For all the "8 short" episodes in order, see th-cam.com/play/PLABcWksVExXvcMfZzhf9XLHeXqlSj0QiJ.html Thanks for all the questions and feedback - all appreciated!
Yes, so many people have good early memories of this piece. But I think it's those duplet quavers that often cause the trouble with the rhythm: perhaps find something to say to yourself while playing them, that will help to place them correctly. Trouble is, that it's so hard to correct old habits ... Tim
I have found an extreme example of the pedal doubling the left hand. In a volume of Gems for the organ Bk 1, edited and arranged by W R B Tann, there are several examples. In his version of Handel's 'The King shall rejoice' the doubling is pretty much 70 per cent!!
Mm, but that was in the 1930s, when the whole philosophy of organ playing was rather different and much more orchestral (but you're right, I should have specified that I was thinking of classical organ playing). Well spotted! Tim
Very enjoyable thank you. I see this is one that is said to be in the 'galant style'. I guess that refers to the prelude. Is that due to the chordal nature of the writing? Can you have a fugue in that style? Do you follow the pedalling for the fugue in the Novello ed with the 3rd and 4th quavers played with the left foot , T,H or H,T?
Yes, the 'galant style' is a reference to the harmonic, tonal and figurative simplicity - that it is, as you say, essentially broken chords. Fugues by definition are a bit more old-fashioned in concept and require more complicated figuration because of the counterpoint. So although some fugues are more 'galant' than others, the very idea of a fugue is not quite 'galant' philosophy.Typical of this sort of fugue would be lots of passages of unrelated figuration. I don't have the Novello edition. but I personally find that alternate toes work perfectly all through this fugue (the first five notes of the fugue subject, obviously, but then using left toe for both the fifth and sixth notes in the fugue subject, because we actually want to articulate those two notes - it's quite important not to play them legato - and so using the same toe for them both helps to ensure a good articulation. Tim
For all the "8 short" episodes in order, see th-cam.com/play/PLABcWksVExXvcMfZzhf9XLHeXqlSj0QiJ.html Thanks for all the questions and feedback - all appreciated!
This sparkly and rhythmic performance really transforms a potentially dull piece and brings it to life. It's never sounded so good!
Thank you. I'm really glad you enjoyed it! Tim
this is one of the first pieces I learned to play :) still struggling with keeping the rhythm
Yes, so many people have good early memories of this piece. But I think it's those duplet quavers that often cause the trouble with the rhythm: perhaps find something to say to yourself while playing them, that will help to place them correctly. Trouble is, that it's so hard to correct old habits ... Tim
I have found an extreme example of the pedal doubling the left hand. In a volume of Gems for the organ Bk 1, edited and arranged by W R B Tann, there are several examples. In his version of Handel's 'The King shall rejoice' the doubling is pretty much 70 per cent!!
Mm, but that was in the 1930s, when the whole philosophy of organ playing was rather different and much more orchestral (but you're right, I should have specified that I was thinking of classical organ playing). Well spotted! Tim
Very enjoyable thank you. I see this is one that is said to be in the 'galant style'. I guess that refers to the prelude. Is that due to the chordal nature of the writing? Can you have a fugue in that style? Do you follow the pedalling for the fugue in the Novello ed with the 3rd and 4th quavers played with the left foot , T,H or H,T?
Yes, the 'galant style' is a reference to the harmonic, tonal and figurative simplicity - that it is, as you say, essentially broken chords. Fugues by definition are a bit more old-fashioned in concept and require more complicated figuration because of the counterpoint. So although some fugues are more 'galant' than others, the very idea of a fugue is not quite 'galant' philosophy.Typical of this sort of fugue would be lots of passages of unrelated figuration. I don't have the Novello edition. but I personally find that alternate toes work perfectly all through this fugue (the first five notes of the fugue subject, obviously, but then using left toe for both the fifth and sixth notes in the fugue subject, because we actually want to articulate those two notes - it's quite important not to play them legato - and so using the same toe for them both helps to ensure a good articulation. Tim