In music, counterpoint is the relationship between two or more musical lines which are harmonically interdependent yet independent in rhythm and melodic contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. The term originates from the Latin punctus contra punctum meaning "point against point", i.e. "note against note".
In classical music, a fugue is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject that is introduced at the beginning in imitation, which recurs frequently throughout the course of the composition. It is not to be confused with a fuguing tune, which is a style of song popularized by and mostly limited to early American music and West Gallery music. A fugue usually has three main sections: an exposition, a development, and a final entry that contains the return of the subject in the fugue's tonic key. Fugues can also have episodes—parts of the fugue where new material is heard, based on the subject—a stretto, when the fugue's subject "overlaps" itself in different voices, or a recapitulation. A popular compositional technique in the Baroque era, the fugue was fundamental in showing mastery of harmony and tonality as it presented counterpoint.
A palindrome is a word, number, phrase, or other sequence of symbols that reads the same backwards as forwards, such as madam or racecar, the date and time 12/21/33 12:21, and the sentence: "A man, a plan, a canal – Panama". The 19-letter Finnish word saippuakivikauppias, is the longest single-word palindrome in everyday use, while the 12-letter term tattarrattat is the longest in English.
A round is a musical composition, a limited type of canon, in which multiple voices sing exactly the same melody at the unison, but with each voice beginning at different times so that different parts of the melody coincide in the different voices, but nevertheless fit harmoniously together. It is one of the easiest forms of part singing, as only one line of melody need be learned by all parts, and is part of a popular musical tradition. They were particularly favoured in glee clubs, which combined amateur singing with regular drinking. The earliest known rounds date from 12th-century Europe. One characteristic of rounds is that, "There is no fixed ending," in the sense that they may be repeated as many times as possible, although many do have "fixed" endings, often indicated by a fermata.
Gödel, Escher, Bach: an Eternal Golden Braid, also known as GEB, is a 1979 book by Douglas Hofstadter.
Johann Pachelbel was a German composer, organist, and teacher who brought the south German organ schools to their peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.
The Goldberg Variations, BWV 988, is a musical composition for keyboard by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, it is named after Johann Gottlieb Goldberg, who may also have been the first performer of the work.
The Musical Offering, BWV 1079, is a collection of keyboard canons and fugues and other pieces of music by Johann Sebastian Bach, all based on a single musical theme given to him by Frederick the Great, to whom they are dedicated. They were published in September 1747. The Ricercar a 6, a six-voice fugue which is regarded as the high point of the entire work, was put forward by the musicologist Charles Rosen as the most significant piano composition in history. This ricercar is also occasionally called the Prussian Fugue, a name used by Bach himself.
The Art of Fugue, or The Art of the Fugue, BWV 1080, is an incomplete musical work of unspecified instrumentation by Johann Sebastian Bach. Written in the last decade of his life, The Art of Fugue is the culmination of Bach's experimentation with monothematic instrumental works.
Pachelbel's Canon is an accompanied canon by the German Baroque composer Johann Pachelbel. The canon was originally scored for three violins and basso continuo and paired with a gigue, known as Canon and Gigue for 3 violins and basso continuo. Both movements are in the key of D major. Although a true canon at the unison in three parts, it also has elements of a chaconne. Neither the date nor the circumstances of its composition are known, and the oldest surviving manuscript copy of the piece dates from 1838 to 1842.
In music, a canon is a contrapuntal (counterpoint-based) compositional technique that employs a melody with one or more imitations of the melody played after a given duration. The initial melody is called the leader, while the imitative melody, which is played in a different voice, is called the follower. The follower must imitate the leader, either as an exact replication of its rhythms and intervals or some transformation thereof. Repeating canons in which all voices are musically identical are called rounds—familiar singalong versions of "Row, Row, Row Your Boat" and "Frère Jacques" that call for each successive group of voices to begin the same song a bar or two after the previous group began are popular examples.
The Orgelbüchlein BWV 599−644 is a set of 46 chorale preludes for organ — one of them is given in two versions — by Johann Sebastian Bach. All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar; the remainder and a short two-bar fragment came no earlier than 1726, after the composer’s appointment as cantor at the Thomasschule in Leipzig.
The mirror canon is a type of canon which involves the leading voice being played alongside its own inversion. The realisation from the 'closed' (unrealised) form can be effected by placing the page in front of a mirror, thus upside down, and beginning with the already progressing first voice.
Johann Sebastian Bach was a German composer and musician of the late Baroque period. He is known for his prolific authorship of music across a variety of instruments and forms, including; orchestral music such as the Brandenburg Concertos; solo instrumental works such as the cello suites and sonatas and partitas for solo violin; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Schubler Chorales and the Toccata and Fugue in D minor; and choral works such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers in the history of Western music.
In music theory, an inversion is a rearrangement of the top-to-bottom elements in an interval, a chord, a melody, or a group of contrapuntal lines of music. In each of these cases, "inversion" has a distinct but related meaning. The concept of inversion also plays an important role in musical set theory.
Baroque music refers to the period or dominant style of Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance period, and was followed in turn by the Classical period after a short transition. The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "classical music" canon, and is widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl". The works of George Frideric Handel and Johann Sebastian Bach are considered the pinnacle of the Baroque period. Other key composers of the Baroque era include Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Alessandro Stradella, Tomaso Albinoni, Johann Pachelbel, Henry Purcell, Antonio Vivaldi, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, François Couperin, Johann Hermann Schein, Heinrich Schütz, Samuel Scheidt, Dieterich Buxtehude, Gaspar Sanz, José de Nebra, Antonio Soler, Carlos Seixas and others.
Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, is a church cantata by the German composer Johann Sebastian Bach. It was composed in either 1707 or 1708, which makes it one of Bach's earliest cantatas. Some sources suggest that it could be his earliest surviving work in this form, but current thinking is that there are one or two earlier examples.
The Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769, are a set of five variations in canon for organ with two manuals and pedals by Johann Sebastian Bach on the Christmas hymn by Martin Luther of the same name. The variations were prepared as a showpiece for Bach's entry as fourteenth member of Mizler's Music Society in Leipzig in 1747. The original printed edition of 1747, in which only one line of the canon was marked in the first three variations, was published by Balthasar Schmid in Nuremberg. Another version BWV 769a appears in the later autograph manuscript P 271, which also contains the six trio sonatas for organ BWV 525–530 and the Great Eighteen Chorale Preludes BWV 651–668. In this later version Bach modified the order of the variations, moving the fifth variation into a central position, and wrote out all the parts in full, with some minor revisions to the score.
These [variations] are full of passionate vitality and poetical feeling. The heavenly hosts soar up and down, their lovely song sounding out over the cradle of the Infant Christ, while the multitude of the redeemed "join the sweet song with joyful hearts." But the experiences of a fruitful life of sixty years have interwoven themselves with the emotions which possessed him in earlier years ... The work has an element of solemn thankfulness, like the gaze of an old man who watches his grandchildren standing round their Christmas tree, and is reminded of his own childhood.
The brilliant scale passages not only represent the ascending and descending angels, but sound joyous peals from many belfries ringing in the Saviour's birth.
A melodic line that is the reverse of a previously or simultaneously stated line is said to be its retrograde or cancrizans. An exact retrograde includes both the pitches and rhythms in reverse. An even more exact retrograde reverses the physical contour of the notes themselves, though this is possible only in electronic music. Some composers choose to subject just the pitches of a musical line to retrograde, or just the rhythms. In twelve-tone music, reversal of the pitch classes alone—regardless of the melodic contour created by their registral placement—is regarded as a retrograde.
The Clavier-Übung III, sometimes referred to as the German Organ Mass, is a collection of compositions for organ by Johann Sebastian Bach, started in 1735–36 and published in 1739. It is considered Bach's most significant and extensive work for organ, containing some of his most musically complex and technically demanding compositions for that instrument.
