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SIGHT-READING & HARMONY Progressive Pieces for Keyboard, Grades 1-10 Selected from Four-Part Chorales by J.S. Bach with Exam Curricula for Sight-Reading Diplomas, Grades 1-10, & Master of Harmony Diploma
introducing BachScholar’s innovative & instructive 5-TIER SYSTEM OF FOUR-PART HYMNS & CHORALES
™
PIANO | ORGAN | HARPSICHORD | THEORY Excerpts from 150 four-part chorales & 10 complete chorales by J.S. J. S. Bach Ba ch syst sy stem emat atic ical ally ly arra ar rang nged ed and an d prac pr acti tica call llyy orga or gani nize zed d for fo r the th e optimal learning of music reading, harmony & ear training with an essay, exercises, practice rules & exams by DR. CORY HALL
SIGHT-READING & HARMONY Progressive Pieces for Keyboard, Grades 1-10 Selected from Four-Part Chorales by J.S. Bach with Exam Curricula for Sight-Reading Diplomas, Grades 1-10, & Master of Harmony Diploma
Arranged, Edited & Engraved by DR. CORY HALL
BachScholar.com WellRoundedPianist.com
ISBN (PDF): 978-0-9991965-0-2
BachScholar Publishing, LLC Copyright © 2017 by BachScholar Publishing (ASCAP) International Copyright Secured. All Rights Reserved. Printed in the U.S.A.
ACKNOWLEDGEMENTS
This book began out of what I thought would be a relatively small project around May, 2016 that grew out of material I had been assigning to my piano students from the “Bach Chorale Project” begun begun a year earlier, in 2015. Entering the year 2017 I realized this was no longer a “small project,” but rather, quite a substantial project that was consuming more and more of the only free time I had outside of my demanding teaching schedule of 40 weekly lessons. As one feature was added, it became necessary to add another feature and then another feature, and so on, until the book expanded to well over 200 pages. Back in 2016 I envisioned it being more like 50 pages. It is now July, 2017 that I write this letter of acknowledgement, acknowledgement, and I could not be any happier with how Sight-Reading & Harmony turned Harmony turned out. Nothing could be any more appropriate than publishing a book that brings Bach’s magnificent four-part chorales to th the limelight, especially on this 500 year anniversary of the “Ninety-Five Theses” that sparked the Protestant Reformation, emblazoned emblazoned with iron-willed faith and fervor upon the Castle Church in Wittenberg, Germany on October 31, 1517 by the fieriest of all reformers, Martin Luther (1483-1546). It makes me giddy and bursting with excitement that Bach’s four-part chorales also happen to be the finest and most effective sight-reading material for piano in existence. Now, enter Johann Johann Sebastian Bach Bach (1685-1750). Bach Bach was not only arguably arguably the greatest composer composer in the history of western music, and undisputedly the greatest composer composer of the form known as the four-part chorale, but he was also the greatest Lutheran composer in history. All of Bach’s chorales, over 400 of them, are based upon texts that glorify God. Moreover, Bach believed the perfect harmonies he created in his chorales glorify God, since God is perfect, and in addition, God was the original creator of the art form we know as music. Being a devout and practicing Lutheran myself, I am certain God has imbued upon me this excruciatingly labor-intensive project over the last year with the intent of having me finish i t precisely th midway through the 500 anniversary year of Luther’s Reformation, 2017. I am certain that countless hours arising at 5:00 a.m. over the last year to work on this book was not done in vain, since it was all done to give glory to Christ Our Savior who came to this earth in human form to take away the sins of the world so that whoever believes in Him will not perish but have eternal life (John 3:16). Glory to God in the Highest! I am grateful to my wife, Marilyn, for her patient enduring of my countless hours hard at work at my computer editing and re-editing the now over 220-page manuscript. I also thank all my piano students for providing me intellectual intellectual stimulation which made made possible many many of the ideas and and techniques promulgated promulgated in this book. Without my hardworking and dedicated piano students, who currently represent represent all ages from 8 to 82 and live in all corners of the globe from the United States to Norway to New Zealand and have their weekly lessons with me via Skype, this book would have never happened. I also wish to thank YouTube for being invented and all all my faithful YouTube subscribers and fans around the world world who have watched watched and enjoyed my nearly 1000 piano performance and tutorial videos for the past nine years. Without my success on YouTube, I would have never achieved success as an international teacher, in which case this book would have never happened. Above all, I wish to thank God for continuing t o grace my noggin with idea upon idea throughout the last calendar year so that students and teachers the world over may practice and improve their skills in sight-reading, piano performance, and harmonic analysis. Sincerely, Cory Hall (pianist, t eacher, composer composer & arranger, publisher) Editor-in-Chief, BachScholar BachScholar Publishing M.M. Eastman School of Music D.M.A. University of Kansas St. Petersburg, Florida – July, 2017
COPYRIGHT WARNING & DISCLOSURE
This book promulgates a proprietary system of musical notation and analysis applied to the four-part chorales of J.S. Bach, which can also similarly be applied to four-part church hymns. This system, formally titled 5-Tier System of Four-Part Hymns & Chorales, Chorales, was invented, developed, and codified by Dr. Cory Hall over the years 2015-17, which has been made available to the public and published for the first time in the present book. Dr. Hall and BachScholar Publishing, LLC own all intellectual property rights that constitute this system. Should one wish to cite or use the 5-Tier System of Four-Part Hymns & Chorales as Chorales as described and incorporated incorporated in this book for websites or publications of any kind, one needs to first be granted permission by BachScholar Publishing. Depending on the nature of the publication, some fees may be required to be granted full permission permission to use the system for one’s own purposes. purposes. ™
5-TIER SYSTEM OF FOUR-PART HYMNS & CHORALES (“THE SYSTEM”)
The system applies to church hymns, Bach chorales with four parts, and other music with four parts, often referred to as “SATB” (soprano, alto, tenor, bass). The system consists of five levels or “tiers” in a hierarchical hierarchical fashion where Tier 1 contains the sparsest notation and is the least difficult tier to perform, while Tier 5 contains the densest notation and is the most difficult tier to perform. Tiers 2-4 increase gradually in density of notation, making each tier slightly more complex both visually and practically. Tiers 1-5, all presented on single pages in Part 4 of this book, comprise a system of gradually increasing complexities which systematizes systematizes and optimizes the l earning of music reading, harmonic and melodic analysis, part writing, and ear training. t raining. First and foremost, the system teaches keyboardists the vertical reading of four parts (or “voices”) in a progressive fashion from simple to difficult. Although the tiers should be practiced sequentially (i.e., 1-2-3-4-5) to achieve the best results for learning music reading and sight-reading, the system has been created either in t he order 5-2-1-4-3 (as shown below) or 5-2-4-3-1: 1. TIER 5 (GRADES 9-10): Tier 5 consists of the four-part hymn or chorale chorale (or excerpt thereof) in its original form with nothing added or taken away. 2. TIER 2 (GRADES 3-4): Tier 2 consists of the the outer voices of the fifth tier, the soprano and bass, with nothing added added or taken away. away. 3. TIER 1 (GRADES 1-2): Tier 1 is a simplification simplification of Tier 2 in that all all eighth and sixteenth notes are removed, leaving only quarter, half, dotted half, and whole notes. 4. TIER 4 (GRADES 7-8): Tier 4 is a simplification simplification of Tier 5 in that all all eighth and sixteenth notes are removed, leaving four parts consisting predominantly of quarter notes with occasional half notes or dotted half notes. 5. TIER 3 (GRADES 5-6): Tier 3 is a simplification simplification of Tier 4 in that the two middle voices (alto (alto and tenor) are replaced with one voice consisting predominantly of the alto notes and some tenor notes of Tier 4. Tier 3 is created by deleting the tenor line of Tier 4 and replacing any alto notes with tenor notes (usually an octave higher) in the case of open fifths or tripled octaves, which are to be avoided. This results in a harmonically complete three-part texture consisting of a bass line, identical to the bass line in Tier 4, and a soprano-alto duet in the treble clef played mostly with the right hand with occasional lower notes played with the left hand. 6. CHORD TABLE: Between Tiers 2 and 3 lies a chord table listing all the chords chords (grouped into “Primary” and “Secondary” categories) and cadences appearing in Tier 4 (Grades 7-8). The chord table applies to Tier 4 rather than Tier 5 to avoid ambiguities and over-analysis (which often results from eighth-note passing tones and other non-harmonic tones), hence, the chords are listed in root position only (using letter names and Roman numerals) according according to their relation to the tonic using the established rules of harmony. The cadences, however, include traditional Roman numeral notation with inversions. 7. FINGERING: As an aid to beginning through intermediate-level intermediate-level students, fingerings fingerings are included in Tiers 1 and 2; however, notating fingerings in more advanced three- and four-part music results in a convoluted appearance on the page (which often resembles mathematics problems) and stifles stifles creativity, and thus, thus, fingerings are not included included in Tiers 3-5.
PART 1 Contents, Indexes & Bibliography
CONTENTS PART 2: INTRODUCTION, ESSAY & DESCRIPTIONS ® BachScholar SIGHT-READING DIPLOMAS GRADING TABLE ····································· 1 BachScholar ® MASTER OF HARMONY DIPLOMA GRADING TABLE ····························· 1 INSTRUCTIONS ON USING THIS BOOK & TAKING EXAMS ······································· 1 The Present Grading System ·············································································· 2 Testing for Sight-Reading Diplomas, Grades 1-10 ···················································· 2 Testing for Master of Harmony Diploma ······························································· 3 Practice Recommendations ··············································································· 4 MUSICAL RIDDLE CONSISTING OF 21 QUESTIONS ················································· 5 WHAT ARE BACH’S FOUR-PART CHORALES? ························································ 6 ™ ORIGINS OF THE 5-TIER SYSTEM OF FOUR-PART HYMNS & CHORALES ······················ 7 SUMMARY AND DESCRIPTIONS OF PARTS 3 & 4 ···················································· 9 PART 3: 3: GENERAL EXERCISES ····································································· 9 Major & Minor Scales ··············································································· 9 Diatonic Chords ······················································································ 9 Finger Independence & Legato ···································································· 9 The Circle Progression ·············································································· 10 Bach’s Common Cadences ········································································· 10 Authentic ························································································ 10 Half ······························································································ 11 Phrygian ························································································· 11 Leading Tone ··················································································· 11 Plagal ···························································································· 11 Deceptive ······················································································· 11 PART 4: 150 CHORALE EXCERPTS & 10 COMPLETE CHORALES ························· 12 Grades 1-2 (Tier 1) ·················································································· 12 Grades 3-4 (Tier 2) ·················································································· 12 Chord Table ··························································································· 12 Grades 5-6 (Tier 3) ·················································································· 13 Grades 7-8 (Tier 4) ·················································································· 13 Grades 9-10 (Tier 5) ················································································· 13 10 Complete Chorales ··············································································· 13 PART 3: GENERAL EXERCISES MAJOR & MINOR SCALES WITH DIATONIC CHORDS ·············································· 14 C Major & A Minor ························································································ 14 G Major & E Minor ························································································ 16 F Major & D Minor ························································································ 18 D Major & B Minor ························································································ 20 B-flat Major & G Minor ··················································································· 22 A Major & F-sharp Minor ················································································· 24 E-flat Major & C Minor ··················································································· 26 E Major & C-sharp Minor ················································································· 28 A-flat Major & F Minor ··················································································· 30 FINGER INDEPENDENCE & LEGATO ····································································· 32 Playing Changing Notes Legato & Repeated Notes Non-Legato ···································· 32 Playing All Fingers Legato Except Repeating Thumb ················································ 33 Playing Legato Double Thirds ············································································ 35 Playing Authentic Cadences in all the Major & Minor Keys ········································· 36 THE CIRCLE PROGRESSION ················································································ 37 C Major & A Minor ························································································ 37 G Major & E Minor ························································································ 38 F Major & D Minor ························································································ 39 D Major & B Minor ························································································ 40 B-flat Major & G Minor ··················································································· 41 A Major & F-sharp Minor ················································································· 42 E-flat Major & C Minor ··················································································· 43 E Major & C-sharp Minor ················································································· 44 A-flat Major & F Minor ··················································································· 45 BACH’S COMMON CADENCES············································································· 46
PART 4: 4: 150 CHORALE EXCERPTS & 10 COMPLETE CHORAL ES
1. Ach Gott und Herr (BWV 255) Anonymous, 4/4, C major 2. Ach Gott, vom Himmel sieh’ darein (BWV 2) Martin Luther, 4/4, G minor 3. Ach Gott, wie manches Herzeleid (BWV 3) Anonymous, 4/4, A major 4. Ach Gott, wie manches Herzeleid (BWV 153) Anonymous, 3/4, C major 5. Ach wie flüchtig, ach wie nichtig (BWV 26) Michael Franck, 4/4, A minor 6. Ach, lieben Christen, seid getrost (BWV 114) Anonymous, 4/4, G minor 7. Ach, lieben Christen, seid getrost (BWV 256) Anonymous, 4/4, C major 8. Ach, was soll ich Sünder machen (BWV 259) Johann Flitner, 4/4, E minor 9. Alle Menschen müssen sterben (BWV 162) Anonymous, 4/4, A minor 10. Alle Menschen müssen sterben (BWV 262) Jacob Hintze, 4/4, D major 11. Alles ist an Gottes Segen (BWV 263) Johann Löhner, 4/4, G major 12. An Wasserflüssen Babylon (BWV 267) Wolfgang Dachstein, 4/4, G major 13. Aus tiefer Noth schrei’ ich zu dir (BWV 38) Martin Luther, 4/4, A minor 14. Befiehl du deine Wege (BWV 272) Bartholomäus Gesius, 4/4, D minor 15. Christ lag in Todesbanden (BWV 277) (Adapted) Luther & Walther, 4/4, A minor 16. Christ, der du bist der helle Tag (BWV 273) Anonymous, 4/4, G minor 17. Christ, unser Herr, zum Jordan kam (BWV 7) Johann Walther, 4/4, B minor 18. Christe, du Beistand (BWV 275) M.A. von Löwenstern, 4/4, D minor 19. Christus ist erstanden (BWV 284) Anonymous, 4/4, C major 20. Christus, der ist mein Leben (BWV 281) Melchior Vulpius, 4/4, F major 21. Christus, der ist mein Leben (BWV 282) Melchior Vulpius, 3/4, G major 22. Christus, der uns selig macht (BWV 245/15) Michael Weisse, 4/4, A minor 23. Christus, der uns selig macht (BWV 245/37) Michael Weisse, 4/4, B-flat minor 24. Da der Herr Christ zu Tische sass (BWV 285) Anonymous, 4/4, C minor 25. Dank sei Gott in der Höhe (BWV 287) Bartholomäus Gesius, 4/4, F major 26. Das alte Jahr vergangen ist (BWV 289) Johann Steuerlein, 4/4, E minor 27. Das neugebor’ne Kindelein (BWV 122) Melchior Vulpius, 3/4, G minor 28. Das walt’ Gott Vater und Gott (BWV 290) Daniel Vetter, 4/4, F major 29. Das walt’ mein Gott (BWV 291) Anonymous, 4/4, F major 30. Der Tag, der ist so freudenreich (BWV 294) Anonymous, 4/4, G major 31. Des heil’gen Geistes reiche Gnad’ (BWV 295) Anonymous, 3/4, D minor
32. Die Sonn’ hat sich mit ihrem (BWV 297) Anonymous, 4/4, D minor 33. Dir, dir, Jehovah, will ich singen (BWV 299) J.S. Bach, 3/4, B-flat major 34. Du Friedefürst, Herr Jesu Christ (BWV 116) Bartholomäus Gesius, 4/4, A major 35. Du grosser Schmerzensmann (BWV 300) Martin Janus, 4/4, G major 36. Du, o schönes Weltgebäude (BWV 56) Johann Crüger, 4/4, C minor 37. Du, o schönes Weltgebäude (BWV 301) Johann Crüger, 4/4, D minor 38. Durch Adams Fall (BWV 18) Anonymous, 4/4, G minor 39. Ein’ feste Burg ist unser Gott (BWV 80) Martin Luther, 4/4, D major 40. Eins ist noth! ach Herr, dies Eine (BWV 304) Joachim Neander, 4/4, D major 41. Erhalt’ uns Herr, bei deinem Wort (BWV 6) Anonymous, 4/4, G minor 42. Ermuntre dich (BWV 43) Johann Schop, 3/4, G major 43. Ermuntre dich (BWV 248/12) Johann Schop, 4/4, G major 44. Erschienen ist der herrlich’ Tag (BWV 145) Nicolaus Herman, 3/4, F-sharp minor 45. Es ist das Heil uns kommen her (BWV 86) Anonymous, 4/4, E major 46. Es ist gewisslich an der Zeit (BWV 248/59) Martin Luther, 4/4, G major 47. Es ist gewisslich an der Zeit (BWV 307) Martin Luther, 4/4, B-flat major 48. Es spricht der Unweisen Mund (BWV 308) Martin Luther, 4/4, B-flat major 49. Es steh’n vor Gottes Throne (BWV 309) Joachim a Burck, 4/4, G minor 50. Freu’ dich sehr, o meine Seele (BWV 25) Louis Bourgeois, 4/4, C major 51. Freu’ dich sehr, o meine Seele (BWV 39) Louis Bourgeois, 4/4, B-flat major 52. Freu’ dich sehr, o meine Seele (BWV 70) Louis Bourgeois, 3/4, G major 53. Freuet euch, ihr Christen alle (BWV 40) Andreas Hammerschmidt, 4/4, F minor 54. Für deinen Thron tret’ ich hiermit (BWV 327) Louis Bourgeois, 3/4, D major 55. Für Freuden lasst uns springen (BWV 313) Caspar Peltsch, 4/4, G minor 56. Gelobet seist du, Jesu Christ (BWV 314) Martin Luther, 4/4, D major 57. Gott der Vater wohn’ uns bei (BWV 317) Anonymous, 4/4, D major 58. Gott hat das Evangelium gegeben (BWV 319) Erasmus Alber, 4/4, E minor 59. Gott sei gelobet und gebenedeiet (BWV 322) Martin Luther, 4/4, C major 60. Gottes Sohn ist kommen (BWV 318) Michael Weisse, 4/4, G major 61. Gottlob, es geht nunmehr (BWV 321) Johann Gottlieb Wagner, 3/4, B-flat major 62. Hast du den, Jesu, dein Angesicht (BWV 57) Anonymous, 3/4, B-flat major
63. Helft mir Gott’s Güte preisen (BWV 16) Wolfgang Figulus, 4/4, A minor 64. Herr Christ, der ein’ge Gottes Sohn (BWV 96) Anonymous, 4/4, F major 65. Herr Jesu Christ, du höchstes Gut (BWV 48) Anonymous, 4/4, G minor 66. Herr Jesu Christ, du höchstes Gut (BWV 113) Anonymous, 4/4, B minor 67. Herr Jesu Christ, mein’s Lebens (BWV 335) Sethus Calvisius, 4/4, E minor 68. Herr Jesu Christ, wahr’r Mensch (BWV 127) Louis Bourgeois, 4/4, F major 69. Herr Jesu Christ, wahr’r Mensch (BWV 336) Anonymous, 4/4, A major 70. Herr, ich denk’ an jene Zeit (BWV 329) Anonymous, 4/4, E-flat major 71. Herr, ich habe missgehandelt (BWV 331) Johann Crüger, 4/4, A minor 72. Herr, nun lass in Friede (BWV 337) Anonymous, 4/4, A minor 73. Herzlich lieb hab’ ich dich (BWV 340) Anonymous, 4/4, C major 74. Herzliebster Jesu (BWV 244/3) Johann Crüger, 4/4, B minor 75. Heut’ triumphiert Gottes Sohn (BWV 342) Sethus Calvisius, 3/4, C major 76. Hilf, Herr Jesu, lass gelingen (BWV 248/42) J.S. Bach, 3/4, F major 77. Hilf, Herr Jesu, lass gelingen (BWV 344) Johann Schop, 3/4, G minor 78. Ich dank’ dir, lieber Herre (BWV 347) Anonymous, 4/4, A major 79. Ich dank’ dir schon (BWV 349) Michael Praetorius, 3/4, F major 80. Ich hab’ mein’ Sach’ Gott (BWV 351) Anonymous, 4/4, G minor 81. Ich ruf’ zu dir, Herr Jesu Christ (BWV 177) Anonymous, 4/4, G minor 82. In dulci jubilo (BWV 368) Anonymous, 3/4, F major 83. Ist Gott mein Schild (BWV 85) Anonymous, 4/4, C minor 84. Jesu Leiden, Pein und Tod (BWV 159) Melchior Vulpius, 4/4, E-flat major 85. Jesu Leiden, Pein und Tod (BWV 245/28) Melchior Vulpius, 4/4, A major 86. Jesu, der du meine Seele (BWV 78) Theobald Grummer, 4/4, G minor 87. Jesu, der du meine Seele (BWV 354) Theobald Grummer, 4/4, B-flat minor 88. Jesu, der du selbst so wohl (BWV 355) Anonymous, 4/4, A major 89. Jesu, du mein liebstes Leben (BWV 356) Johann Schop, 3/4, G minor 90. Jesu, Jesu, du bist mein (BWV 357) J.S. Bach, 4/4, C minor 91. Jesu, meine Freude (BWV 64) Johann Crüger, 4/4, E minor 92. Jesu, meiner Seelen Wonne (BWV 146) Johann Schop, 4/4, F major 93. Jesu, meiner Seelen Wonne (BWV 359) Johann Schop, 4/4, A major
94. Jesu, meines Herzens Freud’ (BWV 361) Johann Rudolph Ahle, 4/4, B-flat major 95. Jesus Christus, unser Heiland (BWV 363) Anonymous, 4/4, E minor 96. Jesus Christus, unser Heiland (BWV 364) Martin Luther, 4/4, G minor 97. Jesus, meine Zuversicht (BWV 145) Johann Crüger, 4/4, D major 98. Jesus, meine Zuversicht (BWV 365) Johann Crüger, 4/4, C major 99. Keinen hat Gott verlassen (BWV 369) Johann Crüger, 4/4, E minor 100. Liebster Immanuel (BWV 123) Anonymous, 3/2, B minor 101. Liebster Jesu, wir sind hier (BWV 373) Johann Rudolph Ahle, 4/4, G major 102. Lobet den Herren (BWV 374) Antonio Scandello, 4/4, G minor 103. Lobt Gott, ihr Christen (BWV 151) Nicolaus Herman, 4/4, G major 104. Mach’s mit mir, Gott (BWV 245/22) Johann Hermann Schein, 4/4, E major 105. Mach’s mit mir, Gott (BWV 377) Johann Hermann Schein, 4/4, D major 106. Meinen Jesum lass’ ich nicht (BWV 379) Anonymous, 4/4, G major 107. Meinen Jesum lass’ ich nicht (BWV 157) Andreas Hammerschmidt, 4/4, D major 108. Mit Fried’ und Freud’ ich fahr’ (BWV 83) Martin Luther, 4/4, A minor 109. Mit Fried’ und Freud’ ich fahr’ (BWV 125) Martin Luther, 4/4, E minor 110. Mitten wir im Leben sind (BWV 383) Anonymous, 4/4, A minor 111. Nicht so traurig, nicht so sehr (BWV 384) J.S. Bach, 4/4, C minor 112. Nun freut euch, lieben Christen (BWV 388) Martin Luther, 4/4, G major 113. Nun komm, der Heiden Heiland (BWV 62) Anonymous, 4/4, B minor 114. Nun lasst uns Gott, dem Herren (BWV 165) Nicolaus Selnecker, 4/4, G major 115. Nun lasst uns Gott, dem Herren (BWV 194) Nicolaus Selnecker, 3/4, B-flat major 116. Nun lob’, mein’ Seel’ (BWV 389) Johann Kugelmann, 4/4, C major 117. Nun lob’, mein’ Seel’ (BWV 390) Johann Kugelmann, 3/4, C major 118. O Ewigkeit, du Donnerwort (BWV 20) Johann Schop, 4/4, F major 119. O Ewigkeit, du Donnerwort (BWV 397) Johann Schop, 4/4, F major 120. O Gott, du frommer Gott (BWV 45) Ahasverus Fritsch, 4/4, E major 121. O Haupt voll Blut (BWV 244/44) Hans Leo Hassler, 4/4, D major 122. O Haupt voll Blut (BWV 244/54) Hans Leo Hassler, 4/4, F major 123. O Lamm Gottes, unschuldig (BWV 401) Anonymous, 4/4, F major 124. O Mensch, bewein’ (BWV 402) Matthias Greiter, 4/4, E-flat major
125. O Traurigkeit, o Herzeleid (BWV 404) Anonymous, 4/4, A minor 126. O wie selig seid ihr doch (BWV 405) Johann Crüger, 4/4, D minor 127. O wir armen Sünder (BWV 407) Anonymous, 4/4, D major 128. Puer natus in Bethlehem (BWV 65) Anonymous, 3/4, C major 129. Schmücke dich, o liebe Seele (BWV 180) Johann Crüger, 4/4, F major 130. Schwing’ dich auf zu (BWV 40) Friedrich Funcke, 4/4, D minor 131. Singen wir aus Herzens Grund (BWV 187) Anonymous, 3/4, G minor 132. Uns ist ein Kindlein heut’ (BWV 414) Anonymous, 4/4, G major 133. Valet will ich dir geben (BWV 245/26) Melchior Teschner, 4/4, E-flat major 134. Vater unser im Himmelreich (BWV 245/5) Anonymous, 4/4, D minor 135. Verleih’ uns Frieden gnädiglich (BWV 42) Martin Luther, 4/4, F-sharp minor 136. Vom Himmel hoch (BWV 248/17) Martin Luther, 4/4, C major 137. Von Gott will ich nicht lassen (BWV 417) Anonymous, 4/4, B minor 138. Von Gott will ich nicht lassen (BWV 418) Anonymous, 4/4, A minor 139. Von Gott will ich nicht lassen (BWV 419) Anonymous, 4/4, A minor 140. Wachet auf, ruft uns die Stimme (BWV 140) Philipp Nicolai, 4/4, E-flat major 141. Warum betrübst du dich (BWV 421) Anonymous, 4/4, A minor 142. Was Gott tuth, das ist wohlgetan (BWV 12) Severus Gastorius, 4/4, B-flat major
143. Was mein Gott will (BWV 244/25) Claudin de Sermisy, 4/4, D major 144. Was willst du dich (BWV 425) Gottfried Vopelius, 4/4, A minor 145. Wenn ich in Angst und Noth (BWV 427) M.A. von Löwenstern, 4/4, E-flat major 146. Wenn wir in höchsten Nöthen (BWV 431) Louis Bourgeois, 4/4, F major 147. Wer nur den lieben Gott lässt (BWV 84) Georg Neumark, 4/4, B minor 148. Wie schön leuchtet (BWV 1) Philipp Nicolai, 4/4, F major 149. Wie schön leuchtet (BWV 436) Philipp Nicolai, 4/4, E major 150. Wo soll ich fliehen hin (BWV 5) Jacob Regnart, 4/4, G minor (1) 151. Ach Gott, wie manches Herzeleid (BWV 153) Anonymous, 3/4, C major (2) 152. Wer nur den lieben Gott lässt (BWV 84) Georg Neumark, 4/4, B minor (3) 153. Lobt Gott, ihr Christen allzugleich (BWV 151) Nicolaus Herman, 4/4, G major (4) 154. Jesu, meine Freude (BWV 64) Johann Crüger, 4/4, E minor (5) 155. Durch Adams Fall ist ganz verderbt (BWV 18) Anonymous, 4/4, G minor (6) 156. Christ, unser Herr, zum Jordan kam (BWV 7) Johann Walther, 4/4, B minor (7) 157. Christ lag in Todesbanden (BWV 277) (Adapted) Luther & Walther, 4/4, D minor (8) 158. Jesu, der du meine Seele (BWV 354) Theobald Grummer, 4/4, B-flat minor (9) 159. In dulci jubilo (BWV 368) Anonymous, 3/4, F major (10) 160. O Mensch, bewein’ (BWV 402) Matthias Greiter, 4/4, E-flat major
INDEXES
The 150 chorale excerpts & 10 chorales arranged by key and occurrence G minor (19) – 2, 6, 16, 27, 38, 41, 49, 55, 65, 77, 80, 81, 86, 89, 96, 102, 131, 150, 155 F major (18) – 20, 25, 28, 29, 64, 68, 76, 79, 82, 92, 118, 119, 122, 123, 129, 146, 148, 159 G major (17) – 11, 12, 21, 30, 35, 42, 43, 46, 52, 60, 101, 103, 106, 112, 114, 132, 153 A minor (15) – 5, 9, 13, 15, 22, 63, 71, 72, 108, 110, 125, 138, 139, 141, 144 C major (14) – 1, 4, 7, 19, 50, 59, 73, 75, 98, 116, 117, 128, 136, 151 D major (12) – 10, 39, 40, 54, 56, 57, 97, 105, 107, 121, 127, 143 B-flat major (9) – 33, 47, 48, 51, 61, 62, 94, 115, 142 D minor (9) – 14, 18, 31, 32, 37, 126, 130, 134, 157 E minor (9) – 8, 26, 58, 67, 91, 95, 99, 109, 154 B minor (9) – 17, 66, 74, 100, 113, 137, 147, 152, 156 A major (7) – 3, 34, 69, 78, 85, 88, 93 E-flat major (7) – 70, 84, 124, 133, 140, 145, 160 C minor (5) – 24, 36, 83, 90, 111 E major (4) – 45, 104, 120, 149 B-flat minor (3) – 23, 87, 158 F-sharp minor (2) – 44, 135 F minor (1) – 53
Meters of the 150 chorale excerpts & 10 complete chorales (other than 4/4) 2/2 – 140 3/2 – 100 3/4 – 4, 21, 27, 31, 33, 42, 44, 52, 54, 61, 62, 75, 76, 77, 79, 82, 89, 115, 117, 128, 131, 151, 159
The 150 chorale excerpts & 10 complete chorales listed by composers of melodies Ahasverus Fritsch (1629-1701) – 120 Andreas Hammerschmidt (1611 or 1612-1675) – 53, 107 Anonymous – 1, 3, 4, 6, 7, 9, 16, 19, 24, 29, 30, 31, 32, 38, 41, 45, 57, 62, 64, 65, 66, 69, 70, 72, 73, 78, 80, 81, 82, 83, 88, 95, 100, 106, 110, 113, 123, 125, 127, 128, 131, 132, 134, 137, 138, 139, 141, 151, 155, 159 Antonio Scandello (1517-1580) – 102 Bartholomäus Gesius (ca. 1562-1613) – 14, 25, 34 Caspar Peltsch (1600-1648) – 55 Claudin de Sermisy (ca. 1490-1562) – 143 Daniel Vetter (1657 or 1658-1721) – 28 Erasmus Alber (Alberus) (ca. 1500-1553) – 58 Friedrich Funcke (1642-1699) – 130 Georg Neumark (1621-1681) – 147, 152 Gottfried Vopelius (1645-1715) – 144 Hans Leo Hassler (1564-1612) – 121, 122 Johann Sebastian Bach (1685-1750) – 33, 76, 90, 111 Jacob Hintze (1622-1702) – 10 Jacob Regnart (1540s-1599) – 150 Joachim a Burck (1546-1610) – 49 Joachim Neander (1650-1680) – 40 Johann Crüger (1598-1662) – 36, 37, 71, 74, 91, 97, 98, 99, 126, 129, 154 Johann Flitner (1618-1678) – 8 Johann Gottlieb Wagner (lived 1742) – 61 Johann Hermann Schein (1586-1630) – 104, 105 Johann Kugelmann (1495-1542) – 116, 117 Johann Löhner (1645-1705) – 11 Johann Rudolph Ahle (1625-1673) – 94, 101 Johann Schop (ca. 1590-1667) – 42, 43, 77, 89, 92, 93, 118, 119 Johann Steuerlein (1546-1613) – 26 Johann Walther (1496-1570) – 15, 17, 156, 157 Louis Bourgeois (ca. 1510-1559) – 50, 51, 52, 54, 68, 146 Martin Janus (1620-1682) – 35 Martin Luther (1483-1546) – 2, 13, 39, 46, 47, 48, 56, 59, 96, 108, 109, 112, 135, 136 Matthäus Apelles von Löwenstern (1594-1648) – 18, 145 Matthias Greiter (ca. 1495-1550) – 124, 160 Melchior Teschner (1584-1635) – 133 Melchior Vulpius (ca. 1570-1615) – 20, 21, 27, 84, 85 Michael Franck (1609-1667) – 5 Michael Praetorius (1571-1621) (1571-1621) – 79 Michael Weisse (ca. 1488-1534) – 22, 23, 60 Nico laus Herman Herm an (ca. ( ca. 1500- 1561) – 44, 103, 153 Nicol aus Selnecker Seln ecker (1530 -1592 ) – 114, 115 Philipp Nicolai (1556-1608) – 140, 148, 149 Seth (Sethus) Calvisius (1556-1615) – 67, 75 Severus Gastorius (1647-1682) – 142 Theobald Grummer (lived in 1600s) – 86, 87, 158 Wolfgang Dachstein (ca. 1487-1553) – 12 Wolfgang Figulus (ca. 1525-1589) – 63
Cadences in the 150 chorale excerpts (Grades 7-8 lines) listed according to type AUTHENTIC “One - Five - One” (1 - 5 - 1) Dominant preceded by tonic in root position • I - V(7) - I (major): 1(1), 20(2), 40(2), 45(1), 50(1), 50(2), 52(1), 56(2), 62, 64(2), 82(2), 112(1), 120(2) i - V(7) - i (minor): 2(2), 17(1), 17(2), 38(1), 65(1), 66(1), 96(2), 108(1), 109(1), 135(1) i - V(7) - I (minor, Picardy): 15(1), 67(2), 78(1) i - V - V(7) - i (minor): 15(2) i - V(6) - i (minor): 5(1) Dominant preceded by tonic in first and second inversions • I(6) - V(7) - I (major): 16(1), 29(1), 45(2), 51(1), 56(1), 57(2), 69(2), 116(1), 116(2) i(6) - V(7) - I (minor, Picardy): 27(2), 102(2) I(6/4) - V(7) - I (major): 3(2), 21(1), 51(2), 78(2), 114(1), 123(2), 133(2), 136(2), 143(1) i(6/4) - V(7) - i (minor): 14(2), 36(2) i(6/4) - V(7) - I (minor, Picardy): 38(2) th Dominant preceded by dominant with suspended 4 • I - V(sus4) - V(7) - I (major): 4(2), 25(2), 46(2), 59(2), 100(2), 149(2) i - V(sus4) - V(7) - i (minor): 91(3) i(6) - V(sus4) - V(7) - i (minor): 121(2), 122(2) i(6) - V(sus4) - V(7) - I (minor, Picardy): 32(2) I(6) - V(sus4) - V(7) - I (major): 29(3), 35(2), 43(1), 43(2), 111(2), 129(1), 129(2), 132(2) I(6/4) - V(sus4) - V(7) - I (major): 84(2) Dominant preceded by secondary dominant • I - V(6/5)/V - V - I (major): 125(3) i - V(6/5)/VII - V(6) - i (minor): 58(2) § § § § §
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“Two - Five - One” (2 - 5 - 1) Dominant preceded by supertonic in root position • ii - V(7) - I (major): 8(1), 106(1) ii(7) - V(6) - I (major): 11(2) ii(7) - V(7) - I (major): 12(1), 124(2), 140(2) ii(7) - V - V(4/3) - I (major): 40(1), 107(1) ii - V(6/5) - V - I (major): 94(1) Dominant preceded by supertonic in first inversion • ii(6) - V(7) - I (major): 6(1), 103(2), 104(2), 148(2) th Dominant(s) preceded by supertonic minor 7 in first inversion • ii(6/5) - V(7) - I (major): 1(3), 7(1), 8(2), 10(2), 16(2), 31(2), 34(2), 46(1), 47(1), 47(2), 52(2), 53(2), 54(1), 55(2), 58(1), 70(2), 73(2), 75(1), 85(2), 88(2), 92(2), 93(2), 94(2), 98(2), 101(2), 105(2), 106(2), 107(2), 115(1), 117(1), 117(2), 118(2), 119(2), 121(1), 122(1), 123(1), 126, 127(2), 135(2), 140(1), 145(2), 146(1), 149(1) ii(6/5) - V(sus4) - V7 - I (major): 77(2) th Dominant preceded by supertonic minor 7 in root position and first inversion • ii(6/5) - ii(7) - V(7) - I (major): 89(2) ii(6/5) - ii(7) - V(7) - I(sus4) - I (major): 79(2) th Dominant preceded by supertonic half-diminished 7 in first inversion • ii(halfdim)(6/5) ii(halfdim)(6/5) - V(7) - i (minor): 6(2), 18(2), 19(2), 37(2), 49(1), 53(1), 63(2), 64(1), 67(1), 75(2), 89(1), 90(2), 91(1), 110(1), 131(2), 143(2), 144, 147(2) ii(halfdim)(6/5) - V(7) - i(sus4) - i (minor): 139(2) ii(halfdim)(6/5) - V(7) - I (minor, Picardy): 5(3), 7(2), 37(1), 44(2), 113(2) Dominant preceded by supertonic minor 7 th in third inversion • ii(4/2) - V(6) - I (major): 11(1) § § § § §
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“Four - Five - One” (4 - 5 - 1) Dominant preceded by subdominant in root position • IV - V(7) - I (major): 30(1), 39(1), 39(2), 60(2), 85(1), 118(1), 132(1) IV - V(sus4) - V(7) - I (major): 10(1), 12(2), 21(2), 33, 42(1), 48(2), 99(1), 142(2) iv - V(6) - i (minor): 26(2) IV - V(6/4) - I (major): 103(1) iv(7) - V(7) - i (minor): 41(1), 86(1), 87(1), 134(1) Dominant preceded by subdominant in first inversion • IV(6) - V(7) - I (major): 142(1) iv(6) - V - i (minor): 141(2) § § § § §
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IV(6) - V - V(6) - I (major): 20(1) IV(6) - V(6/5) - I (major): 25(1), 34(1) IV(6) - IV(7) - V - I (major): 44(1) Dominant preceded by dominant with suspended 4 th preceded by subdominant iv(7) - V(sus4) - V(7) - I (minor, Picardy): 36(1), 108(2), 109(2) iv(6) - V(sus4) - V(7) - i (minor): 71(1) § § §
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“Six - Five - One” (6 - 5 - 1) Dominant preceded by submediant in root position • vi - V(7) - I (major): 5(2), 14(1), 28(2), 30(2), 42(2), 60(1), 61(2) vi - V(6) - I (major): 28(1) vi - V(6) - V(7) - I (major): 83(1) VI(6) - V(6) - V(7) - i (minor): 100(1) (sharp)vi(halfdim)(7) - V(6) - V(7) - i (minor): 113(1) Dominant preceded by secondary dominant preceded by submediant • vi - V(6/5)/V - V - I (major): 128(2) § § § § §
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“Seven - Five - One” (7 - 5 - 1) th Dominant preceded by leading tone diminished 7 • vii(dim)(6) - V(7) - i (minor): 80(2) vii(dim)(7) - V(6/5) - i (minor): 137(2) Dominant preceded by secondary leading tone diminished and half-diminished 7 • vii(dim)(7)/V - V(7) - i (minor): 95, 96(1) vii(halfdim)(7)/V - V(7) - I (major): 97(2) Dominant preceded by subtonic • VII - V(6) - i (minor): 26(1) VII(7) - V(6) - i (minor): 138(2) § §
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HALF “Two - One - Five” (2 - 1 - 5) Final dominant preceded by tonic preceded by supertonic • ii(7) - I(6) - V (major): 104(1) §
“Four - One - Five” or “One - Four - Five” (4 - 1 - 5 or 1 - 4 - 5) Final dominant preceded by tonic-subdominant or subdominant-tonic • iv - i - V (minor): 9(1), 22(2), 23(2) I - IV(6) - V(6) (major): 63(1) § §
“Five - One - Five” or “Five-of-Five - Five” (5 - 1 - 5 or 5/5 - 5) Final dominant preceded by tonic preceded by dominant • V - I - V (major): 76(1) V - I - I(6) - V (major): 101(1) V(6) - I - V (major): 3(1) V(6) - i - V (minor): 2(1) V(6) - V(6/5) - I - V (major): 4(1) V(6/5) - i - V (minor): 74 V(6/5) - I - I(6) - V (major): 54(2) V7 - i - i(6) - V (minor): 55(1) V(4/2) - I(6) - V (major): 146(2) th Final dominant preceded by tonic with suspended 9 • V(6) - i(sus9) - i - V (minor): 18(1) V(6/5) - I(sus9) - I - V (major): 76(2) V(6) - i(sus9) - i(6) - V (minor): 65(2) th Final dominant preceded by dominant with suspended 4 • V(6) - i - V(sus4) - V (minor): 90(1) V(6) - i - i(6) - V(sus4) - V (minor): 98(1) V(6/5) - i - V(sus4) - V (minor): 77(1) Final dominant preceded by secondary dominant • I - V - V(6/5)/V - V (major): 29(2) I(6) - V(6/5)/V - V (major): 69(1) vi - V(7)/V - V (major): 97(1) § § § § § § § § §
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th
“Seven - One - Five” (7 - 1 - 5) Final dominant preceded by tonic preceded by leading tone vii(dim)(6) - i - V (minor): 27(1), 83(2), 86(2), 87(2) vii(dim)(6) - I(6) - V (major): 92(1), 93(1), 105(1) vii(dim)(6) - i - i(6) - V (minor): 66(2) vii(dim)(6) - i - i(6) - V(sus4) - V (minor): 72(2) Final dominant preceded by secondary dominant, tonic, and leading tone • vii(dim)(6) - I(6) - V(6)/V - V (major): 130(1) vii(dim)(4/3) - I(6) - V(6/5)/V - V (minor): 91(2) •
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PHRYGIAN “One - Two - Five” or “Six - Two - Five” (1 - 2 - 5 or 6 - 2 - 5) Final dominant preceded by supertonic half-diminished 7 th i - ii(dim)(6) - V (minor): 150(2) i - ii(halfdim)(4/3) - V (minor): 72(1) VI - ii(dim)(6) - V - V (minor): 147(1) VI(maj7) - ii(halfdim)(4/3) - V (minor): 102(1)
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“One - Four - Five” (1 - 4 - 5) Final dominant preceded by subdominant in first inversion preceded by tonic • i - iv(6) - V (minor): 9(2), 68(2), 71(2), 81(1), 99(2), 150(1) i(6) - iv(6) - V (minor): 24(2), 125(2) i(6) - iv(6) - iv(6) - V (minor): 41(2) § § §
“Two - Four - Five” (2 - 4 - 5) Final dominant preceded by subdominant in first inversion preceded by supertonic half-diminished 7 • ii(halfdim)(6/5) - iv(6) - V (minor): 111(1) §
“Three - Four - Five” (3 - 4 - 5) Final dominant preceded by subdominant preceded by mediant • III - iv(7) - V (minor): 13(2) III(maj7) - iv(6) - V (minor): 130(2) § §
“Five - Four - Five” (5 - 4 - 5) Final dominant preceded by subdominant preceded by dominant • v(6) - iv(6) - iv(7) - V (minor): 22(1), 23(1) §
“Six - Four - Five” or “Five-of-Six - Four - Five” (6 - 4 - 5 or 5/6 - 4 - 5) Final dominant preceded by subdominant preceded by submediant or dominant of submediant VI - iv(6) - V (minor): 134(2) V(7)/VI - iv(7) - V (minor): 110(2)
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“Seven-of-Five - Five” (7/5 - 5) Final dominant preceded by leading tone diminished of dominant • I - vii(dim)(6)/V - V (major): 57(1) i - vii(dim)(7)/V - V (minor): 49(2) i - vii(dim)(4/3)/V - V (minor): 125(1) i(6) - vii(dim)(4/3)/V - V (minor): 131(1) ii(dim)(6) - vii(dim)(7)/V - V (minor): 80(1) iv - vii(dim)(7)/V - V (minor): 141(1) V - vii(dim)(6)/V - V (major): 61(1) § § § § § § §
LEADING TONE “Seven - One” (7 - 1) Leading tone diminished preceded by tonic, supertonic, mediant, submediant, subdominant, subtonic • I(6) - vii(dim)(6) - I (major): 35(1) ii(7) - vii(dim)(6) - I (major): 114(2), 115(2) III - vii(dim)(6) - i (minor): 24(1) IV - vii(dim)(6) - I (major): 1(2), 68(1), 70(1), 79(1), 88(1), 112(2), 136(1), 145(1) iv(7) - vii(dim)(4/3) - i (minor): 81(2) § § § § §
th
PLAGAL “Four - One” (4 - 1) Subdominant preceded by tonic in root position or first inversion • I - IV - I (major): 82(1) I - IV - IV(6) - I (major): 73(1) i - iv - i (minor): 32(1) I(6) - IV - IV(6) - I (major): 148(1) I(6) - IV(sus9) - IV - I(sus4) - I (major): 127(1) Subdominant with suspended 9 th and tonic with suspended 4 th • iv(sus9) - iv(6) - iv - i(sus4) - i (minor): 31(1) th Subdominant preceded by major 7 tonic chord • I(6) - I(7) - IV - I (major): 128(1) Subdominant preceded by dominant of subdominant • V(6/5)/IV - IV - I (major): 19(1), 136(2) § § § § §
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“One - Four” (1 - 4) (Plagal Half Cadence) Final subdominant preceded by tonic or dominant of subdominant • ii(7) - I(6) - I - IV (major): 120(1) vi - V(7) - V(7)/IV - IV (major): 48(1) § §
DECEPTIVE Ending with “Six” (6) or “Three” (3) or “Five Six-Five” (5 6-5) Final submediant preceded by secondary dominant or leading tone of submediant I - V(7)/vi - vi (major): 137(1) I - V(6/5)/vi - vi (major): 138(1) I - vii(dim)/vi - vi (major): 139(1) ii(7) - V(6)/vi - vi (major): 124(1) IV - V(6)/vi - vi (major): 133(1) (natural)iv(halfdim)(7) - V(6/5)/vi - vi (major): 119(1) Final submediant with Picardy third preceded by leading tone diminished • IV - vii(dim)(6) - VI (major): 13(1) Final mediant preceded by supertonic preceded by submediant • vi(6) - ii(6) - iii (major): 59(1) th Ending with dominant 7 • I - (flat)VII(6) (flat)VII(6) - V(6/5)/IV (major): 84(1) •
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BIBLIOGRAPHY Books Button, H. Elliot. Chorales Harmonised by Johann Sebastian Bach: Collected and arranged in melodic order (with order (with a new Preface by Peter Williams). Novello & Company Limited, 1985. (Button’s original publication was published by N ovell o in 1923, and a s of this writ ing t he 19 85 re print editi on i s out of print p rint.) .) Czarnecki, Christopher. J.S. Bach 413 C horal es A nalyz ed: A St udy o f the t he Ha rmony of J.S. J .S. Bach . Seezar Publications, Publications, 2013. The New Harvard Dictionary of Music (Don Randel, ed.). The Belknap Press of Harvard University Press, Cambridge, Mass., 1986. Riemenschneider, Albert. 371 Harmonized Chorales and 69 Chorale Melodies with Figured Bass . G. Schirmer, Schirmer, Inc., Inc., 1941. Terry, Charles Sanford. The Four-Part Chorales of J.S. Bach: With the German Text of the Hymns and English Translations. Edited, with an historical Introduction, Notes and Critical Appendices . Travis & Emery, 2009 (facsimile of original edition by Oxford University Press, 1929) Articles “Cadence (music).” Wikipedia, the free encyclopedia . Accessed 30 May 2017. https://en.wikipedia.org/wiki/Cadence_(music) “Chord progressions.” Wikipedia, the free encyclopedia . Accessed 30 May 2017. https://en.wikipedia.org/wiki/Chord_progression “Diatonic function.” Wikipedia, the free encyclopedia . Accessed 30 May 2017. https://en.wikipedia.org/wiki/Diatonic_function “vi-ii-V-I” (The Circle Progression). Progression). Wikipedia, the free encyclopedia . Accessed 30 May 2017. https://en.wikipedia.or https://en.wikipedia.org/wiki/Vi–ii– g/wiki/Vi–ii–V–I V–I
PART 2 Introduction, Essay & Descriptions
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BachScholar SIGHT-READING DIPLOMAS GRADING TABLE
EXAM
DATE
GRADE (Fail, Pass, Pass with Distinction)
NOTES
GRADE 1 GRADE 2 GRADE 3 GRADE 4 GRADE 5 GRADE 6 GRADE 7 GRADE 8 GRADE 9 GRADE 10
®
BachScholar MASTER OF HARMONY DIPLOMA GRADING TABLE
EXAM
DATE
GRADE (Fail, Pass)
NOTES
GRADE 8
INSTRUCTIONS ON USING THIS BOOK & TAKING EXAMS
This book, comprised of four parts, has has two main purposes: 1) to equip keyboardists with the technique, technique, reading, and music theory knowledge necessary to foster solid sight-reading skills, which requires following the specific grading and testing guidelines explained below; 2) to provide students in all areas (piano, organ, harpsichord, theory) as well as professors of ear-training and part-writing a useful supplement for the teaching and study of Bach’s four-part chorales, which has no specified curriculum except for careful study of each grade or tier in Part 4, “Bach’s Common Cadences” Cadences” in Part 3, and the “Cadences” index in Part 1. It is recommended that this book be used by qualified piano, harpsichord, organ, and music theory instructors. Dedicated and disciplined self-learners may also use this book. As the title implies, roughly 50% of this book focuses on sight-reading, while 50% focuses on chord analysis or harmony. These two disciplines are so interrelated and interdependent that it becomes virtually impossible to separate them. That is, one’s skill in sight-reading usually improves by knowing the make-up and function of chords, while one’s skill in musical harmony usually improves the more fluent one becomes at the actual playing of the music. Hence, this book aims to combine combine “theory and practice” practice” as efficiently efficiently as possible. possible. The 150 pages of chorale excerpts in Part 4 are not arranged in order of difficulty, hence one need not necessarily play the pages in order but may work on selected pages at random. Should one wish to focus on particular keys or cadences, cadences, such such chorales may may be selected selected from the table of contents in Part 1. In addition to a table of contents, Part 1 also includes various indexes. Of special interest to students and professors of harmony is the “Cadences” index, which methodically categorizes Bach’s cadences cadences in Part 4. This book presumes that the reader possesses possesses basic rudiments rudiments of musical musical harmony and terminology. terminology. Should one not understand certain theoretical concepts, it is recommended that a good music harmony textbook or above website be consulted for the understanding of relevant vocabulary and nomenclature.
Regarding the sight-reading course of study, students of all grades are permitted to t o and encouraged to practice the exercises exercises in Part 3 even if the exercises exercises are above above one’s grade; grade; however, in Part 4 students are limited to practicing only the grade to which they belong. Nobody is exempt from beginning at Grade 1 and progressing through the grades grades by passing the exams, which which includes pianists who who can play advanced advanced repertoire. Everyone using this book must begin with Grade 1. This cannot be overemphasized, since the beginning and elementary-level elementary-level excerpts excerpts (Grades 1-2 and 3-4) serve to build the strongest possible possible foundation in music reading skills, which must not be avoided or taken for granted by students of any level. All students pursuing the sight-reading course of study, regardless of one’s presumed presumed current performance grade, must begin with Grade 1. Now, here are the t he rules and recommendations to follow to progress through the exercises in Part 3 and chorale excerpts in Part 4: •
The Present Grading System: Each page in Part 4 consists of five lines (excerpts) (excerpts) labeled Grades Grades 1-2, Grades 3-4, Grades 5-6, Grades 7-8, Grades 9-10. Each of these five grade ranges are defined by the playing of hands alone alone or together. Students Students shall take no shortcuts. shortcuts. All students shall begin begin with Grade 1 and test appropriately to each subsequent Grade. Grade 1 = Grades 1-2 lines played hands alone; All notes should be named out loud while played with the index finger of either hand, then played legato with correct fingering. Grade 2 = Grades 1-2 lines played hands together Grade 3 = Grades 3-4 lines played hands alone Grade 4 = Grades 3-4 lines played hands together Grade 5 = Grades 5-6 lines played hands alone Grade 6 = Grades 5-6 lines played hands together Grade 7 = Grades 7-8 lines played hands alone Grade 8 = Grades 7-8 lines played hands together Grade 9 = Grades 9-10 lines played hands alone Grade 10 = Grades 9-10 lines played hands together Testing for Sight-Reading Diplomas, Grades 1-10: Three scores exist exist for all all the exams: exams: 1) Fail; 2) Pass; 3) Pass with Distinction. To receive a passing grade, the student must play all six excerpts with no note or rhythm errors. errors. Even one note or rhythm error disqualifies one from receiving a passing grade. This may seem harsh and too strict; however, considering that the excerpts have no tempo words, no dynamic markings, no articulation markings, no phrase markings or slurs, and no difficult rhythms or syncopations, playing the correct correct notes and rhythms is the very least one one would expect for for a passing grade. grade. To receive a grade of “pass with distinction,” distinction,” the student must must play the correct correct notes and rhythms in addition to including pleasing musical nuances such as slight ritardandi and diminuendi at the ends of phrases when appropriate (at the fermata cadence points) and achieve a pleasing, singing tone rather than simply pounding out the notes and and rhythms. rhythms. Here is a summary of the grading rules: Three scores exist for the Sight-Reading Diplomas: Diplomas: o Fail: One note or rhythm error in any of the six exam excerpts excerpts automatically results in a grade of Fail. The student may repeat the exam as many times as necessary to be promoted to the next grade. o Pass: The six exam excerpts excerpts are played with all the correct notes and and rhythms at a steady tempo of about 63 bpm; however, the excerpts have been played with lacking musicality and an unpleasant tone. o Pass with Distinction: The six exam excerpts excerpts are played not only with all the correct notes and rhythms at a steady tempo of about 63 bpm, but also with a pleasing, singing tone (cantabile) cantabile) as well as slight ritardandi and ritardandi and diminuendi at diminuendi at the ends of phrases when appropriate. In addition, passing with distinction includes good use of the damper pedal for Grade 6 and above. For All Exams: The teacher shall shall select six (6) lines from pages 1-150 (Part 4) from the desired desired Grade. These six lines shall meet the following criteria, but may be presented to the student in any order: 1) one with a key signature of no sharps or flats; 2) one with a key signature of one sharp; sharp; 3) one with a key signature of one flat; 4) one with a key signature of two sharps; 5) one with a key §
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signature of two flats; 6) one with a key signature of three, four, or five sharps or flats; 7) three of the six lines shall be in major keys, while three of the six lines shall be in minor keys. Grade 1 Exam: The student shall first first play the selected selected six Grades 1-2 lines lines hands alone with alone with the index finger of the right or left hand while saying the name of each note within the t ime of no longer than two seconds per note. Repeats do not need to be observed for this step. Then, the student shall again play the selected line hands alone but alone but with the usual legato fingerings without note naming and with repeats at repeats at a slow and steady tempo of about 63 bpm. Grade 2 Exam: The student shall play the selected selected six Grades 1-2 lines, with repeats, hands together at a slow and steady tempo of about 63 bpm. Grade 3 Exam: The student shall play the selected selected six Grades 3-4 lines, with repeats, hands alone at a slow and steady tempo of about 63 bpm. Grade 4 Exam: The student shall play the selected selected six Grades 3-4 lines, with repeats, hands together at a slow and steady tempo of about 63 bpm. Grade 5 Exam: The student shall play the selected selected six Grades 5-6 lines, with repeats, hands alone at a slow and steady tempo of about 63 bpm. Grade 6 Exam: The student shall play selected selected six Grades 5-6 lines, with repeats, hands together at a slow and steady tempo of about 63 bpm. Grade 7 Exam: The student shall play the selected selected six Grades 7-8 lines, with repeats, hands alone at a slow and steady tempo of about 63 bpm. In the case of intervals over an octave between the tenor and bass voices when playing the left hand alone, the student shall take those tenor notes with the right hand. Grade 8 Exam: The student shall play the selected selected six Grades 7-8 lines, with repeats, hands together at a slow and steady tempo of about 63 bpm. Grade 9 Exam: The student shall play the selected selected six Grades 9-10 lines, with repeats, repeats, hands alone at a slow and steady tempo of about 63 bpm. In the case of intervals over an octave between the tenor and bass voices when playing the left hand alone, the student shall take those tenor notes with the right hand. Grade 10 Exam: The student shall play the selected selected six Grades 9-10 lines, with repeats, repeats, hands together at a slow and steady tempo of about 63 bpm. Testing for Master of Harmony Diploma: This is an advanced advanced and highly prestigious prestigious diploma available available for those who have passed the Grade 8 Sight-Reading Diploma. Diploma. Candidates who pass the exam and become “Master of Harmony” will have acquired greater sight-reading and harmony skills than 99% of piano students and will have gained expertise in harmony equivalent to that of most conservatory graduates. Here are the complete instructions for the Master the Master of Harmony Diploma: Diploma: Two scores exist for the Master the Master of Harmony Harmony Diploma: Diploma: o Fail: One incorrect note or chord played played or named in any of the six exam excerpts excerpts automatically results in a grade of Fail. The candidate may repeat the exam as many ti mes as necessary for a passing grade. o Pass: The six exam excerpts excerpts are played with no errors at a steady tempo tempo of about 63 bpm, and, all the chords and cadences are named correctly correctly at a tempo of no slower than four seconds per chord. The teacher shall select six (6) “Grades 7-8” lines from pages 1-150 (Part 4). These six lines shall consist of the following, but may be presented presented to the student in any order: 1) one with a key signature of no sharps or flats; 2) one with a key signature of one sharp; 3) one with a key signature of one flat; 4) one with a key signature of two sharps; 5) one with a key signature of two flats; 6) one with a key signature of three, four, or five sharps or flats; 7) three of the six lines shall be in major keys, while three of the six lines shall be in minor keys; 8) the six lines chosen shall contain at least the following three types of cadences: o ii(6/5) - V7 - I o ii(halfdim)(6/5) - V(7) - i o Any Phrygian cadence The candidate shall first play each of the six lines, with repeats, hands together at a slow and steady tempo of about 63 bpm. Next, the candidate shall play the excerpt at a tempo no slower than four §
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seconds per chord while naming all the chords and cadences, which includes naming the correct inversions and suspensions (if any). Passing tones and non-harmonic tones other than suspensions do not need to be named since the Grades 7-8 lines do not contain any eighth notes. Chords shall be named using letter names and no Roman numerals or superscript numbers, for example, “G major,” “A minor,” “D major in first inversion,” “E minor 7,” B half diminished 7,” etc. Although Roman numerals do not need to be named for most of the lines, they shall be named for all cadences along with the key tonicized in the cadence (which may be different from the key of the chorale), for example, “this is an authentic cadence of ii(6/5) - V(7) - I in the key of D major” or “this is a deceptive cadence of I - V(7)/vi - vi in the key of A major.” Candidates are responsible responsible for identifying and naming the six main types of cadences used by Bach and for naming the Roman numerals associated associated with them: 1) Authentic; 2) Half; 3) Phrygian; 4) Leading Tone; 5) Plagal; 6) Deceptive. Practice Recommendations: As mentioned earlier, earlier, all students regardless of grade are are encouraged to practice all the exercises in Part Part 3. In Part 4, however, however, a more systematic systematic and strategic strategic approach approach is recommended. recommended. The 150 excerpts for each grade are arranged in alphabetical order according to their German titles and do not progress from easy to difficult. For this reason, students are encouraged encouraged to skip around from page to page (1-150) at random and practice only their current grade. For example, if a student has passed the “Grade 2 Exam” he has graduated to the “Grades 3-4” lines and should therefore concentrate on these lines until the “Grade 4 Exam” has been passed. Here are some general practice rules and recommendations recommendations to follow: Practice the exercises in Part 3 daily. daily. Becoming proficient proficient at sight-reading cannot cannot be separated separated from becoming proficient at scales and other practical exercises. exercises. For this reason, all the exercises in Part 3 (scales, chords, cadences) should be practiced diligently daily. Practice a few lines in Part 4 daily until all 150 lines have been practiced . The more one practices the chorale excerpts, the better one’s sight-reading will become. The average student should expect an entire calendar year to be promoted to the next grade. Diligent, hardworking students should expect no less than six months. All 150 li nes for each grade shall be practiced before taking exams. Never memorize anything in this book . Students should resist resist memorizing exercises exercises and chorale chorale excerpts, but instead, focus on reading the music while periodically glancing down at the fingers without bending the neck. Never just play an excerpt through one time, but repeat-repeat-repeat . Repetition is key key for becoming a better better musician and sight-reader. Should a note or rhythm mistake mistake be made upon the first reading, it shall be corrected thereafter and never be made again. Never repeat mistakes, but rather, use repetition to reinforce good habits. Always try to achieve a pleasant and legato singing tone (cantabile), usually emphasize the soprano (top) voice over the other voices, and never “pound out” the notes in an obnoxious, mechanical fashion. fashion. This rule goes without without saying, but unfortunately, unfortunately, is far too commonly commonly broken with this type of music. Always practice with a slow and steady beat averaging about 63 bpm bpm or slower . Bach’s chorales th are not fast pieces to impress but slow and majestic pieces to be savored. Students steeped in 19 century tempo traditions of attaining an average beat of 100 bpm or faster need to renounce this practice when practicing Bach’s Bach’s majestic chorales. chorales. Break up the practicing of each line into separate and distinct phrases. phrases . The distance between the fermatas constitutes a “phrase,” which is analogous to a sentence in spoken language. Good phrasing in Bach chorales chorales has everything everything to do with how the cadences cadences leading leading up to the fermatas fermatas are treated, which is addressed in the next two bullet points. The fermatas function as breathing points and should be treated with caution by often employing a slight ritardando (slowing down). down) . It is usually appropriate to slow down slightly a beat beat or two before each fermata, which which varies depending on the character character of the chorale. Then, in many cases, cases, the chord with the fermata can be given a slightly longer value than i ts mathematically correct correct value. Add a slight diminuendo (become softer) approaching the fermatas. fermatas. Like slowing slowing down slightly before fermatas, fermatas, it is also usually appropriate appropriate to become become slightly softer. Achieving Achieving tasteful §
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cadence points takes considerable practice and skill, but when achieved it can transform “just notes” into music of great beauty. Do not become overly concerned and fussy about fingering, and as a rule, avoid writing in fingerings Never attempt to determine determine fingerings before playing the example example through the first time and, except for beginners and students up to about Grade 4, do not write in fingerings before the example has been attempted to be played. Instead, experiment with various fingerings eventually arriving at good fingerings in the process of practicing the example multiple times. Then, memorize the fingerings rather than write them into the score. If fingerings absolutely must be be written in, they should be kept at a minimum and written in only after trying out all possibilities. Habitually writing in fingerings and making them t hem the primary focus means one cares more about the fingerings than the music, in which case music reading and musicianship skills do not improve. Do not write in chord names and Roman numerals underneath the Grades 5-6, 7-8, and 9-10 excerpts Just as writing in fingerings fingerings does nothing to improve music reading skills, skills, writing in the chord names and Roman numerals below the chords does nothing to improve one’s knowledge of chords. For example, imagine practicing a Grades 7-8 line and writing in the chord names or Roman numerals, then three weeks later returning to the same line. Having the chord names or Roman numerals already written in prevents one from using one’s own intellect and memory for determining the names of the chords, which hinders rather than helps the true learning of chords and Roman numerals. When practicing the Grades 1-2 and 3-4 lines hands alone, strive to play and name each note out loud as quickly as possible The first and foremost foremost way to improve sight-reading skills is to improve the speed at which one can play and name single notes. This is the most basic rudiment and solid foundation of sight-reading that too many students and teachers neglect in the early stages of learning, which is one reason why so many advanced-level pianists are poor sight-readers. When practicing the Grades 5-6, 7-8, and 9-10 lines hands together, strive to play and name each chord out loud (for example, “G major,” “A minor,” or “B diminished 7”) in three seconds or less It is unnecessary to name the chords chords out loud when performing the excerpt excerpt at the proper tempo of about 63 bpm; however, being able to identify and name the chords at a slower rate of speed improves one’s overall sight-reading skills. Ultimately, one should be responsible for knowing every chord one plays just as one should know the definition of every word one uses in daily conversations. The popular belief that “one should never use damper pedal when playing Bach on the piano” does not apply to Bach’s four-part chorales Although the two-part examples examples in this book do not not require any pedal (although a little pedal here and there can be used effectively sometimes), the three- and four-part examples in this book (Grades 5-10) often benefit from a pedal change on every quarter note or harmony change. It is for this reason that Bach chorales make such great teaching tools for practicing correct use of the damper pedal. It is recommended that pedal should be avoided in the early stages of learning notes and fingerings; however, pedal should then be added in the final stage to achieve a resonant and pleasing tone, to fill in t he “gaps” between chords, chords, and to eliminate academic dryness. The great pianist Artur Rubinstein said the damper pedal is the “soul” of the piano, in which case case avoiding pedal in the three- and four-part four-part examples is like stripping away the soul of the entire chorale. Pianists should not be afraid to use pedal when playing Bach chorales and should always strive to pedal artistically. .
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MUSICAL RIDDLE CONSISTING OF 21 QUESTIONS
1.
2.
Which style constitutes the most beautiful classical keyboard music ever written, yet was not necessarily composed for keyboard? Which style of music formed the foundation and set the rules for chord progressions, cadences, cadences, and voice leading, which all
3.
composers from Bach to Stravinsky followed and which still holds true today? Which textbook or body of musical work (other than the Bible) has endured the test of time and never been improved or replaced in over 300 years?
4.
Which body of musical work has been in existence for 300 years and is still used in college, university, and conservatory music theory classrooms? 5. Which style did Bach consider to be the absolute foundation of his musical language, from inventions to fugues to arias to chamber music? 6. Which style (other than fugues) did Bach work on, revisit, and perfect for his entire compositional lifetime? 7. Which style offers keyboardists the best training to become well-prepared to play Bach’s fugues? 8. Which style offers keyboardists the best training for attaining malleable and flexible fingers and hands, like “yoga for the fingers”? 9. Which style offers keyboardists the best training for attaining the highest degree of finger independence? independence? 10. Which style offers keyboardists the best training for attaining a cantabile or cantabile or singing tone? 11. Which style offers keyboardists the best training for advanced music reading, and specifically, sight-reading?
12. Which style offers students the best training for identifying and understanding chords, chord progressions, and cadences? cadences? 13. Which style offers students the best training for maintaining a steady beat? 14. Which style offers students the best training for practicing phrase endings and ritardandi? ritardandi? 15. Which style offers pianists the best training for using the damper pedal? 16. Which musical style has been totally ignored and overlooked by piano method books throughout the 20th and 21st centuries? 17. Which musical style has been totally ignored and overlooked in piano exams of organizations, schools, and conservatories? conservatories? 18. Which musical style has been totally ignored and overlooked in piano competitions? 19. Which musical style has been unduly neglected by piano teachers throughout the 20th and 21st centuries? 20. Which musical style over time guarantees the pianist the most musical musical maturity that can can possibly be attained? 21. Which musical style is most worthy of being practiced continually continually and treated as as the “Holy Grail” of piano study?
(Answer to all 21 questions: The 400+ Four-Part Chorales Chorales by Johann Sebastian Bach)
WHAT ARE BACH’S FOUR-PART CHORALES?
The New Harvard Dictionary of Music defines Music defines “chorale” as “The congregational song or hymn of the German Protestant (Evangelical) (Evangelical) Church” (157). Bach’s entire musical language was founded upon the texture and principles established in his chorales, chorales, which are governed governed by four independent vocal lines: soprano, alto, tenor, bass (SATB). The better one understands Bach’s four-part chorales, the better one understands Bach’s entire oeuvre, oeuvre, from inventions to fugues, from arias to chamber music. Peter Williams describes the importance of Bach’s chorales in the Preface to the H. Elliot Button edition (which was the main edition used in the preparation for the present book): In the half-century between the posthumous editions of The Art of Fugue (1751-1752) Fugue (1751-1752) and the new era of ‘Bach Revival’ signaled by the appearance of The Well-Tempered Clavier (1801), (1801), the only complete publications of music by J.S. Bach were two editions of the four-part chorales. The first was published in two volumes volumes in 1765 and 1769 by the Berlin firm Birnstiel, the second second in four volumes volumes by Breitkopf in Leipzig Leipzig 1784-87…..C.P.E. Bach’s Bach’s preface preface (1765) speaks of his arranging the openopenscore chorales on two staves ‘to please amateurs of amateurs of the organ and keyboard’. Already in 1765, C.P.E. Bach recommended recommended the four-part chorales as a better means of beginning musical studies than ‘stiff and pedantic counterpoint’ by which he probably meant Fux’s Gradus ad Parnassum (Vienna, Parnassum (Vienna, 1725) (Button, i). Most of the melodies Bach used for his chorales were not composed by Bach, but usually by wellknown Reformation-era composers composers from the 1500-1600s. It is doubtful that Bach composed any text for the
chorales himself, but usually relied on the well-known Reformation-era poets and librettists. Bach’s usual approach to composing his short but harmonically sophisticated chorales was: 1. Choose a familiar melody that most church-goers and choristers in the 1700s would recognize and be able to sing. 2. Choose a text that fits the phraseology of the chorale, which may or may not have been composed specifically for the chorale melody or “hymn tune,” and which fits the theological theme for the cantata. 3. Harmonize the melody with four-part chords. Although Bach’s four-part chorales are not “piano music” per music” per se, se, they had as early as 1765 become the foundation of musical studies for any aspiring organist or composer. Virtually all the students and disciples of the great elder Bach revered the chorales and praised them as being unparalleled and ‘never to be surpassed’ as a model for the young composer (Button, i). If Bach’s four-part chorales are indispensable to the technical and artistic development of organists and composers, then they are certainly also indispensable to pianists. Hence, the overriding theme and axiom of this book cannot be overstated:
If you can sight-read Bach’s four-part chorales, then you y ou can sight-read anything. Bach’s four-part chorales represent the ultimate litmus test for sight-reading. sight -reading. ™
ORIGINS OF THE 5-TIER SYSTEM OF FOUR-PART HYMNS & CHORALES
The musical riddle above is astonishing. I had been aware of many of these points for several years; however, it was not until rather recently as a piano teacher with over 30 years’ experience experience that I discovered how important Bach’s four-part chorales are, not necessarily for the fostering of superior sight-reading skills, but for pianists’ overall musical musical development. development. It was around the year 2014 that I determined determined Bach’s Bach’s chorales (along with three and four-part church hymns) to be the absolute finest material for pianists to learn music reading and sight-reading. Church hymns are more readily accessible and less difficult than Bach’s chorales, and for this reason, it is recommended recommended that pianists who wish to improve their sight-reading skills begin with hymns. Church hymns and Bach four-part chorales train pianists to read in a vertical fashion fashion whereby three or four notes are all seen, processed, and played at the same time forming chords. Pianists who sight-read poorly invariably read horizontally one horizontally one note at a time, t ime, because they have never learned learned to read two or more notes at a time vertically. vertically. Church hymns and Bach chorales are essentially the same, except that the latter feature a richer harmonic vocabulary, more advanced bass lines and non-harmonic tones, and are generally musically superior. Bach’s four-part chorales offer far more benefits benefits for the pianist than any other style of music by any other composer, and the benefits extend far beyond sight-reading. The only skill that is not required required is speed (like in virtuoso-style etudes), while conversely, the skills that are required are required are far greater than those of merely th attaining speed in typical 19 -century etudes. Not only do Bach’s four-part chorales constitute some of the most beautiful music and harmonies in existence, but the number of benefits and skills required to practice and play them far exceeds exceeds that of any any other style of music: music: • • • • • • •
Mastering the art of cantabile playing cantabile playing Maintaining a slow and steady tempo Mastering ritardandi and ritardandi and diminuendi Delineating voices and playing polyphony Adapting to complex fingerings Achieving finger independence Mastering finger substitutions
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Practicing the playing of chords Developing flexible and malleable fingers and hands Mastering the art of pedaling Mastering music reading and sight-reading Gaining complete and thorough knowledge of musical harmony
Upon discovery that Bach’s four-part chorales provide the finest and most effective sight-reading material and represent the most beneficial “etudes” the pianist can possibly practice, I was beset with a
