Three Two-Part Inventions

SKU: CY.CC3155

ISBN 9790530111239. 8.5 x 11 in inches.

The J. S. Bach School for Trombone, expertly arranged and beautifully recorded by Mike Hall, features Bach's 15 two-part Inventions (BWV 772-786) and the 15 three-part Sinfonias (BWV 787-801) as playable duets and trios AND most importantly as play-along chamber music on alto, tenor and bass trombone. In short, a performer may choose any of Mike Hall's 150 superbly recorded tracks as accompaniments to play-along with. Similar to the famous Music Minus One recordings from decades past. What is included in this fantastic project? * 71 pages of the complete Two-part Inventions and Three-part Inventions in score format. * Mike Hall's Introduction and commentary on each of the above 30 pieces of music, including detailed instruction on how to best perform baroque ornaments on each instrument. * 150 tracks (in high quality lossless WAV format) of Mike Hall's great performing on alto, tenor and bass trombone of every possible combination of each of the 30 pieces to Play-along with on either alto, tenor or bass trombone. Each play-along track comes with a click to keep you on track.

SKU: PR.490011630

UPC: 680160599387. 8.5 x 11 inches.

Inspired by the two and three part inventions of Bach, Baksa's 36 Canonic Inventions were composed in the early 1980s but are now available complete in two volumes. Each two voice invention is followed by a three voice invention in the same key so that the result is somewhat like the Master of Master's Preludes and Fugues. Many of these pieces were premiered by Harpsichordist Elaine Comparone but they are equally suitable for performance on piano or pianoforte. American composer Lee Hoiby once asked me where I learned to write counterpoint. I told him that I learned by writing my Canonic Inventions. (Robert Baksa).

SKU: UT.MAG-268

ISBN 9790215326798. 9 x 12 inches.

The study of Johann Sebastian Bach’s compositions on the harp has a long history. The first who understood its importance for educational purposes was Robert Nicolas Charles Bochsa, who inserted some fugues of Bach and Haendel in his monumental method for the harp op. 60, accompanied by detailed fingerings. However, it was from the beginning of the 20th Century that the great harp teachers began to work extensively on Bach’s repertoire. Among the most illustrious examples we can mention Henriette Renié, who published two volumes of transcriptions, one containing ten preludes and one ten short pieces, Alfred Kastner who worked on the Two–part Inventions, Marcel Grandjany with his famous studies based on partitas and sonatas for solo violin, or Annie Louis David, who published two important volumes of preludes and fugues taken from The Well-Tempered Clavier, not to mention all those who transcribed just a single piece for concert purpose.
As is known, the Notebook for Anna Magdalena (Notenbüchlein für Anna Magdalena Bach), consists of two small manuscript volumes, the first compiled in Köthen in 1722 and the second in Leipzig three years later. The first contains only compositions by Johann Sebastian, while the second also includes pieces by other authors such as Couperin, Hasse and Carl Philipp Emanuel Bach.
The idea of ​​collecting in a volume some of the simplest compositions contained in the Notebook was born mainly from the desire to introduce even the youngest students to Bach’s music, in an easy and progressive way, so as to start as soon as possible at make them familiar with polyphonic writing and the use of embellishments, introduced here in a simplified version.

SKU: UT.HS-282

ISBN 9790215326446. 9 x 12 inches.

The two-part composition has always been an essential stage in didactic treatises for teaching counterpoint; the Duo has been of fundamental importance, since the early decades of the sixteenth century, in the teaching of singing and in instrumental practice.
The interpretation and performance of Scarlatti’s Fughe a Due require on the one hand a correct and prompt interpretation of the chords which are the basis of the movement and the relationship between the two parts, and on the other an indispensable invention of a third or even a fourth part (to ensure, above all, full and significant harmony).
An indication of this practice of filling in is offered by the same ms. source containing Scarlatti’s Fughe a Due. In Fugue II in D minor, in the first eleven bars, we find indicated above the Bass a series of numbers showing the interval in relation to the respective upper line. These indications should not be confused with the numerical marking typical of the basso continuo and of the partimento, for they establish a clear sign of the usual practice exercised in the teaching of counterpoint in order to guide the student visually to pass safely and speedily from two to three or more parts; this type of numbering is often found in the counterpoint methods of the time, in particular in the section illustrating the Contrapunto semplice e Diminuito.
These fifteen Fughe a Due, unlike the many Duos and Duets which figure in the counterpoint methods, are not a simple display of formulas, but they assert themselves as a calculated sample of characterized styles and genres, a series of pieces conceived with an exquisite sense of form.