Conductor's Guide
Table of Conents
-Technical Information
-General Information
~Instrument Ranges
~Trouble Areas
-Musical Information
~Melody
~Harmony
~Rhythm
~Dynamics
-Suggested Listenings
-Related Readings and Resources
-About the Composer
-About the Arranger
-About the Composition
-Flow Chart for Prelude and Fugue in B-Flat Major
-Technical Information
-General Information
~Instrument Ranges
~Trouble Areas
-Musical Information
~Melody
~Harmony
~Rhythm
~Dynamics
-Suggested Listenings
-Related Readings and Resources
-About the Composer
-About the Arranger
-About the Composition
-Flow Chart for Prelude and Fugue in B-Flat Major
Technical Information
Key: B-Flat Major
Meter: cut time
Duration: 5:45
Tempo: Prelude-Moderato, Fugue-Tempo primo
Key: B-Flat Major
Meter: cut time
Duration: 5:45
Tempo: Prelude-Moderato, Fugue-Tempo primo
Trouble areas
*Working with flutes and piccolos on playing with nice intonation and controlled sound in high range above the staff in spots like m. 29-32, m. 39-41, and m. 50-53.
*Working with 1st Clarinets on producing a full, supported, yet calm and tranquil tone when going up to the high E above the staff
*Making sure clarinets and saxophones keep their hands close to the keys at spots where they are having to add or remove lots of keys at once (spots like m. 9 and m. 51 in particular)
*Working with 1st Horn on playing G on top of the staff with great air support and a warm, rich sound.
*Choosing appropriate articulation for players that captures the Baroque style of the fugue (no articulations are provided in the score)
*Maintaining subdivision and making sure students are subdividing in their heads to maintain a steady pulse through the cut time.
*Encouraging greater listening outside parts across ensemble to promote better intonation and greater ensemble cohesion within unison passages.
*Inclusion of only a timpani part leaves percussion section free for thoughts to wander and become distracting to rehearsal process. Keep them involved in rehearsal process by either rotating who plays timpani during rehearsals, having them play parts on mallet instruments, working with them in a chamber setting on other Baroque works including preludes, fugues, toccatas, and gigues.
Musical Elements
Melody
In the prelude, the main motivic idea is a simple eighth-note motif first appearing in the upper woodwinds in the first measure, later echoed by the lower woodwinds in the second measure to establish a call-and-response idea. This idea can be heard throughout the prelude as the motivic idea is sequenced through various keys and pitches, serving as a melodic element while propelling the music forward.
The subject of the fugue is first introduced in the oboes and clarinets in m. 59, followed by appearance of the counter-subject in the same voices starting in m. 64. While there are three distinct motivic elements that comprise the fugue, it is very important that they are cohesively grouped together to create an underlying sense of musical continuity and direction.
Harmony
Both the prelude and the fugue remain in the key of B-Flat Major. In the prelude, the a section starts out in B-Flat major and cadences on the dominant (F Major), while the b section begins and ends in B-Flat Major. The prelude employs sequencing throughout both sections to create a rich harmonic texture exploring different key areas. The fugue remains in B-Flat major for the entire duration, presenting tonal answers the subject first presented in m. 59 in the clarinets and one major counter-subject.
Rhythm
For the most part, the rhythmic figures in both the prelude and the fugue are not too challenging to intermediate level musicians. However, the one major difficulty will be feeling the cut time pulse at the slower tempo. The cut time rhythm established at the beginning of the prelude remains constant throughout the entire work with the only exceptions being the ritards at the end of the prelude and end of the fugue. While slower tempos are highly recommended for greater fluency and accuracy, its very important to not deviate into providing four subdivisions and instead work on developing a strong sense of internal subdivision.
Melody
In the prelude, the main motivic idea is a simple eighth-note motif first appearing in the upper woodwinds in the first measure, later echoed by the lower woodwinds in the second measure to establish a call-and-response idea. This idea can be heard throughout the prelude as the motivic idea is sequenced through various keys and pitches, serving as a melodic element while propelling the music forward.
The subject of the fugue is first introduced in the oboes and clarinets in m. 59, followed by appearance of the counter-subject in the same voices starting in m. 64. While there are three distinct motivic elements that comprise the fugue, it is very important that they are cohesively grouped together to create an underlying sense of musical continuity and direction.
Harmony
Both the prelude and the fugue remain in the key of B-Flat Major. In the prelude, the a section starts out in B-Flat major and cadences on the dominant (F Major), while the b section begins and ends in B-Flat Major. The prelude employs sequencing throughout both sections to create a rich harmonic texture exploring different key areas. The fugue remains in B-Flat major for the entire duration, presenting tonal answers the subject first presented in m. 59 in the clarinets and one major counter-subject.
Rhythm
For the most part, the rhythmic figures in both the prelude and the fugue are not too challenging to intermediate level musicians. However, the one major difficulty will be feeling the cut time pulse at the slower tempo. The cut time rhythm established at the beginning of the prelude remains constant throughout the entire work with the only exceptions being the ritards at the end of the prelude and end of the fugue. While slower tempos are highly recommended for greater fluency and accuracy, its very important to not deviate into providing four subdivisions and instead work on developing a strong sense of internal subdivision.
Suggested Listenings
Bach, J.S.: Great Organ Works. Peter Hurford, organ. Decca. 1995.
Bach: Organ Works, Vol. 3. Piet Kee, organ. Chandos. 1992.
The Pachabel Canon-The Canadian Brass Plays Great Baroque Music. Canadian Brass. RCA. 1992
Prelude and Fugue in B-Flat Major. Arranged by Roland L. Moehlmann. Teaching Music Through Performance in Band, Volume 1, Grade 3. The University of North Texas Wind Symphony. Euguene Migliaro Corporon, conductor. GIA Publications CD-418. 1997
Passacaglia and Fugue in C minor, BWV 582. Arranged by Donald Hunsberger. Fennell Favorites. Dallas Wind Symphony, Frederick Fennell, conductor. Reference Recording RR 43. 1993.
Toccata and Fugue in D minor, BWV 565. Arranged by Donald Hunsberger. Live in Osaka. Eastman Wind Ensemble, Donald Hunsberger, conductor. Sony Classical, SK 47198. 1992.
Related Readings and Resources
Bach, Johann Sebastian. Eight little Preludes and Fugues formerly ascribed to Bach, BWV 553-560. Kassel, Basel, London, New York, Praha: Bärenreiter, 1987.
Johann Sebastian Bach. WIMA: Werner Icking Music Archive-WIMA. 2008.
http://icking-music-archive.org/ByComposer/J.S.Bach.php#bach553
Teaching Music Through Performance in Band, Volume 1. Larry Blocher, Eugene Migliaro Corporon, Ray Cramer, Tim Lautzenheiser, Edward S. Lisk, Richard Miles. GIA Publications. Chicago, IL . 1999.
“Johann Sebastian Bach.” Wikipedia. 2010.
http://en.wikipedia.org/wiki/Johann_Sebastian_Bach
“8 Short Preludes and Fugues.” Wikipedia. 2010
http://en.wikipedia.org/wiki/Eight_Short_Preludes_and_Fugues
“Bach-Werke-Verzeichnis (BWV).” Wikipedia. 2010
http://en.wikipedia.org/wiki/Bach-Werke-Verzeichnis
Bach, J.S.: Great Organ Works. Peter Hurford, organ. Decca. 1995.
Bach: Organ Works, Vol. 3. Piet Kee, organ. Chandos. 1992.
The Pachabel Canon-The Canadian Brass Plays Great Baroque Music. Canadian Brass. RCA. 1992
Prelude and Fugue in B-Flat Major. Arranged by Roland L. Moehlmann. Teaching Music Through Performance in Band, Volume 1, Grade 3. The University of North Texas Wind Symphony. Euguene Migliaro Corporon, conductor. GIA Publications CD-418. 1997
Passacaglia and Fugue in C minor, BWV 582. Arranged by Donald Hunsberger. Fennell Favorites. Dallas Wind Symphony, Frederick Fennell, conductor. Reference Recording RR 43. 1993.
Toccata and Fugue in D minor, BWV 565. Arranged by Donald Hunsberger. Live in Osaka. Eastman Wind Ensemble, Donald Hunsberger, conductor. Sony Classical, SK 47198. 1992.
Related Readings and Resources
Bach, Johann Sebastian. Eight little Preludes and Fugues formerly ascribed to Bach, BWV 553-560. Kassel, Basel, London, New York, Praha: Bärenreiter, 1987.
Johann Sebastian Bach. WIMA: Werner Icking Music Archive-WIMA. 2008.
http://icking-music-archive.org/ByComposer/J.S.Bach.php#bach553
Teaching Music Through Performance in Band, Volume 1. Larry Blocher, Eugene Migliaro Corporon, Ray Cramer, Tim Lautzenheiser, Edward S. Lisk, Richard Miles. GIA Publications. Chicago, IL . 1999.
“Johann Sebastian Bach.” Wikipedia. 2010.
http://en.wikipedia.org/wiki/Johann_Sebastian_Bach
“8 Short Preludes and Fugues.” Wikipedia. 2010
http://en.wikipedia.org/wiki/Eight_Short_Preludes_and_Fugues
“Bach-Werke-Verzeichnis (BWV).” Wikipedia. 2010
http://en.wikipedia.org/wiki/Bach-Werke-Verzeichnis
About the Composer
Johann Sebastian Bach (J.S. Bach) (March 21, 1685–July 28, 1750) was a German composer, organist, harpsichordist, violist, and violinist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroqueperiod and brought it to its ultimate maturity. Although he did not introduce new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivaled control of harmonic and motivic organization, and the adaptation of rhythms, forms and textures from abroad, particularly from Italy and France.
Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognized as a great composer until a revival of interest and performances of his music in the first half of the 19th century. Bach was best known during his lifetime as an organist, organ consultant, and composer of organ works in both the traditional German free genres--such as preludes, fantasias, and toccatas--and stricter forms, such as choral preludes and fugue.
He established a reputation at a young age for his great creativity and ability to integrate foreign styles into his organ works. Early in his career, he served as the church organist in Arnstadt and Mühlhausen, where he began composing many of his organ works and cantatas. In 1708, Bach became the court organist in Weimar, where he had the opportunity to play and compose for the organ, as well as perform a varied repertoire of concert music with the duke's ensemble. From 1717-1723, he served as Kappellmeister of the court orchestra of Prince Leopold in Cöthen. A kappellmeister was director of music for a monarch or nobleman, in Bach's case it was the court of Prince Leopold of Cöthen. While here, Bach composed the Brandenburg Concerti, the first part of The Well-Tempered Clavier, sonatas and partitas for solo violin, the six cello suites, along with many other works. Following his service in the court of Prince Leopold, Bach spent the remaining years of his life serving as the cantor of St. Thomas' church in Leipzig. His main responsibility was to provide church music on Sundays and important holidays, which led to a massive output of musical works on his part. These works included the St. John and Matthew's passions, the Mass in B minor, the Goldberg Variations, the second part of The Well-Tempered Clavier, the Art of Fugue, and hundreds of cantatas.
About the Arranger
Roland L. Moehlmann (1907-1972) was a well-respected band leader and arranger. He studied music in Madison, Wisconsin and at the Hochschule fur Musik in Berlin, Germany. Moehlmann settled in Cedar Rapids, Iowa, as a full time instrumental music teacher for the Cedar Rapids Community School District. In the early 1930’s he began writing a series of band transcriptions of J.S. Bach's Preludes and Fugues.
After returning from military service in World War II, Moehlmann decided the city needed a band to play free public concerts. He organized a band using veteran musicians from the VFW Band along with students from the city schools into what was called "city band." After several successful summer seasons, the town re-organized and enlarged made the group into a city-funded year-round ensemble in 1951, re-naming it "The Cedar Rapids Municipal Band.”
In June 1951, the new Cedar Rapids Municipal Band played its first concert under the direction of Roland L. Moehlmann, who served as director until 1967. In the 1960's, he transcribed and published band arrangements of music by composers such as Mozart and Dvorak. He also wrote many band accompaniments for soloists who performed with the Cedar Rapids Municipal Band. Today, around 125 of his unpublished manuscripts exist. Many of these have been rented out and performed all over the United States.
About the Composition
Prelude and Fugue in B-Flat Major is a transcription of J.S. Bach's Prelude and Fugue in C Major, BWV 553 for organ. A transcription is defined by Merriam-Webster as an arrangement of a musical composition for some instrument or voice other than the original. However, strictly speaking, a transcription differs from an arrangement in that transcriptions are faithful adaptations, whereas arrangements change significant aspects of the original piece. While organized choirs, orchestras, and other instrumental ensembles have been around for centuries, organized concert bands have only been around for over 100 years, there is very little original literature from before the turn of the 20th Century. With the lack of original music for early concert bands, band directors would transcribe orchestral, choral, and instrumental works to play in a wind band setting.
In 1950, Wolfgang Schmieder developed a numbering system to catalog all of the works Johann Sebastian Bach. This system, known as the Bach-Werke-Verzeichnis (BWV), was different than numbering systems for other composers in that it assigned BWV #'s based on the genre of composition (thematic) rather than when it was published (chronological). In other words, a low BWV # does not necessarily indicate that it is an early work of J.S. Bach. Prelude and Fugue in C Major, which Roland L. Moehlmann transcribed into Prelude and Fugue in Bb Major, is BWV 553, meaning its falls under the category of Preludes & Fugues, Toccatas & Fugues, Fantasias & Fugues, and Pascaglias & Fugues for Organ (BWV 531-582). Specifically, Prelude and Fugue in C Major, BWV 553 is the first in a collection of 8 preludes and fugues for keyboard and pedal entitled Acht Kleine Praeludien und Fugen (“Eight Short Preludes and Fugues.”) While this collection was originally attributed to J.S. Bach, many scholars now believe these works were composed by Johann Tobias Krebs (b. July 7, 1690 – d. February 11, 1762), a German composer and distinguished organist who was a pupil of J.S. Bach from 1714-1717. However, even though these works are no longer attributed to Bach, they still remain a part of the BWV catalog, as well as other spurious works that have been disassociated from J.S. Bach.
The work itself was arranged by Moehlmann in 1955 while he was serving as the director of the Cedar Rapids Municipal Band. His arrangement has been written in the key of B-flat major and written at a slower tempo to allow for greater access to intermediate performers. As given by the title, the work is divided between a prelude and a fugue. Both of these genres have existed independently since the Renaissance. However, during the latter part of the Baroque era, several prominent composers combined these two contrasting genres to create a richer tapestry of sound, including Johann Sebastian Bach. The prelude is composed in binary form and present a simple motif featuring sequences of figures first heard in the upper woodwind voices in m. 1. This figure is then echoed by a chorus of lower woodwind and brass voices, creating a call-and-response texture commonly present in organ preludes. The fugue is short, presenting a six-measure subject starting in the oboes and clarinets at m. 59 that progresses through the ensemble in four main groups of voices in a texture of subjects, counter-subjects, and tonal answers.
Johann Sebastian Bach (J.S. Bach) (March 21, 1685–July 28, 1750) was a German composer, organist, harpsichordist, violist, and violinist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroqueperiod and brought it to its ultimate maturity. Although he did not introduce new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivaled control of harmonic and motivic organization, and the adaptation of rhythms, forms and textures from abroad, particularly from Italy and France.
Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognized as a great composer until a revival of interest and performances of his music in the first half of the 19th century. Bach was best known during his lifetime as an organist, organ consultant, and composer of organ works in both the traditional German free genres--such as preludes, fantasias, and toccatas--and stricter forms, such as choral preludes and fugue.
He established a reputation at a young age for his great creativity and ability to integrate foreign styles into his organ works. Early in his career, he served as the church organist in Arnstadt and Mühlhausen, where he began composing many of his organ works and cantatas. In 1708, Bach became the court organist in Weimar, where he had the opportunity to play and compose for the organ, as well as perform a varied repertoire of concert music with the duke's ensemble. From 1717-1723, he served as Kappellmeister of the court orchestra of Prince Leopold in Cöthen. A kappellmeister was director of music for a monarch or nobleman, in Bach's case it was the court of Prince Leopold of Cöthen. While here, Bach composed the Brandenburg Concerti, the first part of The Well-Tempered Clavier, sonatas and partitas for solo violin, the six cello suites, along with many other works. Following his service in the court of Prince Leopold, Bach spent the remaining years of his life serving as the cantor of St. Thomas' church in Leipzig. His main responsibility was to provide church music on Sundays and important holidays, which led to a massive output of musical works on his part. These works included the St. John and Matthew's passions, the Mass in B minor, the Goldberg Variations, the second part of The Well-Tempered Clavier, the Art of Fugue, and hundreds of cantatas.
About the Arranger
Roland L. Moehlmann (1907-1972) was a well-respected band leader and arranger. He studied music in Madison, Wisconsin and at the Hochschule fur Musik in Berlin, Germany. Moehlmann settled in Cedar Rapids, Iowa, as a full time instrumental music teacher for the Cedar Rapids Community School District. In the early 1930’s he began writing a series of band transcriptions of J.S. Bach's Preludes and Fugues.
After returning from military service in World War II, Moehlmann decided the city needed a band to play free public concerts. He organized a band using veteran musicians from the VFW Band along with students from the city schools into what was called "city band." After several successful summer seasons, the town re-organized and enlarged made the group into a city-funded year-round ensemble in 1951, re-naming it "The Cedar Rapids Municipal Band.”
In June 1951, the new Cedar Rapids Municipal Band played its first concert under the direction of Roland L. Moehlmann, who served as director until 1967. In the 1960's, he transcribed and published band arrangements of music by composers such as Mozart and Dvorak. He also wrote many band accompaniments for soloists who performed with the Cedar Rapids Municipal Band. Today, around 125 of his unpublished manuscripts exist. Many of these have been rented out and performed all over the United States.
About the Composition
Prelude and Fugue in B-Flat Major is a transcription of J.S. Bach's Prelude and Fugue in C Major, BWV 553 for organ. A transcription is defined by Merriam-Webster as an arrangement of a musical composition for some instrument or voice other than the original. However, strictly speaking, a transcription differs from an arrangement in that transcriptions are faithful adaptations, whereas arrangements change significant aspects of the original piece. While organized choirs, orchestras, and other instrumental ensembles have been around for centuries, organized concert bands have only been around for over 100 years, there is very little original literature from before the turn of the 20th Century. With the lack of original music for early concert bands, band directors would transcribe orchestral, choral, and instrumental works to play in a wind band setting.
In 1950, Wolfgang Schmieder developed a numbering system to catalog all of the works Johann Sebastian Bach. This system, known as the Bach-Werke-Verzeichnis (BWV), was different than numbering systems for other composers in that it assigned BWV #'s based on the genre of composition (thematic) rather than when it was published (chronological). In other words, a low BWV # does not necessarily indicate that it is an early work of J.S. Bach. Prelude and Fugue in C Major, which Roland L. Moehlmann transcribed into Prelude and Fugue in Bb Major, is BWV 553, meaning its falls under the category of Preludes & Fugues, Toccatas & Fugues, Fantasias & Fugues, and Pascaglias & Fugues for Organ (BWV 531-582). Specifically, Prelude and Fugue in C Major, BWV 553 is the first in a collection of 8 preludes and fugues for keyboard and pedal entitled Acht Kleine Praeludien und Fugen (“Eight Short Preludes and Fugues.”) While this collection was originally attributed to J.S. Bach, many scholars now believe these works were composed by Johann Tobias Krebs (b. July 7, 1690 – d. February 11, 1762), a German composer and distinguished organist who was a pupil of J.S. Bach from 1714-1717. However, even though these works are no longer attributed to Bach, they still remain a part of the BWV catalog, as well as other spurious works that have been disassociated from J.S. Bach.
The work itself was arranged by Moehlmann in 1955 while he was serving as the director of the Cedar Rapids Municipal Band. His arrangement has been written in the key of B-flat major and written at a slower tempo to allow for greater access to intermediate performers. As given by the title, the work is divided between a prelude and a fugue. Both of these genres have existed independently since the Renaissance. However, during the latter part of the Baroque era, several prominent composers combined these two contrasting genres to create a richer tapestry of sound, including Johann Sebastian Bach. The prelude is composed in binary form and present a simple motif featuring sequences of figures first heard in the upper woodwind voices in m. 1. This figure is then echoed by a chorus of lower woodwind and brass voices, creating a call-and-response texture commonly present in organ preludes. The fugue is short, presenting a six-measure subject starting in the oboes and clarinets at m. 59 that progresses through the ensemble in four main groups of voices in a texture of subjects, counter-subjects, and tonal answers.