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Prelude in C Major (Bach) - Behind the Score (Episode 5) (Patreon)

Published:
2021-10-10 18:03:17
Imported:
2023-06

Content

In this episode of Behind the Score, we're going back to basics. We're looking at the famous Prelude in C Major by J. S. Bach, marveling at the piece's simplicity and timeless appeal. I'm taking this opportunity to give a bit of a refresher on an approach to music theory and roman numeral analysis. Hope you enjoy!

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Comments

Peter Tutak

Great lecture, thank you, and you chose probably the best piece to base it on. You take the time to provide context behind the analysis which tends to fill the gaps in what some of us were expected to 'make a quantum leap across' in learning. This is extremely important to those of us who are/were 'one-liners', i.e. not pianists. As such the chordal elements and their definition became a harder road to hoe because we couldn't readily see the 'geometry' that made them up. Example: your explanation of secondary dominants and subdominants was lucid. Again, nice work. It was a pleasure to listen to; some parts twice. (And it took me back to Procol Harum's "Repent Walpurgis" where the first 12 measures of the Prelude are used as a bridge between sections.)

doughelvering

Thanks! I was worried it was a bit dry.

Arne Martin Aurlien

At one point I realized the Mario Kart item pickup sound uses the same arpeggio as the opening of the C major prelude https://www.youtube.com/watch?v=eEArQTxP_X4

John Sawyer

I loved this but I don't use the number notations etc. I use b, c and d for the inversions. Is there anything special in the method you use or is it just a difference in the way it is taught?

Dale S Josephs

John: many European schools teach "Ia/b/c" to indicate root/inversion positions of chords. A lot of American schools teach "6/3", "6/4" to represent inversions. Both are equally valid, the 6/3 style hearkens back to baroque period conventions of annotating figured bass lines, and then defining the interval to the chord tones above it.

Wolfgang Brunner

First of all: thank you for diving more deeply in some theoretical approach analyzing the harmony.

Wolfgang Brunner

The functional approach has (imho) limits.

doughelvering
>>69569226

Dale has commented nicely below, but I would add that the way I was taught is a combination of Riemannian theory and the figured bass performance practice. I was taught how to "realize" progressions via a figured bass...and the figures/numbers used in that system match with how I put them with the Roman Numerals.

Wolfgang Brunner

First often you have to look forward to recognize the function. This contradicts the flow of the music. Shouldn't you be aware of the function without looking forward? Secondly when will you change to a new tonika (I)? Especially in romantic or younger music you get to the limits of this view, Maybe you can analyze us sometimes a "younge"r piece where these ambiguity is shown?

MPHawk

I have to say, the inclusion of the "Schwencke measure" at m23 really threw me for a minute. I pulled out my old copy just to confirm I wasn't crazy, then looked it up. I had never encountered it before.