By Mr. Flavio Medeiros, Carlos Almada
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Extra resources for Brazilian Rhythms for Solo Guitar
Bach frequently works out the thematic material in contrapuntal imitation, as in Part I (E-flat major, F-sharp major, G-sharp minor, and A major, the last with invertible counterpoint) and in Part II (D-sharp minor, E minor, A minor, also with invertible counterpoint, and B minor). The Prelude in A minor is noted for its intense chromaticism. The fugues in The Well-Tempered Claviertend to be either three-voice or four-voice. Part I contains eleven in three voices and ten in four, with but one < previous page Example 1-12.
While such contrasts were not unknown in the music of the seventeenth and early eighteenth centuries (many of Handel's arias and oratorio choruses, for example, represent contrasting affects), they remained by and large the exception. By the middle of the eighteenth century, however, the new ideal of emotional contrast in a musical work has become the accepted one. Carl Philipp Emanuel Bach, for instance, was famous for the extraordinary variety of his keyboard playingthe wide range of emotional contrasts he could produce in one and the same work.
4. W. Kirkendale, "Ciceronians versus Aristotelians on the Ricercar as Exordium, from Bembo to Bach," Journal of the American Musicological Society 23 (1979): 144. 5. M. Reimann, Untersuchungen zur Formgeschichte derfranzösischen Klaviersuite (1941; reprint, Regensburg: Bosse, 1968), 1617. 6. See W. Newman, The Sonata in the Baroque Era, 2nd ed. (New York: Norton, 1966), 281. 7. BWV ( = Bach Werk-Verzeichnis) numbers assigned to Bach's compositions in W. Schmieder, Thematischsystematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach, 2nd ed.
Brazilian Rhythms for Solo Guitar by Mr. Flavio Medeiros, Carlos Almada