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A chromatic fantasia is a specific type of fantasia (or fantasy or fancy) originating in sixteenth-century Europe. In its earliest form, it is based on a chromatically descending tetrachord which arises naturally out of the dorian mode. Consequently, the chromatic fantasia is almost invariably in D minor (D-E-F-G-A-B♭-C rather than D-E-F-G-A-B-C) even as late as Bach.
Among the earliest examples are two celebrated lute pieces by John Dowland, the Farewell and Forlorn Hope Fancy. These were obviously highly influential of Jan Pieterszoon Sweelinck whose own Fantasia Chromatica in many ways forms a link between the Renaissance and the Baroque.
The chromatic fantasy, as a form, fell into neglect in the later seventeenth century. About a century after Sweelinck, J. S. Bach contributed the most famous examples of the form, in his Chromatic Fantasia and Fugue , BWV 903.
In music, modulation is the change from one tonality to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization.
Modulation is the essential part of the art. Without it there is little music, for a piece derives its true beauty not from the large number of fixed modes which it embraces but rather from the subtle fabric of its modulation.
Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. In simple terms, within each octave, diatonic music uses only seven different notes, rather than the twelve available on a standard piano keyboard. Music is chromatic when it uses more than just these seven notes.
Johann Adam Reincken was a Dutch/German organist and composer. He was one of the most important composers of the 17th century, a friend of Dieterich Buxtehude and a major influence on Johann Sebastian Bach; however, very few of his works survive to this day.
Cyclic form is a technique of musical construction, involving multiple sections or movements, in which a theme, melody, or thematic material occurs in more than one movement as a unifying device. Sometimes a theme may occur at the beginning and end ; other times a theme occurs in a different guise in every part.
A fantasia is a musical composition with roots in improvisation. The fantasia, like the impromptu, seldom follows the textbook rules of any strict musical form.
The organ repertoire is considered to be the largest and oldest repertory of all musical instruments. Because of the organ's prominence in worship in Western Europe from the Middle Ages on, a significant portion of organ repertoire is sacred in nature. The organ's suitability for improvisation by a single performer is well adapted to this liturgical role and has allowed many blind organists to achieve fame; it also accounts for the relatively late emergence of written compositions for the instrument in the Renaissance. Although instruments are still disallowed in most Eastern churches, organs have found their way into a few synagogues as well as secular venues where organ recitals take place.
A major is a major scale based on A, with the pitches A, B, C♯, D, E, F♯, and G♯. Its key signature has three sharps. Its relative minor is F-sharp minor and its parallel minor is A minor. The key of A major is the only key where the Neapolitan sixth chord on requires both a flat and a natural accidental.
D minor is a minor scale based on D, consisting of the pitches D, E, F, G, A, B♭, and C. Its key signature has one flat. Its relative major is F major and its parallel major is D major.
Klavierbüchlein für Wilhelm Friedemann Bach is a collection of keyboard music compiled by the German Baroque composer Johann Sebastian Bach for his eldest son Wilhelm Friedemann. It is frequently referred to simply as Klavierbüchlein.
Diatonic and chromatic are terms in music theory that are used to characterize scales. The terms are also applied to musical instruments, intervals, chords, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900.
Felix Mendelssohn's Cello Sonata No. 2 in D major, Op. 58, was composed in late 1842 — first half of 1843. The main theme of the first movement is a reworking of an unrealised Piano Sonata in G major. The Cello Sonata, which was dedicated to the Russian/Polish cellist Count Mateusz Wielhorski, has four movements:
The Bach-Busoni Editions are a series of publications by the Italian pianist-composer Ferruccio Busoni (1866–1924) containing primarily piano transcriptions of keyboard music by Johann Sebastian Bach. They also include performance suggestions, practice exercises, musical analysis, an essay on the art of transcribing Bach's organ music for piano, an analysis of the fugue from Beethoven's 'Hammerklavier' sonata, and other related material. The later editions also include free adaptations and original compositions by Busoni which are based on the music of Bach.
Wo Gott der Herr nicht bei uns hält is a chorale fantasia for organ composed by Johann Sebastian Bach in the early 18th century, likely between 1705 and 1710. The Zahn 4441a hymn tune for Justus Jonas's 1524 hymn "Wo Gott der Herr nicht bei uns hält", a paraphrase of Psalm 124, is the basis of the composition.
The Well-Tempered Clavier, BWV 846–893, consists of two sets of preludes and fugues in all 24 major and minor keys for keyboard by Johann Sebastian Bach. In the composer's time, clavier referred to a variety of stringed keyboard instruments, most typically the harpsichord or clavichord, but not excluding the organ, although it is not a stringed keyboard.
The Chromatic Fantasia and Fugue in D minor, BWV 903, is a work for harpsichord by Johann Sebastian Bach. Bach probably composed it during his time in Köthen from 1717 to 1723. The piece was already regarded as a unique masterpiece during his lifetime. It is now often played on piano.
The Fantasia or Pièce d'Orgue in G major, BWV 572, is a composition for organ by Johann Sebastian Bach.
Fantasia and Fugue in C minor, BWV 906, is a keyboard piece, likely unfinished, composed by Johann Sebastian Bach sometime during his tenure in Leipzig (1723–1750). The work survives in two autograph scores, one with the fantasia alone, and the other, believed to have been penned around 1738 in which the fugue is incomplete. The piece is notable for being one of Bach's latest compositions in the prelude and fugue format, and for being a showcase of Bach trying his hand at the emerging galant and empfindsam styles of music that his sons were known to compose.
Fantasia and Fugue may refer to several compositions attributed mainly to Johann Sebastian Bach:
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