding the G major finish, is the preparation for a fugue to follow (in the Lute’s case, BWV 1000). Thanks for the great post.
Thank you so much David - great to have your support and I'm pleased you found the tutorial helpful. I'd be delighted to help if you have any follow-up questions.
Hello Julian. Re contentious notes, I would like to draw your attention to measures 17 & 18. On my French edition, also attributed to Kellner, these measures are identical, as in the score you are using. But the Kellner original shows the "d" in M17 going to 'c" in M18. The Henle Verlag Urtext edition follows Kellner here as well as in M23. I agree that either will work, but the Kellner versions sound better to my ear. And having consecutive identical bars is rather "un-Bachian"!
Ah, that's very interesting, thank you for sharing. I'm hearing the d' in m17 as being the first of the pedal point so a c'' in m18 sounds wrong to my ear. The Kellner edition (from ismlp) has a d'' at the start of m18. Are there two Kellner editions?
@@JulianLambert Apologies - I was unclear. Also from Kellner imslp, starting in M16, the descending triads in the left hand are cad, dad, cad, db(flat)d. So yes, a consistent d pedal point, but the third of those triads is dad in other non-Kellner editions
On the other hand, M40 & M41 are the same in all editions, including Kellner, suggesting repetition is intended, and maybe also including M17 & M18 in spite of what Kellner wrote!
Hi Julian - I'm intrigued, and currently slightly obsessed with the "detached" bass notes. It seems that most people play this piece with those notes detached, however, technically speaking they're not written like that. And in fact, you [and almost everyone else] plays them the same as the interlocking right hand notes - however, it's clear from the sheet music that those right hand notes are written with spaces in between, to indicate them as detached, whereas the left hand notes aren't. So I don't really understand why it is that everyone has decided that they should be detached in the same way the right hand notes are. I actually think that if you play those notes legato as written, it creates a nice contrast between the left hand motif and the right hand more staccato. Obviously interpretation is personal, but it intrigues me why en masse everyone has decided to ignore the notation.
Notation is only ever an approximation of the sound wanted. Let your ears and musical sense guide your playing. If a legato LH works for you, that's fine. There's no 'correct'. Play it your way.
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Bach music is like it always ment for mental boost when hearing it i love his every work
I feel like I am having a lesson from a real teacher and not an influencer ....it feels right. Thanks a lot!!!
Happy to hear that, thanks.
Ce n’est pas C mais Do !!!!!
😂@@lucienvergez1565
Thank you Julian, your analysis of the chord progressions, and particularly the alternative resolutions of the diminished seventh was so helpful and interesting, and sounded beautiful.
Thx Donna, so pleased you found this interesting. This is an example of the subscriber content at www.julianlambert.org
Thank you Julian. I'm learning this at the moment...it's so captivating and as you say the last bass note is really key. Such an erudite contribution...
Thanks so much Douglas, thanks for stopping by.
Excellent. I work on this piece on the guitar, in D minor. I find this very enlightening. Thank you.
Ah, I'd love to hear it on the guitar. Have you recorded it?
No, but I will. I great way of learning…
Diminished chords … ‘Nature’s little back doors’ (LvBeethoven). Another point to make, regarding the G major finish, is the preparation for a fugue to follow (in the Lute’s case, BWV 1000). Thanks for the great post.
Thank you Julian. Super helpful
Great to hear, thx Alanna.
Great stuff. Thanks so much
My pleasure Babek.
I played that piece 2 years ago. Isn't it from the Kleine Preludien und Fugen or something like that? Very nice tutorial by the way.
Thx Konstantinos.
Thanks
Thank you so much David - great to have your support and I'm pleased you found the tutorial helpful. I'd be delighted to help if you have any follow-up questions.
Hello Julian. Re contentious notes, I would like to draw your attention to measures 17 & 18. On my French edition, also attributed to Kellner, these measures are identical, as in the score you are using. But the Kellner original shows the "d" in M17 going to 'c" in M18. The Henle Verlag Urtext edition follows Kellner here as well as in M23. I agree that either will work, but the Kellner versions sound better to my ear. And having consecutive identical bars is rather "un-Bachian"!
Ah, that's very interesting, thank you for sharing. I'm hearing the d' in m17 as being the first of the pedal point so a c'' in m18 sounds wrong to my ear. The Kellner edition (from ismlp) has a d'' at the start of m18. Are there two Kellner editions?
@@JulianLambert Apologies - I was unclear. Also from Kellner imslp, starting in M16, the descending triads in the left hand are cad, dad, cad, db(flat)d. So yes, a consistent d pedal point, but the third of those triads is dad in other non-Kellner editions
On the other hand, M40 & M41 are the same in all editions, including Kellner, suggesting repetition is intended, and maybe also including M17 & M18 in spite of what Kellner wrote!
Le mieux c’est la version de Bach lui-même, car c’est lui qui a composé ce prélude.
Hi Julian - I'm intrigued, and currently slightly obsessed with the "detached" bass notes. It seems that most people play this piece with those notes detached, however, technically speaking they're not written like that. And in fact, you [and almost everyone else] plays them the same as the interlocking right hand notes - however, it's clear from the sheet music that those right hand notes are written with spaces in between, to indicate them as detached, whereas the left hand notes aren't. So I don't really understand why it is that everyone has decided that they should be detached in the same way the right hand notes are. I actually think that if you play those notes legato as written, it creates a nice contrast between the left hand motif and the right hand more staccato. Obviously interpretation is personal, but it intrigues me why en masse everyone has decided to ignore the notation.
Notation is only ever an approximation of the sound wanted. Let your ears and musical sense guide your playing. If a legato LH works for you, that's fine. There's no 'correct'. Play it your way.