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Preludeby John BullardDownload this Article.
This Prelude is from Suite #9 in d minor by Robert de Visee, a French composer living around the time of J.S. Bach. This Suite, like much of de Visee.s work, was written for the five course Baroque guitar. As with most music from the Baroque Era, the main characteristic of this prelude is counterpoint. Counterpoint is the compositional technique of using two or more melodic lines in an independent, yet supportive way. In this piece we have two distinct lines or "voices". The primary melody is found in the upper voice. The lower voice supports the upper one while maintaining its independence. Looking at the notation, we see that the upper voice is stems up and the lower is, for the most part, stems down. This is a good way to visualize the interplay between the two voices. The piece starts off with the upper voice alone in the first measure. In the second measure the lower voice enters and the counterpoint begins. Starting on the second eighth note of measure .ve, we .nd another common Baroque technique known as sequencing. Here the two voices trade repeated rhythmic and melodic motives while moving sequentially through related chords. The result is a question and answer between the two voices. The top voice comes in on the second half of beat one and lasts through the third beat. The lower voice comes in on beat four and lasts through the first half of beat one of the next measure. Thus, when counting eighth notes (i.e. "1 and 2 and 3 and 4 and"), the upper voice "question" occurs on "and two and three and" while the lower voice "answer" occurs on " four and one". This sequence lasts until the upper voice comes in on the second half of beat one in measure seven, though interplay between the voices continues through the end of the piece. In playing this piece, we need to highlight this interplay by bringing out each voice. This is accomplished by .rst being mentally aware of the two voices. This awareness will help to draw the voices out. Secondly, playing as many of the lower voice notes as possible on the fourth string helps give them a unified sound that differs from the upper voice which is played mostly the first and second string. Thirdly, we can pick most of the lower voice notes with the thumb as contrasted with the upper voice being played with the middle and index fingers. Applying these techniques brings out the contrapuntal character of the piece. In measure five on the fourth beat I recommend using the index .nger on the A and the ring finger on the F# followed by the pinky on the C. This allows for a nice shift to the ring and middle .ngers for the G and B natural. At the beginning of measure seven, the A should be played with the index finger while the middle .nger holds the F. Then as the shift is made up to the first inversion F chord, the middle finger moves up to the F on the second string sixth fret. I hope this helps with playing this prelude. You can find a recording of this and others on my CD "The Classical Banjo". Good luck!
Author
John Bullard has attracted international attention for his work in developing
and transcribing classical repertoire for the five-string banjo.
His critically acclaimed CD releases include "John Bullard -
The Classical Banjo" on the Dargason label, and "Bach on the
Banjo" on Albany Records. Mel Bay Productions published a
book of his classical banjo arrangements in 1998. His virtuoso
playing was the focus of a cover story and interview in the May
1993 issue of The Banjo Newsletter. John has been on the
faculty of the world-renowned Tennessee Banjo Institute along
with such luminaries as Pete Seeger and Bela Fleck. He has
performed throughout the United States and has been featured
on numerous radio and television programs. His involvement with Bluegrass music includes work with
New Appalachian Express, Virginia Rail, The Virginia Bluegrass Band, and many others. |
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