Bach's way embodies an endless variety of possibilities. - Ralph Kirkpatrick
2007, November 05
Baby Piñon Pine
Beloved seedling of a small blue green pine, native of small areas of the South West, growing in a small clay pot.
Virginia Tech Dept of Forestry
Ronald Lanner's Book, The Pinon Pine-A Natural and Cultural History
2007, October 29
How the Files are Built
An explanation of how the midi, QuickTime and PDF files are built for JSBChorales.net
Notes are put into the Coda Finale notation program with the regular computer keyboard, using the Speedy Entry tool. The resulting Finale file is not the result of a performance, there is no midi keyboard involved, no articulation, no phrasing, no rubato, just straight notes. The file is then saved as a midi file, with each voice or part assigned to its own channel.
The midi file is imported into QuickTime, where the instruments are assigned to each part.
PDFs are made from the Print dialog box in Finale.
I make no pretense at being a pianist, or any sort of performing musician. I take lessons sometimes and like to fool around, but my job precludes serious study at this time.
2007, October 27
Another Cross Relation
Another cross or false relation in BWV 248.5
Another example of a 'false' cross relation in measure 12 in a chorale from BWV 248, the Christmas Oratorio.
Listen to the illustration
View entire chorale
Listen to entire chorale
The C sharp in the alto part followed by an C natural in the soprano part in the illustration above would seem to fit all the criteria for a false or cross relation.
But, again the C sharp is at the end of a phrase, and the C natural is at the beginning of the next phrase.
So, once again, I don't think this qualifies as a true cross relation.
2007, October 21
Rose Hips
Rose hips of the Rosa californica.
And the August roses give fruit.
2007, October 08
Cross Relation
A cross or false relation in BWV 40.6?
A cross or false relation may exist between the alto and the soprano between measures 8 and 9 in a chorale from BWV 40.
Listen to the illustration
View entire chorale
Listen to entire chorale
Definitions:
False relation: In harmony, the appearance of a note with the same letter-name in different parts (or 'voices') of contiguous or the same chords, in one case inflected with a sharp or flat and in the other uninflected; e.g. E natural and E flat in the same chord or adjacent chords. American term is 'cross relation'. Partly from The Concise Oxford Dictionary of Music, 1980, edited by Michael Kennedy.
False relations may exist (a) between two notes of the same chord; (b) between different parts of adjacent chords; (c) of a tritone between two notes in adjacent chords.
Wikipedia definition
Everything definition
The F sharp in the alto part followed by an F natural in the soprano part in the illustration above would seem to fit all the criteria for a false or cross relation. But, I ask, does it?
The soprano voice has the structure A A B B. Though the soprano exactly repeats the A and B, the harmonization of the repeated phrases is completely different. The alto F sharp is at the end of a phrase, and the soprano F natural is at the beginning of a new phrase, and in fact, measure 8 is the end of the part A and measure 9 is the beginning of the next part B. Thus, though the notes appear in adjacent chords on the paper, musically they seem as separated from one another as the two sides of a river. So I am not sure that these notes really stand in a false relation to one another.
2007, October 01
The Revision
The revision begins, based on the Complete Cantatas of J. S. Bach from Bärenreiter, the study score in 19 volumes.
The Complete Cantatas by Johann Sebastian Bach, Bärenreiter 2007; Catalog number TP2004
Alphabetic index of the Complete Cantatas
BWV index of the Complete Cantatas
Today marks the start of the revision of all files on JSBChorales.net. This edition presents the cantatas in the order of the church calendar so the chorales from the cantatas will be uploaded in that order. For this 'definitive' revision (hopefully) I am starting this new page and am keeping the old corrections page as this archive. I will focus first on the four-part chorales, and leave the other, more complex chorales until after the four-part harmonizations are complete.
Each time a new upload occurs, all sets will be updated. New pdf sets will contain the new layout with the tenor part in the one octave down G clef. This file will now be the one linked on the pdf column of the list pages; the chorale with the tenor in the bass clef will be included in the sets, with the suffix 'f' (for F clef) in the file name. It will not be linked on the pages, but is included because it may be easier for keyboard players to read. Until the chorale is updated, the original file name will be the file with the tenor in bass clef; the change to the G clef tenor will not occur until the upload of the new revision.I know this will be confusing; unrevised pdfs will have tenor in bass clef, updated pdfs will have the tenor in the octave down G clef. A way around this would be to wait to upload the pdfs until the entire revision is complete but I would prefer to make the files available as they are done. Another solution would be to keep the bass clef file with the original name, and make a new name for the G clef file. However, this would entail changing every pdf name in my entire database and on every page of the web site - not feasible.
When the entire revision is complete, the standard file name will have the chorale with the tenor in octave down G clef, and the pdf with the tenor in bass clef will have an 'f' added to the name.
006206.pdf - tenor in octave down G clef
006206f.pdf - tenor in bass or F clef.
I am very excited about this project, mostly because I have wanted the set of full cantata scores for about 13 years, when I discovered them in the San Francisco Public Library. I am so happy that Bärenreiter has made this study score available. The link is at about the middle of the page, under "Highlights of our Program."
