Bach "Prelude and Fugue" in D Minor

[keystroke3]

Here ya go, some good ole Bach straight off the press:

https://youtu.be/3kDMj8yaz8c

-Zach Evans

[j_menz]

Quite a step away (up?   )  from your quoted repertoire.

A lot to like about it, really.

Two points, though.  Your tempo is unsteady - close but no cigar unsteady - and I think it's because you're not quite feeling the pulse, or fear making it too rhythmic - something to keep an eye on.

The fugue is pretty good, but feel free to do more with the individual voices - dynamically and in terms of touch. And work on those places where there a three voices going on - you tend to lose one entirely. Love the trills, btw!

Excellent job, and with a little more work could be really quite something.

EDIT: For clarity, you should probably also specify this is the Dm P&F from WTC 1.

[faulty_damper]

Tempo of the prelude should be faster to express the tension throughout the piece.  As the melody ascends, crescendo; as it descends, decrescendo.  You should embellish the final harmony, not play it as a chord as it sounds inappropriate to a piece without any chords.

Tempo of the fugue should be a bit faster for the same reasons as the prelude, to express the tension.  As for the voices, terracing the dynamics of each voice so that one is more prominent than the others at a single time.  Otherwise, each voice tries to compete for attention when only one is making an important musical statement.  And same with the prelude, the final harmony should not be a chord but embellished to reflect the theme.  E.g. a trill w/ termination on one of the voices would reflect the subject.

[awesom_o]

Well-played, Zach.

It is good to hear your progress with the standard repertoire!

You have good instincts for Baroque music. You should really look at some Rameau-you might enjoy playing his music more than Bach's. The pieces tend to be quite short, and often carry vivid programmatic titles such as "The Cyclops" or "The Savages".  Preludes and Fugues by J.S. Bach tend to run a bit on the dry side of the Baroque.

To my ears, your trills sounded rather heavy and leaden. They must sing with the agility and grace of the Wood Elves of Lothlorien. Right now, they reminded me instead of the brutal strength of the iron-shod Uruk-Hai (well-armored, but clumsy).

[j_menz]

Preludes and Fugues by J.S. Bach tend to run a bit on the dry side of the Baroque.

Go wash your mouth out. 

[faulty_damper]

I thought he was the pinnacle of the Baroque.  And if all you listen to is Gould, no wonder you'd think such a hideous thing, because he played hideously.

[awesom_o]

I do think J.S. Bach was the pinnacle of the Baroque and the absolute cat's meow.

I prefer to study his music as a cellist, however. I think the Cello Suites and the Sonatas for Viola da Gamba and Cembalo are marvelous.

Believe me, if you could play the Cello Suites, you wouldn't have very much time for the WTC either! 

I like to train regularly using Bach on the piano. But I prefer the French Baroque for the purpose of public exhibition.

[keystroke3]

Hey guys, thanks a ton for all the advice, I'll keep it in mind!  Baroque music is not my favorite style, but it has grown on me a lot and I think it'll make me a better player.

[lazyfingers]

Hi Zach,

Well played. A few suggestions:

Prelude: When playing Bach, the timing must be precise. There is no rubato at all (although some players add a little in), except at the end when you should slow down for the resolution. Rubato only became fashionable in the Romantic era.

Fugue: keep the timing precise. Some people do anticipate the Bflat in bar 38 though.
Bar 2 where you state the subject, personally I wouldn't anticipate the Bflat - makes this rubato if you do.

I like that you have grasp the contrapuntal nature of the fugue and brought out the subject, countersubject. One thing you can work on is to quieten the voice(s) not carrying the subject/countersubject/inversion to add color. (Instead of rubato, the technique is to add interest using tone colors).

Also, arpeggiation of the final chord is a matter of style. Most don't arpeggiate and Bach never indicated.

Well played though.

[keystroke3]

Thanks a lot Lazyfingers, I'll keep it in mind. I know I defiantly have a tendency to add rubado to things even when it's not in the style. I think it sounds better with the rubado but I understand its not what the baroque style calls for