PLEASE REGISTER TO POST. Also, be sure to visit the main website www.tedgreene.com

**************************************************************************************
Buy NOW on Amazon
My Life with The Chord Chemist
A Memoir of Ted Greene, Apotheosis of Solo Guitar
Available at amazon.com

*Check it out!!!

YOUR SUPPORT MAKES A DIFFERENCE
Your contributions keep the site healthy and growing


More information HERE

Official Ted Greene Archives Blog

Ted Greene Archives on YouTube

Join Ted on FACEBOOK

NEW! Follow on TWITTER

..:: The Ted Greene Forums ::..
Register Latest Topics
 
 
 


Reply
  Author   Comment   Page 1 of 2      1   2   Next
Bob

Moderator
Registered:
Posts: 145
Reply with quote  #1 

This is the fourth and final installment of Ted's Bach Chorale page. As with the other chorales I tried to find fingerings that would let the voices sustain their full value. Ted was a master at controlling each voice and he played these pieces very cleanly. There were no muffled or cut short notes. He encouraged that these be played slowly at first and breaking difficult finger changes into little studies.

 Happiest of holidays to everyone and I hope that in someway this has been helpful and fun.

                                               Bob

 

 

Attached Images
jpeg Bach_Chorale_#17.jpg (381.38 KB, 568 views)
jpeg Bach_Chorale_#17_notation.JPG (38.75 KB, 333 views)


__________________
Bob Holt

skotrock

Registered:
Posts: 100
Reply with quote  #2 
once again, Bob- thank you so much! This stuff is awesome!
Bob

Moderator
Registered:
Posts: 145
Reply with quote  #3 

Hi Skotrock,

 I'm glad you are enjoying these. Ted told me that there was a time when he worked on the chorales 10 hrs a day on top of his teaching load.

 I'll be posting an addendum to the four chorales to correct some fingering errors and offer some alternative chord forms.

                                          All the best,

                                               Bob


__________________
Bob Holt
Bob

Moderator
Registered:
Posts: 145
Reply with quote  #4 

A couple of quick corrections to #17. Bar 13 beats 2 and 3 should be a C natural in the tenor and bar 15 beat 2 should be a G natural in the alto. If you guys and gals catch anymore errors let me know. I'd like to get these cleaned up before submitting them to the Students Lessons page.

                                                Thanks,

                                                   Bob 


__________________
Bob Holt
FattQ

Registered:
Posts: 46
Reply with quote  #5 

Hi All,

I have put up this chorale in LickByNeck animated fretboard format.

Please goto http://www.LickByNeck.com solo guitar - classical page to get it.

Have Fun!

 

Fatt 

EspenFredriksen

Registered:
Posts: 7
Reply with quote  #6 

Hello all!

Thank you Bob Holt for sharing your suggestions on the fingerings on these chorales. Good stuff!

Attached is my analysis of Bach chorale #17. The Bach chorales are fantastic sources for ideas for all of us lovers of harmony!

Some of the great harmonic features in this chorale are:

Bar 3: Great sounding subdominant major7 chord.

Bar 6:  Moving inner lines in contrary motion.

Bar 7: Unusual minor dominant sixfour chord. (Does anyone have a different/better way of analyzing this chord?)

Bar 16-17 Deceptive cadence in the key of G-major.

All the best

Espen

Attached Images
jpeg Erschienen_ist_der_herrliche_Tag_Koral_17.jpg (883.12 KB, 94 views)

barbarafranklin

Moderator
Registered:
Posts: 940
Reply with quote  #7 
Dear Epsen,  Here is Ted's partial analysis of Chorale #17 - so you can make a comparison.  Barbara

Attached Images
jpeg Chorale_#17.jpg (913.57 KB, 172 views)


__________________
Barbara Franklin

Fabius

Registered:
Posts: 28
Reply with quote  #8 
Great thread! Thanks
EspenFredriksen

Registered:
Posts: 7
Reply with quote  #9 
Thank you Barbara!
bishopdm

Registered:
Posts: 244
Reply with quote  #10 
Here's my take on a harmonic analysis of this chorale (I hope I get the jpeg attached correctly).  There was a slight mistake in the second measure in Espen's transcription, but I have corrected it in my version (see red box).  All the cadences are of the authentic variety (some form of dominant function to tonic).  This is an odd harmonization.  It begins in E minor, but there is no verification of this key.  After only two beats of what we assume is tonic harmony, the music immediately begins to move away to A major, making the first phrase sound more like E Dorian.  Such a modal sound is not that unusual in the Bach chorales, particularly since this chorale melody was probably written in the early to mid-16th century.  And JSB even changed the melody a bit, at least as compared to the version I have in my hymnal.

Where the roman numerals overlap, common chord modulations are indicated.  Identifying these common chords is often subjective, but I usually place them just before the dominant of the new key.  Tonicized keys are indicated with square brackets (any analysis without a bracket refers to the home key of E minor).  Curly brackets indicate where there is a cadential "tonic" six-four followed by the dominant.  Everything above the curly bracket should be considered dominant harmony and is labeled as such.  The cadence in measure 8 and the final cadence are examples of the common practice of using a major triad where a minor triad is expected—the so-called "Picardy third."

I'm happy to answer any questions about my analysis (and please let me know if you notice any mistakes!).

Attached Images
jpeg Bach.jpg (296.71 KB, 96 views)


__________________
David Bishop
Tucson, AZ

EspenFredriksen

Registered:
Posts: 7
Reply with quote  #11 
David.

Thank you for your insightful thoughts and comments. Also thank you for correcting the slight mistake in my transcription.
Your way of analyzing bar 7-9 is better than mine. It makes perfect sense to see these bars as being in B-minor with a picardy third on the tonic in bar 9.

Other than this it seems to me that our way of seeing the harmony in this interesting piece is quite similar, even though our notation differs quite a bit. Among other things we label key areas in different ways. I really can´t come to an agreement with my self regarding the best way to notate an analysis like this. After reading Walter Pistons Harmony I started using roman numerals in only capital letters. I have also chosen to label a chord V7 or V65 when the seventh of the chord falls on the second beat of the chords duration, or the second eight note. (Bar 9 and 17). 

I will be happy to hear your thoughts regarding these issues.

Espen
bishopdm

Registered:
Posts: 244
Reply with quote  #12 
Hi Espen:

I prefer using upper and lower case roman numerals because I find them to be more accurate in communicating triad type.  And I just got lazy and left the sevenths out of my analysis when they occurred as passing tones.  Didn't want to clutter things up.


__________________
David Bishop
Tucson, AZ
PaulV

Moderator
Registered:
Posts: 1,568
Reply with quote  #13 
Hi,
I need some help with the fingerings for the chords in measure #10.

I'm writing up Ted's arrangement of Chorale #17, and using Bob Holt's chord diagrams as a starting point.
I've notated it in Sibelius and now I'm adding the grids.
The problem is how to finger this passage and allow for the notes to sustain as Ted has notated it.
The top level grids are what Bob posted....but I can't seem to get the E note to ring as I move to the next chord.
The bottom level grids are an outside option using an open first string....still rather awkward.
I doubt Ted would have done this.

Can you suggest fingering for how to play this with the sustains....or possibly different chord forms?
Thanks!

Attached Images
jpeg Bach_Chorale_#17_-_SAMPLE_m10.jpg (44.78 KB, 15 views)


__________________
--Paul

goldglob

Registered:
Posts: 62
Reply with quote  #14 
Double stop the E and A with 4th finger tip rather than partial barre then roll back to allow the G. Easier if the G is already fingered. This is still awkward for me; my 3rd finger on the C# tends to mute the 4th string when 4th finger comes into play; but might be a solution for some.
PaulV

Moderator
Registered:
Posts: 1,568
Reply with quote  #15 
Well, I'm gonna have to make some compromises on this passage.... [confused]
__________________
--Paul
Previous Topic | Next Topic
Print
Reply

Quick Navigation:

Easily create a Forum Website with Website Toolbox.

YOUR SUPPORT MAKES A DIFFERENCE :: DONATE