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Bach, Johann Sebastian : Prelude und Fuge Nr.2 Prelude Nr.2 c-moll

Work Overview

Music ID : 62179
Instrumentation:Piano Solo 
Genre:pieces
Total Playing Time:2 min 40 sec
Copyright:Public Domain

Commentary (1)

Author : Ooi, Kazurou

Last Updated: March 12, 2018
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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

No. 2 in C minor [Prelude]  

Similar to Volume 1, this Prelude in C minor can be considered joyful, dance-like, and vibrant. Therefore, the eighth-note movement in the left hand, resembling a basso continuo, can be played staccato. Naturally, the same applies to eighth notes appearing in the right hand. Regarding the tempo of this prelude, there are several difficult passages, and it is advisable to choose a tempo that does not strain these sections. The difficult passages are as follows:

  • The trill in the right hand on beat 4 of m. 7, and similarly, the trill in the right hand on beat 2 of m. 8.
  • The trills in the right hand on beats 2 and 4 of m. 14, and similarly, the trills in the right hand on beats 2 and 4 of m. 16.

The difficulty varies depending on how the trills are executed. However, the trills in measures 7 and 8 must ultimately resolve to the same note, thus requiring a certain speed.

The execution of the trills in measures 14 and 16 is explained below. There are two methods of performance. One method, taking beat 2 of measure 14 as an example, involves aligning the right-hand B-sharp with the left-hand G as written. In this case, the trill on C on the main beat must be completed within the duration of a single sixteenth note. This makes it almost impossible to align the third note of the trill, C, with the left-hand A-flat. Even if the third note of the trill is played simultaneously with the left hand, it still requires considerable technical skill.

The other method is to unify the trill and the B-sharp on the main beat of beat 2 into 32nd notes. Play C-D-C-B-sharp as four 32nd notes, aligning two 32nd notes each with the left-hand A-flat and G. This approach is considerably easier. The same treatment applies to similar passages thereafter.

Other Points to Note:

  • In passages such as beat 4 of m. 5 and beat 4 of m. 6, the right-hand voice and left-hand voice enter separately within the beat. Let's take beat 4 of m. 5 as an example. Of the four notes F-E-flat-D-C in this beat, F belongs to the right-hand voice, and E-flat-D-C belongs to the left-hand voice. However, if played normally, these four notes tend to sound as if they belong to a single hand's voice. Therefore, in this case, play the right-hand voice F slightly longer than a single sixteenth note. This creates an overlap with the left-hand voice's E-flat. By overlapping, it becomes possible to present them as two distinct voices. The same applies to measures 6, 23, and 24.
  • In m. 12, the right hand has three voices. Strictly adhere to the duration of the quarter note on beat 1, the eighth note C on the off-beat of beat 1, and so on. The same applies to m. 28.

Musical Aspects:

Next, let's discuss the musical aspects. In the first half (measures 1-12), the highest note is F, appearing in the right hand on beat 4 of m. 4 and beat 3 of m. 8. However, this prelude begins in C minor, and the first half concludes in E-flat major, with the second half continuing from E-flat major. Consequently, the character of the F in m. 4, which is part of the C minor section where tension builds, differs from the F in m. 8, where the music has modulated to E-flat major and takes on a softer mood. Therefore, in the first half, m. 4 is the measure where the volume should increase the most. The second half begins in E-flat major, modulates to F minor, and through a sequence, reaches the highest note, A-flat, in m. 22, making this measure the point of highest tension.

Writer: Ooi, Kazurou
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