What are the characteristics of Bach’s works? Many people are put off by Bach's works. In fact, as long as you master his characteristics, you will have more fun playing!
1. Speed: It is one of the most important factors in determining style. When playing uniform temperament, the speed should be consistent with the instrument of the time (fortepiano, etc.) and the period of the time (Baroque period). The eighteenth century was a period of slow rhythm. If we played this set of music very fast on the piano, it would obviously be inappropriate. So the playing of uniform temperament should be relatively slow.
2. Rhythm: Bach’s works are famous for their rigorous and steady rhythm. Since the work belongs to the music category of the Baroque period, it is not allowed to have free, sometimes slow and sometimes fast beats similar to those commonly used in Romantic performance techniques. Bach's works should be in a basic rhythm from beginning to end. But strictly speaking, there are two different forms of strict rhythm and free rhythm in Bach's works. The strict rhythm requires unified action from beginning to end. Don't be fast and slow. The other is a free and improvisational part. This part of the music highlights its virtuosic nature and therefore requires an appropriate free speed.
3. Line: This is another extremely important feature in Bach’s works. Before playing Bach's polyphonic works, we should have a preliminary design of the lines in our minds so that they can move naturally. Of course, the undulations of the music lines in the Baroque period cannot be as great as the undulations of the lines in Romantic music, but it must exist. The correct use of fast and slow will often give people a comfortable feeling, but misuse will make people bored. Just imagine, if we were to slow down every prelude and fugue at the end, it would be too dull. I think a singing, broad and fluent fugue is better than a pleasant and light fugue. The song is more suitable for slowing down at the end.
4. Voice: Uniform temperament is a polyphonic work, that is, a multi-part musical work. We need to practice these repertoires to make great progress in our ability to control voices with our fingers and distinguish voices with our ears. During learning, it is necessary to emphasize the clarity of the voice levels, with the theme voice being particularly prominent, while other voices should take a back seat to the theme voice, and fingers must be properly controlled. However, in control, each voice should be clear and complete. To achieve this, it is necessary to extract part of each layer of melody and practice it separately, so that the mind can maintain a clear understanding of each part, and then use a clear mind to direct the playing movements of the fingers.
5. Key touch: There are many different ways of touching keys on the piano, but when playing equal temperament, the touch keys should be consistent with the style of Bach's works. Generally speaking, in fast music, it is more appropriate to use non-legato or finger staccato to simulate the sonorous effect on the harpsichord. In slow lyrical singing music, the power must be transferred from the shoulders to the fingertips, the technique must be smooth, the connection between sounds must be even, the sound must be pressed against the keys, and the sound must be kept mellow and full, so as to obtain a simple and elegant sound. Sound effects.
6. Dynamic changes: Generally speaking, the dynamic changes in Bach’s works are relatively small and basically tend to be stable. But this does not rule out changes in intensity in some passages. In addition, the intensity of Bach's works should be modified according to the content and structure of the music, and the intensity should also be overall lightened. The famous German pianist Yoshizawa Jin said: "The dynamics of all Bach's works must be lowered by one level in proportion, never exceeding the medium strength, because the instruments at that time were very different from today...Bach's music must be very delicate. , pay attention to the subtle differences...the intensity must be layered." In any case, the clear pattern of strong and weak can never be used in all preludes and fugues.
7. Ornamentation: There are many kinds of ornamentation in Bach, including echo, reverse echo, vibrato, lower tone, upper tone, etc. They each have their own special playing method, and they can also be played according to their own personality. Judgment, there is a certain degree of freedom. Each grace note can often be played in several ways, and all are correct and acceptable. During the Baroque period, performers had to have a certain amount of freedom to use their imagination when playing the marked ornaments. When we play the music of the Baroque period today, we can also make changes within a certain range based on the rules summarized by our predecessors. This depends on our knowledge of the performance style and use of decorative sounds in a specific period, as well as good musical aesthetics. On the other hand, because the ornamentation that is suitable for the light and gentle tone of the fortepiano is not necessarily suitable for the thicker sound of the modern piano, Bach's ornamentation must not be played too fast, too strong, too broken or too gorgeous. .