Learn each combination of voices. But the partitas are dance suites, and a sarabande is a dance, and in this recording, as epic as it was, of the spirit of the dance. However, if it is altered to fit the new key then it is a ”tonal answer”. The more complicated the fugue, the more necessary it is to write in this information explicitly. It would be reasonable to assume that pianists would follow what the composer had asked for; after all Beethoven was quite a decent musician and he certainly knew what he wanted. I first learned this technique from the great Austrian pianist Jörg Demus, who has the most phenomenal musical memory I’ve ever borne witness to. I can only speak from my experience. A dissonance remains a dissonance, regardless of the instrument. It’s especially useful for visually-oriented students. The difference in nomenclature is that a lift is at the end of a phrase. The subject is played by the 1st voice in the tonic key. Particularly, I recommend: "Three Teeny Preludes," "Toot Suite," "The Notebook for Betty Sue Bach," and, of course, "The Short-Tempered Clavier." Consequently, the very same works can also be played on the modern piano, with eight fingers, two thumbs and no feet. All these techniques also apply to the study of simple imitative music, suitably adjusted. Keyboard tutorial. The first and foremost principle is this: It is absolutely essential to know each voice all by itself. Do this hands separately. I’ve been getting a lot of positive feedback from that article and am glad that so many people are finding it useful. That means that the pieces that he wrote could be played without the use of the pedal which didn’t exist. This ingenious device enables the player to raise the dampers from the strings, allowing them to vibrate freely with any notes being played. So, the voice/part which has just played the Subject will go on to play the Countersubject whilst the next voice is playing the answer. Here’s how I learn a fugue and how I teach others to learn one: 1. Sign up to get free in-depth coverage on up and coming artist and more! What is the right tempo and character for a particular prelude or fugue and how do we find it? Customize your own series and save 15% on single ticket prices. You should get to the point where you can play two or three voices and sing the other. e.g. Your email address will not be published. 2. Compare the fugue of Book 1 to the Kyrie of the b-minor mass. The sustaining pedal was not at his disposal on any of the keyboard instruments of his time. You can see from my fugue example that the answer (orange notes) has been changed and so it is a tonal answer. The more you are able to fix each note of each voice precisely in your ear before actually practicing with your fingers, the better you will ultimately know the fugue and, all else being equal, the more confident you will be when performing it. This overlapping technique is used by composers to increase the emotional tension of the piece. I say "later" because usually the beginning fugue student is not able to recognize these permutations by looking at the printed score. Some are easier than others. Quite a lot. This heavy traffic section should be identified as early as possible after hands are put together (usually this section steps forward on its own and smacks the student between the eyes) and learned first. He said he learns the fingerings so well that when he reads the music while practicing, which he does continually to reinforce his visual memory, he almost only sees the fingering numbers. But, oh!, so satisfying to play! 3. Each of these questions – and many more – needs to be asked and thought about.