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J.S. Bach's chorale settings of modal cantus firmi pose an interesting problem for the modern analyst: What assumptions'modal or tonal'does one bring to the music and what analytic techniques does one use? Are conventional tonal theories adequate to represent the harmonic techniques used in this repertoire? Are conventional modal theories adequate? Lori Burns explores these questions in her
This book presents 375 of J.S. Bach's surviving chorale harmonizations with singable English translations of the original German text by choral conductor Henry S. Drinker. Printed in an easy-to-read format, this edition was designed to facilitate both analysis of Bach's musical genius in voice leading and renewed performance of these works by congregations. It is hoped that this user-friendly edition will inspire students and congregations alike to take a fresh look at this priceless musical treasure. Today they remain some of the finest examples of voice leading and harmonic movement, making them appropriate study material for any student of music theory and harmony. Chorales are also the root of traditional hymnody, especially from the Lutheran tradition. the chorales were originally text and melody sung a cappella, and were for congregational singing. Chorales were set in four parts for choir use, and are still appropriate for performance in worship services today. Many of the melodies will be familiar to those who sing traditional hymns. Choirs will love singing these beautifully written settings.
Following methods known to have been adopted by Bach himself, the exercises provided in chorale harmonization are graded in such a way as to encourage the student to develop both technique and imagination within a closely-defined framework. The instrumental counterpoint section is based on Bach's two-and three-part Inventions. By close analysis the author helps the reader to recognize the procedures Bach adopted in various musical situations. The exercises are taken largely from Bach's keyboard works.
Johann Sebastian Bach’s chorale settings have been vital to the teaching of music ever since they were composed, and this comprehensive Course provides a thorough re-appraisal of this inspiring music. In matching HARMONY closely to TEXTURE, it is founded entirely on the composer's own procedures. Each Chapter builds on the work of previous ones, so that the student is taken from the simplest harmonizations of single phrases through to the most complex settings of complete chorale melodies employing the full range of Bach’s harmonic resources. The materials are complemented at every stage by focused exercises using Bach's music as relevant exemplars. This book provides the keen student with practical working insights into the basics of harmony and counterpoint, and these insights can then be adapted and applied to music in other styles and genres. This edition is presented in American English and American musical terminology. It complements the printed edition which uses British English and British musical terminology.