Terrific, I love this! A very systematic approach to breaking down a hard problem. For the mathematically inclined, the number of exercises generated is (in Python) sum([comb(voices,v)*comb(v,1) for v in range(1,voices+1)]). For a 3-voice piece, the array is sum([3, 6, 3]) = 12, for a 4-voice piece, you have sum([4, 12, 12, 4]) = 32 , and for 6 voices (the ricercar from the Musikalisches Opfer?) a daunting sum([6, 30, 60, 60, 30, 6]) = 192. Because for example in the second element of that array there are C(6,2)=15 ways to choose 2 voices out of 6 (to focus on), and then C(2,1)=2 ways to choose 1 voice out of those 2 (to sing). Sorry that TH-cam comments are not really intended for visual formatting of math!
I totally agree with you on working on small sections. Usually, I work as hard as I can on 2 measures at a time, even if the material is easy. Sometimes, people look over the easy material and during a performance, the easy sections that didn’t get practiced sound like it. I love the way you play overlegato! I always found that touch to be the hardest to master!
Thank you for your kind words about my overlegato! And, yes, I definitely think that breaking a piece up into sections and always working on the “easy” parts, too, is essential for success!
🥰 Thank you so much! And I am indeed planning to do an articulations video at some point in the future, though I don’t yet know when! But it is in the works!
Thanks so much ! The process is long but reveals so much more of the music. I am a guitarist who has been constantly frustrated by the complexity of the fugues.
I love this method. It works well on any music you are learning, even if it isn't dense counterpoint. Reminds me of Glenn Gould's practice of singing or humming the lines he was playing. Having sung in vocal ensembles it makes sense to me to think of these pieces as a choral arrangement.
I started the WTC II Cm Fugue a while ago; such a beautiful piece. I'll use your lesson to practice it. Good tips on voice-coloring, voice with vocal voice practice, ... A lot of best practices in this lesson. Thnx
Excellent. I would love an insight on voice independence of timbre on an instrument such as the clavichord. I’ve always wonder how would that even work. In the modern piano it’s easy. But when we do this exercise of historically informed music, some questions arrive very quickly. I love your channel.
Thank you for your comment and I apolgize for my slow reply! Your question about voice independence and timbre differences is very interesting and I don't have a very thorough answer. I think, perhaps, that we have to think of counterpoint a little differently on the harpsichord and clavichord (i.e. on the original instruments) than on the piano in that all the voices are truly equal, even the fugue subject in fugues. You could change the articulation slightly to bring out one line more than the others, but the writing itself may actually not need that or perhaps that would be inappropriate historically. I don't know of any historical treatises or sources that talk about this, though there probably are some, so perhaps I shall research this particular issue in the future. Thank you, again, for your comment!
Hi! This is magnific. I just discovered your chanel and I like it very much. I play the piano and now I am making the transition to the clavichord because I love the sound. My teacher borrow me a clavichord and I have it here. May I ask you how much time does this process take for a piece like this prelude for you? From cero to a performance level? Thanks a lot for your wisdom! You’re a terrific musician! Greetings from Mexico.
Thank you so much for your comment and for your kind words! In terms of the amount of time it takes me to prepare a contrapuntal piece, probably about two to three months of regular practice (of a few hours a day). It certainly depens on how long the piece is, of course, but for the Bach C Major prelude in the video, for example, that took me about 2 months at that pace. Hope that info helps!
I believe it is also generally accepted and agreed that the thumb and pointing finger play one voice and the middle, ring and pinkie play another voice for both hands respectively. So when practicing single voices one should use only those fingers. Of course there are exceptions.
You being a sensitive, subtle, and not to mention - competent - musician, how can you stand an instrument with 0 (zero) dynamic expressivity?!! Haven’t you thought of clavichord? You even put dynamics on your singing, like this they could translate on the keyboard. Thanks for these super interesting vids!
Hopefully you find my method for learning contrapuntal music helpful! Please let me know any questions you have about it with a comment below!
Terrific, I love this! A very systematic approach to breaking down a hard problem. For the mathematically inclined, the number of exercises generated is (in Python) sum([comb(voices,v)*comb(v,1) for v in range(1,voices+1)]). For a 3-voice piece, the array is sum([3, 6, 3]) = 12, for a 4-voice piece, you have sum([4, 12, 12, 4]) = 32 , and for 6 voices (the ricercar from the Musikalisches Opfer?) a daunting sum([6, 30, 60, 60, 30, 6]) = 192. Because for example in the second element of that array there are C(6,2)=15 ways to choose 2 voices out of 6 (to focus on), and then C(2,1)=2 ways to choose 1 voice out of those 2 (to sing). Sorry that TH-cam comments are not really intended for visual formatting of math!
Singing is the most essential thing in music. Thank you for posting this video.
I completely agree! Thank you for watching and for your comment!
I totally agree with you on working on small sections. Usually, I work as hard as I can on 2 measures at a time, even if the material is easy. Sometimes, people look over the easy material and during a performance, the easy sections that didn’t get practiced sound like it. I love the way you play overlegato! I always found that touch to be the hardest to master!
Thank you for your kind words about my overlegato! And, yes, I definitely think that breaking a piece up into sections and always working on the “easy” parts, too, is essential for success!
@@harpsichord You are a gem to the harpsichord world. Your playing is absolutely incredible! Would you possibly do a video on different articulations?
🥰 Thank you so much! And I am indeed planning to do an articulations video at some point in the future, though I don’t yet know when! But it is in the works!
Dear Alice, your videos are absolutely genius - thank you so much for your time and passion!
Aw, thank you so very much! I'm so glad that you're finding my videos interesting and informative!
Thanks so much ! The process is long but reveals so much more of the music. I am a guitarist who has been constantly frustrated by the complexity of the fugues.
I love this method. It works well on any music you are learning, even if it isn't dense counterpoint. Reminds me of Glenn Gould's practice of singing or humming the lines he was playing. Having sung in vocal ensembles it makes sense to me to think of these pieces as a choral arrangement.
I also have done a lot of ensemble singing (which I love!), and I, too, think of these pieces that way!
I'm going to try this on the Bach organ trio sonata I'm working on.
I love the moment when you start to sing
Aw, thanks!
Love this, you’re awesome
I started the WTC II Cm Fugue a while ago; such a beautiful piece. I'll use your lesson to practice it.
Good tips on voice-coloring, voice with vocal voice practice, ...
A lot of best practices in this lesson. Thnx
Thanks so much and I'm so glad you found my video helpful!
I was literally practicing this today, haha! I'm glad you made a video on this :D
Perfect timing, evidently!
Fantastic. Brava Alice!!! 👏🏻👏🏻👏🏻🎶
Thank you so much!
Thanks again for your videos!
Thank you, again, for watching!
Excellent.
Thanks! Glad you liked it!
Excellent!
Thanks! I'm so glad you liked the video!
Great. Thank you!
Thanks and glad you liked it!
Excellent. I would love an insight on voice independence of timbre on an instrument such as the clavichord. I’ve always wonder how would that even work. In the modern piano it’s easy. But when we do this exercise of historically informed music, some questions arrive very quickly. I love your channel.
Thank you for your comment and I apolgize for my slow reply!
Your question about voice independence and timbre differences is very interesting and I don't have a very thorough answer. I think, perhaps, that we have to think of counterpoint a little differently on the harpsichord and clavichord (i.e. on the original instruments) than on the piano in that all the voices are truly equal, even the fugue subject in fugues. You could change the articulation slightly to bring out one line more than the others, but the writing itself may actually not need that or perhaps that would be inappropriate historically.
I don't know of any historical treatises or sources that talk about this, though there probably are some, so perhaps I shall research this particular issue in the future. Thank you, again, for your comment!
I do a similar method with polyphonic violin music.
Hi! This is magnific. I just discovered your chanel and I like it very much. I play the piano and now I am making the transition to the clavichord because I love the sound. My teacher borrow me a clavichord and I have it here. May I ask you how much time does this process take for a piece like this prelude for you? From cero to a performance level? Thanks a lot for your wisdom! You’re a terrific musician! Greetings from Mexico.
Thank you so much for your comment and for your kind words!
In terms of the amount of time it takes me to prepare a contrapuntal piece, probably about two to three months of regular practice (of a few hours a day). It certainly depens on how long the piece is, of course, but for the Bach C Major prelude in the video, for example, that took me about 2 months at that pace. Hope that info helps!
Didn't Helmut Walcha practice in a similar manner? And he did it wothout being able to read the score all by memory too!
I believe it is also generally accepted and agreed that the thumb and pointing finger play one voice and the middle, ring and pinkie play another voice for both hands respectively. So when practicing single voices one should use only those fingers. Of course there are exceptions.
You being a sensitive, subtle, and not to mention - competent - musician, how can you stand an instrument with 0 (zero) dynamic expressivity?!! Haven’t you thought of clavichord? You even put dynamics on your singing, like this they could translate on the keyboard. Thanks for these super interesting vids!