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"Gloria" Diary 2005(1)

On Saturday, November 19, 2005, the concert of "Gloria Ensemble and Choir Vol.13" will be performed. Here is the information of the concert. I belong this group as a harpsichord or organ player. The pieces in this year are Two "Magnificat"s by J.S.Bach and John Rutter! ... What are waiting for us ? Please read the following...

NOTE : I divide "Gloria Diary 2005" as the following;


May 15, 2005 Too slow starting

Chūn mián bùjuéxiăo(Slumbered in spring morning, and missed the dawn... From "Chūn-xiăo(Spring dawn)"  by Mèng Hào-rán)

You may want to say, "It is too late to start your diary in this year". Indeed. my action about this year's "Gloria" is too slow. I list the events about this year's "Gloria" which I joined to.

Let me explain about these two events simply. "Gloria" does not fix the members. This group invites the member newly in every year. It is important to communicate each other for the members in such situation. So the chorus opens starting ceremony and the orchestra starts its training with camping.

In such case, it is natural that "Drinking party" is to be included. So you can recognize that the events I joined are the event with drinking part only.

You may know that I wrote analysis of the music treated in the concert in part "Gloria" diary. But in this year, I do not still start the analysis or pre-reading of the music! Umm, I am too slow. Is it OK?


May 31, 2005 Basso continuo in J. S. Bach's "Quia fecit mihi magna"

J. S. Bach's "maginificat" has the piece with the words of "Quia fecit mihi magna qui potens est: et sanctum nomen eius."(He who is mighty has done great things for me, and holy is His name.) I, a keyboard player, must regard it to the most important piece to perform basso continuo. When I explain the reason, let me show the whole of this piece, "Quia fecit mihi magna".

["Quia fecit mihi magna" Page 1(Bach_Quia_fecit_O1.gif, 25.8KB)] ["Quia fecit mihi magna" Page 2(Bach_Quia_fecit_O2.gif, 23.4KB)]

Basso Continuo (or simply calling "continuo") consists of cello, contrabass, and organ. But the above music sheet does not reveal any notation of the right-hand part of organ. It should be add with improvisation. Adding harmony in right-hand part such like that is called "realization" of continuo.

"Realization" is usual things in playing basso continuo and it is not special for me. But in this music, it is remarkable that there are not any part but solo bass and basso continuo only. Even, sometimes solo bass takes rests and music becomes in basso continuo only. My "realization" plays relationally more important role comparing with other pieces including continuo. Additionally saying, it should be performed with improvisation and here are various ways to achieve it.

However, it is not so easy. The result of "realization" should have natural code progress and it should express the style of Bach's religious music. Unfortunately, I cannot say that I have enough ability to perform improvisation. So it is needed to make various example of "realization" beforehand.

The followings are a few examples which I made as trials.

Example 1: With emphasizing the sequence

  [MIDI]  [Download this MIDI file (Bach_Quia_fecit_mihi_magna_r1.mid, 12.7KB)]

Example 2: Using imitation in thematic sequence.

  [MIDI]  [Download this MIDI file (Bach_Quia_fecit_mihi_magna_r2.mid, 13.2KB)]

Example 3: It is eccentric (Bomb!) I assert that it is forbidden to play this type in official performance!(^^;) However, there are no changes of notes in "continuo" or "solo bass". Arbitrary saying, I would like to try it in concert performance(^^;).

  [MIDI]  [Download this MIDI file (Bach_Quia_fecit_mihi_magna_r3.mid, 13.7KB)]

We can other ways to "realize" it (but such ways as example 3 are of course out of our consideration.:P) I will try to find better way of "improvised realization" until the day of concert performance.


July 10, 2005 My First "Combined Training"

The first combined training already had been performed on June 19, but I could not attend it. So today is the first "combined training" for me. By the way, it is very hot and I am afraid that my brain would be boiled(^^;).High temperature and humidity prevent me to thinking or considering anything. The conductor Uttchy-san is wearing with Bermuda shorts. Oops! I should have to wear as him.

First piece of the training is J. S. Bach's Magnificat. It includes difficult passages mainly with sixteenth notes (semiquaver), especially in "No.7 Fecit potentiam". It is grand fugal development consists of the following subject and counterpoints.

[Thematic materians in "Fecit potentiam" Page 1(Bach_Fecit_potentiam_01.gif, 7.76KB)] [Thematic materians in "Fecit potentiam" Page 2(Bach_Fecit_potentiam_02.gif, 7.87KB)]

The subject is "bloody murder(^_^;)" of melisma. The chorus part encounter shambles.

But shambles is not only in chorus, but trumpet and flutes. From the 21th measure, they also play the subject of fugue. Especially for the trumpet player, it is difficult to play this measures. He also encounters "bloody murder"(^_^;).

[Subject on trumpet and flutes in "Fecit potentiam" Page 1(Bach_Fecit_potentiam_01.gif, 25.6KB)] [Subject on trumpet and flutes "Fecit potentiam" Page 2(Bach_Fecit_potentiam_02.gif, 27.8KB)]

Many satellites are surrounding of this brilliant thematic multiple star system. Continuo is beating to demonstrate "potentiam in brachio suo - power with his arm",

[Continuo in "Fecit potentiam" (Bach_Fecit_potentiam_05.gif, 2.65KB)]

while, other instruments or voices sounds fanfare to "fecit potentiam - accomplish power".

[Accompany with the word of "fecit potentiam" (Bach_Fecit_potentiam_06.gif, 23.7KB)]

J. S. Bach's technique of "express the meaning of the words with music" is clearly appeared. So it is natural that conductor Uttchy-san's indication saying, "The notes with 'fecit potentiam' words should not treated softly".

By the way, why can I say above things with confidence? J. S. Bach's music is familiar for me. And, additionally saying, I once played this music about 10 years ago. The only fact is that I have the experience. I should emphasize that I am poor for analyzing and performing music.

The above thing is easily proofed by the fact that I could not get good results for John Rutter's "Magnificat" where conductor is Mr. Kataoka. I feel that the most important things are rhythms, beats and tempos at present. But I cannot get the correct things of them. This music still confuses me -, not only me but most of us. The music of Rutter is so complex for us that we have to watch the music sheet carefully, and we cannot watch the indication from the conductor, Mr. Kataoka. In a word, we have not read the music sheet enough. The goal is far from us at present.


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