How To Play Bach C Major Prelude
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- เผยแพร่เมื่อ 23 พ.ย. 2023
- Unlock the secrets of J.S. Bach's timeless masterpiece and learn how to play JS Bach C Major Prelude from the Well-Tempered Clavier with this in-depth piano tutorial. Whether you're a seasoned pianist or a passionate beginner, this video will guide you through the intricacies of Bach's composition, offering valuable analysis of chords & voicings and insights to practice tips and interpretative nuances.
Bach Prelude in C Major Chords & Voicings / Bach harmony explained: Unravel the enchanting chord progressions and unique voicings that characterize Bach's genius. Gain a deeper understanding of the harmonic structure that forms the foundation of this prelude.
Bach Interpretation on Piano: Explore various interpretative approaches to Bach's music, allowing you to infuse your performance with emotion and personal expression. Learn how to make this piece uniquely yours while staying true to the composer's intentions.
Master the art of playing JS Bach Prelude in C Major from Bach Well Tempered Clavier with confidence and style. Join us on this musical journey as we break down the barriers to understanding and interpreting one of the most beloved compositions in classical music.
If you feel inspired by Bach preludes on piano and would like to step up your game, learn how to improvise a two part invention and watch this video tutorial next:
• How To Improvise Two P...
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Just a terrific lesson for a 74 year old beginner without a live teacher.
A great lesson for a 76 year old who last learnt piano 45 years ago and who loves the music of Bach. Thank you.
I reached Grade 5 piano without my teacher ever talking about chords! This is a better and quicker way to approach and learn music.
Thanks for your appreciation! I was determined to make a tutorial on this piece displaying the chords because there is such little material on the web that teaches classical music this way. You can visit our site www.contemporaryschoolofpiano.com to get our free resources pack (Just ask us) and it comes with a lead sheet of the chords for this piece.
Have played classical piano for 50 years and still always love this piece. So rich in expressive harmony
It never gets old doesn't it!!?
I'm a 57 year old guitar player. I've never attempted piano. This piece is drawing me ever closer to purchasing a keyboard. I dream of playing this. Thank you for this tutorial!
Love that someone from guitar is attracted by this incredible piece
One more brilliant tutorial along with profound and sparkling explanations. Thanks, Tom
Absolutely love ❤️ this piece!! Thank you!
Your honest joy and enthusiasm for the piano really shines through with this wonderful eye opening video. Thank you so much! You are opening my eyes to a whole new world to explore in my retirement! I feel like I did when I was opening my presents on Christmas morning.
Hi Mick. It's such a joy to read this - music is the gift that keeps giving. Please keep us updated and write to us anytime if you have any questions.
Been a long time since I played this. Can't wait to play it again. It is a lovely piece of music and so fun to play. Thanks Tom.
this piece is a true blessing. I love that phrase you said
very wonderful analysis. Bravo!
Love this piece! Thank you for this tutorial. Going to learn it.
I'm mostly a 60's/70's rock music lover. But, you're opening a new window to classical/Back with all kinds of interesting ways to learn it. Each video I see brings me closer to signing up on your online school. I wonder how many other amazing things I'm missing. This is truly inspiring music and teaching approaches. I have yet to see your videos on blues and jazz and latin..
I love this video. It's extremely effective at communicating both the significance of the piece and how to effectively playing. But most of all I just love how evident Tom's passion is for the piece.
very good tutorial, great that you included the chords. I sit down and finally play the song. Thanks again
Awesome tutorial. Thank you!
Wonderful lesson! Thank you very much! 🤩😊
What a wonderful teacher ! A joy to watch . Thank you . Listening here in a library on headphones. Its a beautiful day .
Loved the passion, the energy and the interpretation! Truly inspiring ⭐ Thank you!
Thank you so much for opening my eyes and ears. 😊
Great tutorial.I've wached and listened with atention and pleasure .
I play the guitar .
Thank you.
Wonderful tutorial. Thank you.
Such an amazing musician and teacher
This was a wonderful lesson in the art of piano. I had to go to my piano half way through just to have a go! Thank you so much! I really enjoyed this. If I could I would enrol immediately!
Thanks for your video, your great in teaching.my congratulations.
This is great! After watching this, I feel compelled to start again on the classical guitar version.
I knew some of this piece straight away but did not know composer or when it was written. But it took me straight away to Zadok the Priest in its flowing rhythm and quite a lot of the chords. Music is great. Tom explains things very well. He is also a player. Chapeau maestro.
Great tutorial, on a musical level, wonderful spoken English, interesting content, in short, highly recommended for those like me who want to get closer to this eternal piece of music. 👏👏👏
Excellent Tom!!!!! ❤
So glad I found this channel. Subscribed immediately
What a wonderful teacher. I have watched so many piano videos and the descriptions and feeling for the music here are more heartfelt than any other I've seen.
I so agree.
Bloody gorgeous
Cant wait to get home to try it out..
A remarkably open and inclusive approach. Wonderful video.
Many thanks 😊
Amazing channel, by far the best I've seen in YT, thanks for your work!
Thanks for your kind words, glad it helped. Stay tuned for our next ones!
This is wonderful, thank you! I just started sharing videos on my TH-cam channel in the hopes of making music literacy accessible to all.
What a gorgeous sound on that piano. Beautifully done.
Many thanks :)
This is Great I would love you to teach us Toccata in D Minor , if you have not done yet! Just love it! Thank you so much ! Merci Beaucoup !🙏
Very good! Thank you!
Very interesting and useful commentary. Thanks a lot.
Many thanks!
Thank you, Brother Tom. This is pure brilliance; you've managed to give a masterclass for both beginners and experienced musicians.
I'm an adult beginner and am working on an easier version of Passacaglia (Handel with training wheels.) Not surprisingly, it's every bit
as gorgeous as the original version.
Should you find yourself searching for a new video topic, Passacaglia on the lovely old Bluthner would be a dream. Cheers!
Thanks! Very helpful method of teaching this piece!
Thankyou very much appreciated. Reach out to me at tom@contemporaryschoolofpiano.com, we have a little treat to say thank you for your support.
A fantastic teaching video. I don’t play piano, but my grandmother Alice Ehlers was a famous harpsichordist in her day. Bach was her love. I was lucky enough to hear her practice in the floor above me for many years. It gave me an appreciation for classical music and Bach in particular. I will give this piece a try. Thank you
Hello Tom, just got back home after a ...RAP day!!!!
Then up popped your wonderful youtube lesson about this unique work of Bach Art!!!
You and Bach's genius totally lifted my spirits!!!! Thank you both!!!
Speaking of Gounod's Ave Maria melody - I wrote a melody for clarinet during lock down - and then worked the whole thing into a video of a majestic albatross soaring and swooping over the southern ocean in New Zealand. I'll look it out and send it to you as a thank you!!!!
You and all your colleagues at the London School of Contemporary Piano are doing something totally awesome for music and musos! As an 'Austra-Zealander' in UK I salute you!!!!
Thank you for this explanation. It creates some insight for me on how to play piano. Bach is a genius
Yes. The word genius may be overused nowadays but not when referring to the music of J.S Bach!
What a great tutorial. I am pretty new to the piano and new to classical music for the most part but I just loved your passion for this piece and on this piece. I don't think I am ready to tackle a piece such as this but just wondering if i could take a line or two and just play as an arpeggio since its broken chords? Thanks, Tom.
Thank you.
I started with this one on my own. Now i hear and play it a bit differently, say. Kind of a jazzy way. Thx for this lightening about this genious master piece 😊
If a beginner, do not hesitate to start with THIS piece, to be discovered and rediscovered with no end.
That's a great bit advice, couldn't have said it any better myself
Great lesson.
I enjoyed this teaching video way too much. Merci beaucoup.
This was the first piece I tackled, and I wrote the notes in and learned it like that. When I started lessons, my teacher put the score up and I was lost. I had to learn how to sight read. I've been taking lessons for about six months now, and I felt I was stagnating. I had used three different method books for level one. I started with Faber, but I had to learn British, and I saw that I had to also learn musical French. So I also used La Méthode Rose bilingual, French and British. Someone recommended the John Thompson method, and I bought Volume one and two in French, and loved it. It's old fashioned, but I'm old, so it suits me fine. That's how I learned French.
LMR uses Alberti Bass a lot, and it aggravated an inner ear problem I have and I'd have to stop reading pieces using it. I was frustrated, and one day I started on page one of LMR and did every exercise. My sightreading has improved and my teacher noticed after only a couple days. It's the second week, and I'm still on volume one of LMR and Thompson, but I've been able to add dynamics and my musicality is finally improving. I'd highly recommend to start over at the beginning sometimes and really learn what a piano method is trying to say.
I've learned to sightread this Prélude, but the biggest help for me was to apply figured bass to analyzing this. I was able to transpose this into Sol Majeure. I'd love to sit down and play this again, but I want to finish my quest of becoming an accomplished level one player first.
BTW I started playing this on my low G ukulele.
Thank you for your kind words, I'm glad you enjoyed it. My only advice is to try not to overcomplicate your learning paths with too many methods at once! Adult learners can be good at that! This piece has a beauty to it that transcends "methods. Perhaps that's why it resonated with you.
Such a Fantastic tutorial Tom👏🏼👏🏼👏🏼🎶🌟👍🏼🥰 Thank you so very much for this interesting, informative, and wonderful video…. PLEASE 🙏🏼🙏🏼🙏🏼Share some more like this❤ Classical Music my first true Love❤❤❤
Congratulations and Kudos to you, a brilliant teacher … from one teacher to another, from Bombay, INDIA 🇮🇳
My pleasure!
thank you ! this is very true
Versatile, this guy.
Thanks!
Absolutely marvellous piece and explained like never before. Excellent tutor for a heavenly rich piece of music written by the man who my father so loved.
JS Bach was all over our living room as my dad was a famous organist from the Basque country.
I now am learning to play this piece.
So pleased to have discovered this channel.
Thank you from San Sebastian which has a Cavaille Chord organ.
Thank you!
Thanks awfully. That's a huge help.
This is such a good tutorial. I’m left handed and tend to play 3 notes in the left. I’m not a great reader. I play jazz. (Dan Tepfer was impressed with my weird fingering.) I do block the entire chord as an exercise. So I’ve stumbled naturally on some of your tips. My instrument is a Roland EP880, so a nice hammer action. I only have one pedal which stays plugged into sustain. I tend to use light sustain when playing tvOS Prelude to avoid what you call ‘chasing the notes’. I like to pivot off the bass note. Interesting you mention McFerrin, modern jazz tuition encourages/insists on singing the minor scales, intervals and also melodic lines such as Donna Lees, whatever your instrument. I find I never play it the same sense. I just avoid the mechanical feel. I love that you spell out the chord voicings.
It's lovely seeing this piece in lead sheet format too. Thanks for sharing your musical journey with us, it is great reading to know what people are doing.
One of the beautiful things about this piece is that it does not require a high skill level but encourages individual expression of musicality. You cannot play it straight and you did not, but everyone who plays it will use different tempo, rubato and dynamics.
Always loved this piece, didn't know when it was made new it was old but 500 years. Wow
1722 was the year it was composed!
@@contemporaryschoolofpiano yea thats 500 years if my math is correct is it not. Beautiful piece 🧩
@@user-jd5po6kf6p301 😊
You're from 2222?
That gives me hope humankind will overcome it's current problems.
Thanks mate!
🤣
Hi Tom, we already discussed some Elton John piece before a while ago.
As a new mature player sine 2021 lockdowns, my theory is far more advanced than my technique. There are pivotal moments in my learning the piano like for the first time I could separate my hands to the ability to understand how to make up to 7th chords..Now I'm learning about inversion & voicing.
After learning the scales and creating those chords in my head, which is much easier than in practice, I do find it a little challenging when many piano experts like yourself here in TH-cam when discussing a chord, you immediately go to an inversion of a chord rather than the normal root-3rd-5th. It happens more often than not and after learning about the chord shapes of 1-3-5-7 etc...Now I have to restart again to understand that for example a D major is not necessarily a D F# A but a F# A D. or A D F#. In a way what I'm trying to say that music, like many other things in life, can be confusing at times because had you not explained the inversion, I would have gone to a normal D Major shape and not understand why it wasn't working. From my perspective, I think I would have understood a D major 1st inversion chord quicker if it was called an F#m/Aug? 😁 If there's such a thing...Anyway thank you for another very nice tutorial
Thanks, Tony It's great to hear from you. I appreciate your eagerness to delve into understanding inversions. We have a video about this on the channel which you should watch that I am sure would solve some of your problems with inversions. th-cam.com/video/O3USAjBcnkM/w-d-xo.htmlsi=W5PIjPY2lqJuRP1s
Apologies for my long response, but I've noticed a few things from your comments, it seems there might be a few areas in musical theory where you're missing the context of what theory is for. This is a very common problem.
Take, for example, the piece by J.S. Bach. Its beauty and elegance stem from the use of chord voicings and inversions. Without these elements, this piece wouldn't function at all with just root chords. Inversions are built into the composition of this piece. But don't worry, it's okay to play the notes of this piece without understanding every aspect of what inversions Bach is using. In fact, I would strongly recommend that. That can come much later.
I've observed that many learners, particularly those who start later in life, often mix up theoretical knowledge with what is essentially overanalysis. While it's great to be analytical, remember that music is essentially more about the action of playing it than understanding every detail of the construction of the piece. In fact, it's possible in your case, that you should wait until you can play the music, until delving too far into the theoretical aspects. You might find this approach elevates your playing much faster. I plan to create more videos addressing this common hurdle, which I like to call "death by overanalysis." By the way, there is no such thing as a minor augmented chord!! It's still just a major chord with the notes just in a different order.
For now, my advice would be to focus on the physical aspect of playing. Try to familiarize your fingers with the shapes and movements required for this piece. Let muscle memory play its role. You might find it helpful to use sheet music annotated with the specific notes for each bar. This approach will allow you to experience the music more directly.
Finally, remember the goal is to play and enjoy the piano, not to let unneeded analysis overshadow the joy of playing. Sometimes, the theories we impose on ourselves don't align with the composer's intentions. So, in four words: "Play now, analyze later." This mindset can be truly liberating and enhance your musical experience.
Keep up the good work, and best of luck with it. This is such a great piece to enjoy and play, you've got this! If you need any more help from us you can visit our homepage, www.contemporaryschoolofpiano.com
@@contemporaryschoolofpiano I truly understand Tony , i'm retired too ! when I first learned the chords was happy it went easy into my brain , until inversions came along to mess up everything I had learned , so in my practice i love to try to play some songs, but then i realise I need to go back to the theory to understand all the basics of music (not talking about notation ) just chords so I get this into my brain ... cause otherwise what is the use of playing a song if you don't know what you are doing and why ? Yes learning music for babyboomers is difficult for the brain .... but i believe with time and practice will we make it ! And Thanks so much Tom for these Great videos sharing your expertise!
I’m going to look for a trumpet version, hopefully (sorry it’s all I know, though I love watching string instruments for the benefit of seeing how triads/arpeggios are used, which is helpful when playing by ear)
A great video tutorial!! But where do I get the lead sheet annotated into contemporary chord progressions?
www.contemporaryschoolofpiano.com - make an enquiry and we will send you to the free resources pack that includes the lead sheet to this piece.
Hi amazing can you make a video how to practice invention in a minor? That would great thank you very much GodBlessing
What a great video, thanks. Dumb question for anyone here: I have great difficulty playing 4-part hymns (SATB) from a church hymnal, in knowing which hand to use for the Tenor voice? Especially when the Treble & Bass staves are separated by 5+ lines of lyrics. Do you play the Tenor voice with LH, RH, or a changing combo? Appreciate any assistance.
This is a great question. 4 part playing is a difficult skill, the fact you are playing in that style is a huge benefit and credit to your musicianship congratulations. Tenor parts are precious, they provide the counterpoint to the Soprano, and as you pointed out they are not always easy to voice, because of the intervals in the left hand (and right hand for that matter) - generally it's best to share them through both hands, if your hands are smaller, go for the hand with the smallest interval or if you have larger hands and you can comfortably reach a tenth interval, you can continue a voice passage with the same hand to allow for less voice exchange between both hands, generally it's about planning the arrangement that best suits your hands. Keep up the good work, you'll soon be playing Bach fugues!
nice
Thanks
thanks for mentionig the video of Bobby McFerrin. I didnt know it and i have been atonished
Bobby McFerrin: It's an incredible performance, isn't it!
Is The Laban Ballet school, part of your institution?
I trained there for several years in the past
I like your method of training in this particular piece of Bach 👍👍👍
So, Tom, question: a lovely piece full of color. I intentionally play it more lanquidly as i feel it brings out the tonal beauty. Played at tempo, it sounds breathless, like i'm running track.
Would Bach approve the slower pace?!
This is such a good question thanks for asking me! So firstly I would say, without hesitation, play it at the tempo you feel it needs to be. Given the fact that so many people "rush" when they play the fact you feel like you want to slow it down is great. It might be you are curious about the sound of these chords and you want them to breathe more. When we talk about broader topics such as "What tempo should I play this at" or "What would Bach approve of" there are more historical points to consider, and also we get into very subjective territory to confuse it even more. What is slower and more beautiful for one listener is a funeral march for another listener. I just posted a new video of a musical arrangement I recently made, some listeners loved it, and some couldn't help but share with me, how they didn't like it at all. People's own musical experiences are real, but they can still be in a bubble! So the question you could ask yourself is why don't you like the faster tempo? Maybe it's because technically you feel like you are rushing, or maybe it's because the notes are too heavy. Seeing things from both perspectives builds a more agile musical mind. But to start with, trust your gut instincts as well, there is nothing wrong with playing this piece slowly. We don't have to ask for Bach's permission, he didn't even give us a tempo marking. So I'm making no assumptions on his part! It's the master of harmony after all, and if you want to savior that harmony, well that's a very valid way to show your appreciation for Bach's music.
Great respect and gratitude + 1 question: why (between 09:12 and 09:20), while playing full chords, are you playing, with your left hand, in bar 19, C-C (octave apart) rather than C-E as in the sheet; then in bar 20 also C-C instead of C-G, and in bar 21, F-C rather than F-F (octave apart), as written in the sheet? Have you changed it for any educational purpose (but changing Bach, anyway.... ;-/)
Bach was a genius. There, I said it.
Thanks for this lesson, I am practising this piece and this is very helpful.
"...boring pop music with only four chords.." Please listen to "Nevermore" by the band "UK".
It is on youtube!
Bach: goin' heavy on Power Chords since 1722.
Yep!
Hey friend having your mic fixed directly on the piano like that causes a ton of low end rumble. Easy fixes: add a shock mount, use a separate mic stand, or process with a high pass filter in post.
Hmm, I can't hear any bass rumble..., the piano microphones (stereo pair AKJs) are on a stand, and the vocal mic has a noise gate and shock mount on it, so it only picks up vocals, no piano at all.
@@contemporaryschoolofpiano I’m listening on full range speakers and I was definitely distracted by a lot of hammer noise earlier in the video. The way the camera angle was, it looked like the mic was attached to the music stand.
It may just be the way your piano is, no worries.
In general it’s a good idea to high pass around 40-50 Hz (ideally during tracking using your preamp) because those frequencies do more harm than good. If it was up to me I’d even add some EQ and dynamics compression just to offend the purists, given that your audience is mostly listening on mobile devices.
Good tips many thanks for listening on such good gear. We sometimes at a bit of EQ and use some of the waves audio plugins to give the sound a bit more life, I'm not really into that clean 'podcast' sound. In future videos we are going to experiment with some ribbon mics. Many thanks again.
I don't think the mordent EFE at 19:49 is stylistic. Shouldn't mordents in baroque style be inverted?
Hi William. On this specific point, I would say both ways in no way invalidate the structural harmony of the piece. Though you are right, if I were attempting to be historical, I probably would have played it very differently (The whole piece). I would say all of this performance does not follow strict Baroque practice for many reasons. if you are familiar with this channel, we advocate improvisation even in classical music, rather than historical more literal approaches. Not that we haven't any issue with historical performance, it's just not our style of teaching and education that we advocate. Though, I would say, that ornaments in baroque music were heavily improvised in the day, and we only have the notation to really understand its context, it would have been amazing to hear what they were really doing!! I'm a bit fan however of Andras Schiff, and if I am looking for a historical understanding of ornaments, adapted for the piano, I reference his recordings, let's say rather than Glenn Gould, who takes a more counterpoint-structural-breakdown of the composition approach. It really depends on the end goal of the person performing the piece.
He doesn't cover about getting lost trying to read this music. It's all so similar, you can't really take your eyes off the sheet music because when you return to the music, you can't locate where you are.
Yes, we can't cover all of the difficulties of music in a 20-minute tutorial,. But that is why chords are useful because they help you understand the bullet points of the piece, hence making the music more digestible and easier to memorize. You've got this! Just put some time into some strategic practice. Tip. Start on the 2nd page sometimes, other times start halfway through the first page. Try and avoid just battling through the piece. Learn in small sections. Best of luck!
You might find it helpful to write the chord name and its inversion above the applicable notes in the measure. It is easier to conceive of a block of notes working together as a chord and then have the hand learn that shape.
Edit: this was a response to “relicofgold”.
6:50
Yes! Annotate those notes!
“I don’t remember” 😂❤
Haha. Yes it's 1722. But yes remembering the notes and chords is enough for me!
❤can you please send me the sheet music
Do get our resources pack, you need to visit our website www.contemporaryschoolofpiano.com
Why do the fingerings for this piece vary wildly across several published sheets available to the public???
That's a very good question. The main answer is because there are so many finger patterns you can use in this piece. It's unlikely Bach would have written any down himself, he would have kept that admin in hands of person playing the piece. Is there any fingering you are unsure about?
@@contemporaryschoolofpiano
Hi and thanks for your reply, most kind. I won't go over every single difference i've noted as that'd be exhausting and your original reply would most likely answer most. Some obvious i've noticed on different sheets;
Bars 1 to 4.....some start with RH 135 and stay there while others start on 124, hit a 135, then return to 124. Some LH start 31, others 21.
On the 6th bar, some have LH 32 while others 21 and on RH 125 and still others 235. Some other sheets LH will continue alternating 21 with 31 up to the 9th bar where some have a LH 41 fingering while others keep the 31.
Bar 12 introduces the 1st flatted note and that LH sequence some are played with 21 while others have 32. RH in the same bar is playing 124 while others 125. Other sheets have some LH spots going from 41 to 31 in the same bar! You can see then my frustration though i don't mind playing different fingerings, i'm trying to remain consistent as i had picked up some bad habits in my previous studies and am trying to make corrections to help my playing in the future. Thanks so much for your help.
@tropicvibe yes and this piece is built on three note triads - so with 5 fingers in the right hand there are always going to be ways in which to use your fingering. Ultimately a triad can played many ways - 1 3 5, 1 2 4, 1 2 5 etc. So the real question you've stumbled on here is even more fundamental - how do I choose my fingering when playing chords?
You seem to have skipped a measure between F#dim7 and G#dim7, at least according to my copy. Is this intentional?
Yes this bar is ommited from many editions - there is a reason why, I forget why that is! It's a nice extra dark corner in the piece.
It seems to form a nice transition from the F# to the G#. I wonder if it was added later.@@contemporaryschoolofpiano
It is the schenke measure not written by bach. Schenke dared to correct Bach, poor fool. Unfortunately when Gounod composed ave maria used the schenke measure. So if you play Bach prelude you must NOT play this measure. If you are playing Ave Maria then you have to use it
I like to listen to that pinky, right hand... that repetition put me in a transe or hypnothic state... if that makes sense.
He wrote this for the mother of God- Ave Maria. This is why it is so beautiful and ever lasting.
It is everlasting. Interesting fact : Bach didn't write the Ave Maria melody which was later derived from this piece another composer Charles Gounod added the Ave Maria melody and lyrics to the original chord pattern Bach wrote. "Prelude in C major" comes from Bachs Well Tempered Klavier Book 1 which is keyboard music written in every major and minor key. It's a landmark work in musical history and has inspired composers and musicians. Though I should also add J.S Bach was a deeply religious man and everything he wrote he dedicated to the Glory of God, including his secular pieces.
Yes, Bach wrote for God (he put SDG = soli deo gloria under many of his works).
But Bach was a protestant, so he would not have been too much into Mariology, since the reformers had spoken against putting mother Mary on too high a pedestal. Luther, Calvin, Zwingli, Knox, Menno Simons etc (the reformers) were against prayer to the Holy people of the past and wanted to pray only to God directly in the name of Jesus Christ.
Because Jesus is the sole mediator between God and man. 1 Tim 2,5: "5 For there is one God and one mediator between God and mankind, the man Christ Jesus, 6 who gave himself as a ransom for all people."
If you really feel you MUST pray to Mary, then at least remember that you can also go directly to Jesus.
(I am not even sure Mary can hear our prayers, since she is waiting for the resurrection like everybody else. But I know the Catholics have a dogma that says she was already bodily resurrected. But the Bible does not say that Mary was already resurrected.)
He wrote it to teach his son, I believe it is said in the dedication of the WTC book
@@rn9940nah, Mary's got my back.
I've also read that the song is structured in accordance with the "golden ratio" (God ratio or Fibonacci ratio). The length, as well as the progression take into account this divinely inspired ratio found throughout nature).
You look a bit like Henry Purcell... btw... playing the chords, notice how many similarities there are with Zadok The Priest...
Yes, the first four chords are the same!
Bach Beethoven mozart the greatest composers
Possibly written by his wife
Thankyou for bringing this to my attention. I hadn't heard of this theory before, but I found this on Wikipedia. Sorry, it's quite long. It's a known fact that Clara Schumann however did write some of Robert Schumann's pieces, the evidence surrounding J.S Bach in this case doesn't seem to be conclusive, but I'm none the wiser!
Wikipedia : en.wikipedia.org/wiki/Anna_Magdalena_Bach
Recently, it has been suggested that Anna Magdalena Bach composed several musical pieces bearing her husband's name: Professor Martin Jarvis of the School of Music at Charles Darwin University in Darwin, Australia, claims that she composed the famed six cello suites (BWV 1007-1012) and was involved with the composition of the aria from the Goldberg Variations (BWV 988) and the opening prelude of The Well-Tempered Clavier.[24] These ideas were also made into a TV documentary Written by Mrs Bach.
These claims have been virtually unanimously dismissed by Bach scholars and performers. Christoph Wolff said:
When I served as director of the Leipzig Bach Archive from 2001 to 2013, I and my colleagues there extensively refuted the basic premises of the thesis, on grounds of documents, manuscript sources, and musical grounds. There is not a shred of evidence, but Jarvis doesn't give up despite the fact that several years ago, at a Bach conference in Oxford, a room full of serious Bach scholars gave him an embarrassing showdown.[25]
Writing in The Guardian, cellist Steven Isserlis said, "I'm afraid that his theory is pure rubbish," and continued, "How can anybody take this shoddy material seriously?" [26]
Bach scholar Ruth Tatlow has written a refutation at length, centred on the TV documentary, in the journal Understanding Bach, where she calls Jarvis's claims "flawed and untenable".[27]
I don't wanna be rude but you just did exactly the opposite what you said before. "Don't be a student who just type the chords"...Check your second run on the piece. You will see. Thanks for the chords though and for the inspiring video
Sorry I don't understand what you are saying...what's "type the chords" mean? Doesn't sound like something I would say.
5:50 in the video. You talking about fingervoicing. Also at 10:31.
@@xXxGamingaddictxXx It's very useful to practice the piece in block chords it gets used to the larger shapes in the piece and trains your muscle memory to remember the chords. 5:50 I'm referring to Bach's notation and voicing, 10:31 I'm referring to strategic ways of practicing. I think you are suggesting that I'm contradicting myself, but I am not, I am instead showing different ways of practicing the piece, it's vital to practice music in different ways to gain a greater understanding.
@@contemporaryschoolofpiano Thanks, I got it now
Have never heard it explained so well. Later in, F to F#o to G#o to G7. He makes it work. No wonder we love this guy. Thank you.
Thankyou, and Bach would have been thinking of it in chords as well - that's the beauty of this approach, it connects us to the composer, rather than putting them in an ivory tower!