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Fig. 3.9: J. S. Bach, Toccata in f-sharp minor, BWV 910, mm. 168-172

Figure 3 9: J. S. Bach, Toccata in f-sharp minor, BWV 910, mm. 168-172

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toccata as it started in Italy in the early 1600’s, finally reaching Bach by the early 1700’s: tradition.’”®”
toccata as it started in Italy in the early 1600’s, finally reaching Bach by the early 1700’s: tradition.’”®”
the end of the fugue: Fig. 3.1: J. A. Reincken, Toccata in G Major, mm. 57-60 Reincken’s G major toccata, the strict counterpoint dissolves into broken figuration neat
the end of the fugue: Fig. 3.1: J. A. Reincken, Toccata in G Major, mm. 57-60 Reincken’s G major toccata, the strict counterpoint dissolves into broken figuration neat
Particularly notable is the brilliant ending of the D major toccata: Fig. 3.2: J. S. Bach, Toccata in D Major, BWV 912, mm. 261-266 Bach uses a similarly dramatic device in many of the fugues in his toccatas.'°
Particularly notable is the brilliant ending of the D major toccata: Fig. 3.2: J. S. Bach, Toccata in D Major, BWV 912, mm. 261-266 Bach uses a similarly dramatic device in many of the fugues in his toccatas.'°
Fig. 3.3: J. A. Reincken, Toccata in G Major, mm. 1-6 range of the instrument with a pedal point in the left hand: preludial material of the north German Baroque; imitative figuration spins out across the
Fig. 3.3: J. A. Reincken, Toccata in G Major, mm. 1-6 range of the instrument with a pedal point in the left hand: preludial material of the north German Baroque; imitative figuration spins out across the
Fig. 3.4: J. A. Reincken, Toccata in G major, mm. 67-69 The second non-fugal section (mm. 67-76) of Reincken’s toccata could be best
Fig. 3.4: J. A. Reincken, Toccata in G major, mm. 67-69 The second non-fugal section (mm. 67-76) of Reincken’s toccata could be best
Fig. 3.5: J. S. Bach, Toccata in D major, BWV 912, mm. 114-118 minor, BWV 914 (mm. 42-70). Here is an example from Bach’s D major Toccata: toccatas, including the ones in D major, BWV 912 (mm. 68-79 and 111-126), and e
Fig. 3.5: J. S. Bach, Toccata in D major, BWV 912, mm. 114-118 minor, BWV 914 (mm. 42-70). Here is an example from Bach’s D major Toccata: toccatas, including the ones in D major, BWV 912 (mm. 68-79 and 111-126), and e
Fig. 3.7: J. S. Bach, Toccata in d minor, BWV 913, mm. 124-126 d minor, BWV 913 (mm. 124-141) works. Here is an example from his d minor Toccata: used in Bach’s toccatas, particularly in the f-sharp minor, BWV 910 (mm. 108-126), and Troeger summarizes the variety and contrast found in Bach’s toccatas in the
Fig. 3.7: J. S. Bach, Toccata in d minor, BWV 913, mm. 124-126 d minor, BWV 913 (mm. 124-141) works. Here is an example from his d minor Toccata: used in Bach’s toccatas, particularly in the f-sharp minor, BWV 910 (mm. 108-126), and Troeger summarizes the variety and contrast found in Bach’s toccatas in the
Fig. 3.8: Buxtehude, Praeludium BuxWV 163, mm. 59-65 Praeludium BuxWV 163 compared with Bach’s f-sharp minor toccata:
Fig. 3.8: Buxtehude, Praeludium BuxWV 163, mm. 59-65 Praeludium BuxWV 163 compared with Bach’s f-sharp minor toccata:
Fig. 3.10: Buxtehude, Praeluditum BuxWV 163, mm. 1-6 arpeggiations, falling tri-tone motives, and broken-chord figurations: free material with their lengthy runs, bursts of thirty-second notes, tremolos,
Fig. 3.10: Buxtehude, Praeluditum BuxWV 163, mm. 1-6 arpeggiations, falling tri-tone motives, and broken-chord figurations: free material with their lengthy runs, bursts of thirty-second notes, tremolos,
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Organ And Historical Keyboards (E.G., Harpsichord)PianoJ S BachHistory of musicHistorically Informed Performance (HIP)Musical InterpretationTheory of musical interpretationClassical piano musicPiano PerformanceEarly Keyboard Instruments
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