Which word completes the title of a collection of keyboard music dated 1722 by Johann Sebastian Bach - The Well-Tempered ______?
"for whom several performances from Book I are in the public domain. In March 2015, the pianist Kimiko Douglass-Ishizaka released a new and complete recording of Book 1 into the public domain. Her performances are available below, beginning with the Prelude No. 1 in C Major (BWV 846): Interactive media Sheet music Recordings On tuning systems Descriptions and analyses The Well-Tempered Clavier The Well-Tempered Clavier, BWV 846–893, is a collection of two sets of preludes and fugues in all 24 major and minor keys, composed for solo keyboard by Johann Sebastian Bach. In Bach's time ""Clavier"" (keyboard) was a generic"
"Well temperament Well temperament (also good temperament, circular or circulating temperament) is a type of tempered tuning described in 20th-century music theory. The term is modeled on the German word ""wohltemperiert"". This word also appears in the title of J.S. Bach's famous composition ""Das wohltemperierte Klavier"", ""The Well-Tempered Clavier"". As the term was used in the 17th century, ""Well tempered"" meant that the twelve notes per octave of the standard keyboard were tuned in such a way that it was possible to play music in all major or minor keys that were commonly in use, and it would not sound"
"bars of the second prelude of the first book of ""The Well-Tempered Clavier"" by Johann Sebastian Bach. The entire work, except the coda, consists wholly of semiquaver (sixteenth note) arpeggios, spanning large lengths of the keyboard in the space of one bar. The initial theme is expounded upon and changes to many different keys. The climax resolves to C major. Étude Op. 25, No. 12 (Chopin) Étude Op. 25, No. 12 in C minor is the last of Frédéric Chopin's formal studies for the piano, opus 25, dedicated ""À Madame la Comtesse d'Agoult"". It was first published in 1837 in"
"Prelude and fugue In classical music, the combination of prelude and fugue is one with a long history. Many composers have written works of this kind. The use of this format is generally inspired by Johann Sebastian Bach's two books of preludes and fugues — ""The Well-Tempered Clavier"" — completed in 1722 and 1742 respectively. Bach, however, was not the first to compose such a set: Johann Caspar Ferdinand Fischer wrote a 20-key cycle in his 1702 work ""Ariadne musica"". A number of composers wrote sets of pieces covering all 24 major and/or minor keys. Many of these have been"
"sets of 24 preludes and fugues, or 24 preludes. The following works employ, sometimes loosely, the prelude-and-fugue format. The composers listed below, who lived and composed in the 19th and 20th centuries, employed this format. Prelude and fugue In classical music, the combination of prelude and fugue is one with a long history. Many composers have written works of this kind. The use of this format is generally inspired by Johann Sebastian Bach's two books of preludes and fugues — ""The Well-Tempered Clavier"" — completed in 1722 and 1742 respectively. Bach, however, was not the first to compose such a"
"are played so that music moves into and out of focus between keys as vibrations lock together or not. Werckmeister features 8 perfect fifths, Kellner 7 and Vallotti 6. The contemporary composer Douglas Leedy has written several works for harpsichord or organ in which the use of a well temperament is required. Well temperament Well temperament (also good temperament, circular or circulating temperament) is a type of tempered tuning described in 20th-century music theory. The term is modeled on the German word ""wohltemperiert"". This word also appears in the title of J.S. Bach's famous composition ""Das wohltemperierte Klavier"", ""The Well-Tempered"
"poignant angularity of the melody, and in particular the sudden turn to the minor, are obvious expressions of pathos, introduced as a portrayal of his Passion and crucifixion"": Notably, Bach's two books of ""The Well-Tempered Clavier"", composed in 1722 and 1744 respectively, differ considerably in their application of Picardy thirds, which occur unambiguously at the end of all of the minor-mode preludes and all but one of the minor-mode fugues in the first book. In the second book, however, fourteen of the minor-mode movements end on a minor chord, or occasionally, on a unison. Manuscripts vary in many of these"
"keys, but would then have more dissonance in other keys. The development of well temperament allowed fixed-pitch instruments to play reasonably well in all of the keys. The famous ""Well-Tempered Clavier"" by Johann Sebastian Bach took advantage of this breakthrough, with preludes and fugues written for all 24 major and minor keys. However, while unpleasant intervals (such as the wolf interval) were avoided, the sizes of intervals were still not consistent between keys, and so each key still had its own distinctive character. During the 1700s this variation led to an increase in the use of equal temperament, in which"
"famous fugues are those for the harpsichord in ""The Well-Tempered Clavier"", which many composers and theorists look at as the greatest model of fugue. ""The Well-Tempered Clavier"" comprises two volumes written in different times of Bach's life, each comprising 24 prelude and fugue pairs, one for each major and minor key. Bach is also known for his organ fugues, which are usually preceded by a prelude or toccata. ""The Art of Fugue"", BWV 1080, is a collection of fugues (and four canons) on a single theme that is gradually transformed as the cycle progresses. Bach also wrote smaller single fugues"
"Music written in all major and/or minor keys There is a long tradition in classical music of writing music in sets of pieces that cover all the major and minor keys of the chromatic scale. These sets typically consist of 24 numbers, one for each of the major and minor keys (sets that comprise all the enharmonic variants include 30 numbers). Well-known examples include Johann Sebastian Bach's ""The Well-Tempered Clavier"" and Frédéric Chopin's 24 Preludes, Op. 28. Such sets are often organized as preludes and fugues or designated as preludes or études. Some composers have restricted their sets to cover"
"is an early version of BWV 855, No. 10 in the 1722 first book of the ""Well-Tempered Clavier"". This piece was written by Bach in 1722, and it was written for harpsichord. <score raw=""1""> \version ""2.18.2"" \header { \score { %fontSize = #-2 « » </score> There are 41 measures. The bass line is made up of running sixteenth notes throughout. The treble line is made up of running sixteenth notes throughout with mixed notes in between. <score raw=""1"" vorbis=""1""> \version ""2.18.2"" \header { upper = \relative c"" { lower = \relative c { \score { </score> The fugue is"
"keyboard instruments. Although Bach did not use equal temperament, as a modern piano is generally tuned, changes in the temperaments from the meantone system, common at the time, to various temperaments that made modulation between all keys musically acceptable, made possible Bach's ""Well-Tempered Clavier"". Important composers of this era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Henry Purcell, Claudio Monteverdi, Domenico Scarlatti, Georg Philipp Telemann, Arcangelo Corelli, Alessandro Scarlatti, Jean-Philippe Rameau, Jean-Baptiste Lully, and Heinrich Schütz. The Classical era, from about 1750 to 1820, established many of the norms of composition, presentation, and style, and was also when"
"Piano sonatas (Beethoven) Ludwig van Beethoven wrote his 32 piano sonatas between 1795 and 1822. Although originally not intended to be a meaningful whole, as a set they compose one of the most important collections of works in the history of music. Hans von Bülow called them ""The New Testament"" of music (Johann Sebastian Bach's ""The Well-Tempered Clavier"" being ""The Old Testament""). Beethoven's piano sonatas came to be seen as the first cycle of major piano pieces suited to concert hall performance. Being suitable for both private and public performance, Beethoven's sonatas form ""a bridge between the worlds of the"
"with Fugue, K. 394 is one of Mozart's own compositions showing the influence the ""Well-Tempered Clavier"" had on him. Beethoven played the entire ""Well-Tempered Clavier"" by the time he was eleven, and produced an arrangement of BWV 867, for string quintet. Hans von Bülow called ""The Well-Tempered Clavier"" the ""Old Testament"" of music (the Beethoven Sonatas were the ""New Testament""). Bach's example inspired numerous composers of the 19th century, for instance in 1835 Chopin started composing his 24 Preludes, Op. 28, inspired by the ""Well-Tempered Clavier"". In the 20th century Dmitri Shostakovich wrote his 24 Preludes and Fugues, an even"
"is finished"" or ""It is fulfilled"", (), appears literally in the Gospel of John as one of the Sayings of Jesus on the cross, and is foreshadowed in the Sunday's Gospel (). Bach's ""St John Passion"" contains an alto aria on these words, as a summary immediately after the death of Jesus. The closing chorale is the last of 33 stanzas of Paul Stockmann's """" (1633). Bach probably first performed the cantata on 27 February 1729. The cantata in five movements is scored for alto, tenor, and bass soloists, a four-part choir only for the chorale, oboe, two violins, viola"
"age 19, released by Claves Records. The Op. 106 sonata was orchestrated by Felix Weingartner for a Romantic era orchestra. Piano sonatas (Beethoven) Ludwig van Beethoven wrote his 32 piano sonatas between 1795 and 1822. Although originally not intended to be a meaningful whole, as a set they compose one of the most important collections of works in the history of music. Hans von Bülow called them ""The New Testament"" of music (Johann Sebastian Bach's ""The Well-Tempered Clavier"" being ""The Old Testament""). Beethoven's piano sonatas came to be seen as the first cycle of major piano pieces suited to concert"
"closer reference to Bach's model. Mario Castelnuovo-Tedesco wrote ""Les Guitares bien tempérées"" (""The Well-Tempered Guitars""), a set of 24 preludes and fugues for two guitars, in all 24 major and minor keys, inspired in both title and structure by Bach's work. The best-known piece from either book is the first prelude of Book I. Anna Magdalena Bach copied a short version of this prelude in her 1725 ""Notebook"" (No. 29). The accessibility of this C major prelude has made it one of the most commonly studied piano pieces for students completing their introductory training. This prelude also served as the"
"instruments, which typically allow a player to play only the pitches assigned to the various keys, and lack any way to alter pitch of a note in performance. Historically, the use of just intonation, Pythagorean tuning and meantone temperament meant that such instruments could sound ""in tune"" in one key, or some keys, but would then have more dissonance in other keys. The development of well temperament allowed fixed-pitch instruments to play reasonably well in all of the keys. The famous ""Well-Tempered Clavier"" by Johann Sebastian Bach takes full advantage of this breakthrough, with pieces written in all 24 major"
"of all three fugue subjects, as well as of certain passages in the Prelude, may be found in the first four phrases of the chorale ""O Herzensangst, O Bangigkeit"". The first two sections of BWV 552/2 share many affinities with the fugue in E major BWV 876/2 in ""The Well-Tempered Clavier"", Book 2, written during the same period. Unlike true triple fugues, like the F minor BWV 883 from the same book or some of the ""contrapuncti"" in ""The Art of the Fugue"", Bach's intent with BWV 552/2 may not have been to combine all three subjects, although this would"
"became extinct. In the 17th century, the palace was the seat of the Fruitbearing Society, an early society for the promotion of the German language. Johann Sebastian Bach worked in Köthen from 1717 to 1723 as Hofkapellmeister of Prince Leopold. Bach's first wife Maria Barbara died in Köthen in 1720. His second wife Ana Magdalena was employed at the court as a singer at the time of their marriage in 1721. Bach worked on important instrumental works during these years, including the ""Brandenburg Concertos"" and the first book of ""The Well-Tempered Clavier"". The court was Reformed, therefore sacred music was"
"this. Music written in all major and/or minor keys There is a long tradition in classical music of writing music in sets of pieces that cover all the major and minor keys of the chromatic scale. These sets typically consist of 24 numbers, one for each of the major and minor keys (sets that comprise all the enharmonic variants include 30 numbers). Well-known examples include Johann Sebastian Bach's ""The Well-Tempered Clavier"" and Frédéric Chopin's 24 Preludes, Op. 28. Such sets are often organized as preludes and fugues or designated as preludes or études. Some composers have restricted their sets to"
"organ. However, as several commentators have noted, at a time when Bach was busy composing counterpoint for the second book of ""The Well-Tempered Clavier"" and the ""Goldberg Variations"" (""Clavier-Übung IV"") using a very wide harpsichord range, Bach wrote the duets to lie comfortably in the range C to c″″′ in Helmholtz pitch notation (C2 to C6 in scientific pitch notation), so within the relatively narrow compass of almost every organ of the time. The pieces can nevertheless be played on any single keyboard, such as a harpsichord or fortepiano. The use of the term ""duetto"" itself is closest to that"
"similar ideas had occurred earlier. Before the advent of modern tonality in the late 17th century, numerous composers produced collections of pieces in all seven modes: Johann Pachelbel's magnificat fugues (composed 1695–1706), Georg Muffat's ""Apparatus Musico-organisticus"" of 1690 and Johann Speth's ""Ars magna"" of 1693 for example. Furthermore, some two hundred years before Bach's time, equal temperament was realized on plucked string instruments, such as the lute and the theorbo, resulting in several collections of pieces in all keys (although the music was not yet tonal in the modern sense of the word): One of the earliest keyboard composers to"
"Prelude and Fugue in C major, BWV 870 Prelude and Fugue in C major, BWV 870, is a keyboard composition written by Johann Sebastian Bach. It is the first prelude and fugue in the second book of ""The Well-Tempered Clavier"", a series of 48 preludes and fugues in every major and minor key. Unlike the Prelude in C major that opens book 1 of the ""Well-Tempered Clavier"", which consists mostly of broken chords, this prelude features a continuously flowing sequence of melodic ideas that Cecil Gray (1938, p. 82) says is ""very much freer and subtler in form and procedure."""
"others being two- and three-part contrapuntal works not unlike his inventions and sinfonias. Bach also composed preludes to introduce each of his English Suites. ""The Well-Tempered Clavier"" influenced many composers in the coming centuries, some of whom wrote preludes in sets of 12 or 24, sometimes with the intention of utilizing all 24 major and minor keys as Bach had done. Frédéric Chopin (1810–1849) wrote a set of 24 preludes, Op. 28, often composed in a simple ternary form, which liberated the prelude from its original introductory purpose and allowed it to serve as an independent concert piece. While other"
"the point of both playing and composition. Although intended initially for Bach's eldest son Wilhelm Friedemann Bach, they also became part of the staple repertoire of his students. The keyboard collections include the Orgelbüchlein, the two and three part inventions, the first book of the Well Tempered Clavier, the French Suites and the Six partitas (""Clavier–Übung I""). Two main sources are known for the collection of sonatas. The first autograph score—possibly not the original composing score—is on paper with a watermark that allows it to be dated to the period 1727–1730. The second ""fair copy"" was started by Wilhelm Friedemann"
"degraded the aesthetic appeal of music, although Andreas Werckmeister emphatically advocated equal temperament in his 1707 treatise published posthumously. J. S. Bach wrote ""The Well-Tempered Clavier"" to demonstrate the musical possibilities of well temperament, where in some keys the consonances are even more degraded than in equal temperament. It is possible that when composers and theoreticians of earlier times wrote of the moods and ""colors"" of the keys, they each described the subtly different dissonances made available within a particular tuning method. However, it is difficult to determine with any exactness the actual tunings used in different places at different"
"recently there has been a series of proposals of temperaments derived from the handwritten pattern of loops on Bach's 1722 title page. These loops (though truncated by a later clipping of the page) can be seen at the top of the title page image at the beginning of the article. Nevertheless, some musicologists say it is insufficiently proven that Bach's looped drawing signifies anything reliable about a tuning method. Bach may have tuned differently per occasion, or per composition, throughout his career. Each Prelude is followed by a Fugue in the same key. In each book the first Prelude and"
"Les Guitares bien tempérées Les Guitares bien tempérées (""The Well-Tempered Guitars""), Op. 199, for two guitars, is a work written in 1962 by Mario Castelnuovo-Tedesco. It consists of 24 pairs of preludes and fugues, one pair in each of the 24 major and minor keys. The 24 pieces are divided into four books. It has been described as the longest and most important cycle of works ever composed for two guitars. It was both inspired by and a tribute to Johann Sebastian Bach's ""The Well-Tempered Clavier"", a work for solo keyboard. Castelnuovo-Tedesco had a long artistic association with Andrés Segovia"
"Weber (1712–1758). In fact, the work was written in 1745–50 in imitation of Bach's example. While Bach can safely claim the title ""The Well-Tempered Clavier"", he was not the earliest composer to write sets of pieces in all the keys: As early as 1567, (c.1520–c.1577) wrote a cycle of 24 passamezzo–saltarello pairs. In 1584, Vincenzo Galilei, father of Galileo Galilei, wrote a Codex of pieces illustrating the use of all 24 major and minor keys. In 1640, Angelo Michele Bartolotti wrote ""Libro primo di chitarra spagnola"", a cycle of passacaglias that moves through all 24 major and minor keys according"
"top voice in the dominant key (G minor), and then repeated once more in the lowest voice, again in the home key. The fugue then continues with a development, and then another repetition of the subject in the home key. Just like the prelude, the fugue ends with a picardy third. Prelude and Fugue in C minor, BWV 847 Prelude and Fugue in C Minor, BWV 847, is a keyboard composition written by Johann Sebastian Bach. It is the second prelude and fugue in the first book of ""The Well-Tempered Clavier"", a series of 48 preludes and fugues by the"
"Ich habe genug, BWV 82 ' (original: ', English: ""I have enough"" or ""I am content""), ', is a church cantata by Johann Sebastian Bach. He composed the solo cantata for bass in Leipzig in 1727 for the Feast (Purification of Mary) and first performed it on 2 February 1727. In a version for soprano, ', possibly first performed in 1731, the part of the obbligato oboe is replaced by a flute. Part of the music appears in the ""Notebook for Anna Magdalena Bach"". Bach composed the cantata in his fourth year in Leipzig for the feast Purification of Mary."
"to Johann Sebastian Bach's preludes in ""The Well-Tempered Clavier"". However, each of Bach's preludes leads to a fugue in the same key, and Bach's pieces are arranged, in each of the work's two volumes, in ascending chromatic order (with major preceding parallel minor), while Chopin's are arranged in a circle of fifths (with major preceding relative minor). Chopin is known to have studied Bach's music, although he is not known to have performed it publicly. Harold C. Schonberg, in ""The Great Pianists"", writes: ""It also is hard to escape the notion that Chopin was very familiar with Hummel's now-forgotten Op."