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Bach’s Fantasia in G Major
A Section by Section Interpretation, and Consultation
By
Robyn L. Wilkes
There are two important pieces of analysis which already exist on this remarkable transcription. Both are indispensable to aiding in the comprehension, teaching, and decision making process in preparing this piece, yet neither present the ultimate tool of understanding the intricacies of the work: a full, corrected, and analyzed score.
Barry Kopetz did an comprehensive article in the August 1993 issue of the Instrumentalist in which he covers the history of the original composition; a section by section suggestion for rehearsal techniques, conducting techniques, and important chordal/phrasal points to bring out and/or adjust; a description of Baroque ornamentation with suggestions where to add them in the piece; and a part errata list. Kopetz’s article is a must-read for those in rehearsal preparation of this piece. It clarifies ambiguity between parts, proposes dynamic adjustments for balance corrections, highlights wrong notes in parts, labels many of the deceptive cadences, and provides creative transition ideas from section to section. Kopetz also acknowledges the limitations of the condensed score provided for this work, “The score to the transcription has many problems typical of all condensed scores, and directors should study each part before the first rehearsal.” (Kopetz, 25)
The first volume of Teaching Music Through Performance in Band compiled and edited by Richard Miles includes a more abridged analysis of the transcription. As with all the Teacher Resource Guides in this series, it includes units on the composer, composition, historical perspective, technical considerations, stylistic considerations, musical elements, form and structure, suggested listening, and additional references and resources. The composer unit includes a seven line synopsis of Bach’s life which covers his birth date, three main jobs, and list of keyboard instruments for which he wrote. Like the Kopetz article, the Teaching Music Through Performance in Band “composition” unit entry tells specifically how the band transcription is the inner portion of a larger, 3-part work for organ. The unknown author gives the reader necessary information on where to find the original organ piece and concludes this unit with reasons why this organ work “lends itself well to the sound and sonority of the modern wind band.” (Miles 247)
Information covered by the Teaching Music Through Performance in Band entry that is not covered by the Kopetz article can be found in Unit 3: Historical Perspective. The author writes that this transcription by Richard Franko Goldman and Robert L. Leist “was undertaken as a memorial to Edwin Frank Goldman, who was the first bandmaster to include the works of Bach regularly in the band’s concert repertoire, and who did so much to introduce the music of this great master to wide popular audiences.” (Miles 248) The reader also learns that the first performance of the transcription was on July 1, 1957, with Richard Franko Goldman conducting The Goldman Band. The next three units in the entry (Technical Considerations, Stylistic Considerations, and Musical Elements) describe the difficulty of playing in the concert G tonal center, the high range demand on the trumpet part, the limited rhythmic challenges of the piece, achieving the concept of the ensemble performing like an organ, and the difference between feeling the piece in 2/2 (alla breve) versus 4/4. Kopetz suggests conducing the piece in cut time, but this author writes, “...there is no reason why the conductor may not perform the work as 4/4 since many will feel a more comfortable pulse in four...” (Miles 248)
Both articles deal with the issues of resolving suspension chords at cadences, although Kopetz is much more detailed regarding this concept than the Teaching Music Through Performance in Band entry. Deceptive cadences, transitions between rehearsal letters, and suggestions for dynamic changes are addressed by Kopetz with proposals offered to help produce a better performance. By combining the information in these two articles with my own experience rehearsing an ensemble for festival preparation on this piece, I will outline a section by section analysis complete with tonal center and key relationships, errata in parts, suggestions for better balance, points of interest that should be brought out in the music, pitfalls of which to be careful, and other original teaching concepts.
Beginning to Letter A
Tonal center: G Major
Errata in parts: Piccolo m. 11, add slur between eighth notes on beat 2
2nd Clarinet, m. 11, change 2nd eighth note on beat 2 from D to B
Bari Sax, m. 1, change accent to ^
Horn 1, m. 5, remove breath mark from part
Horn 4, m. 8, add slur to the eighth notes on beat 2
1st Cornet, m. 10, remove slur from beat 2 to 3
Trumpet 1/2-Add accent on first note
Euphonium, m. 12, add slur to downbeat of m, 13 to match bassoon part.
TC Euphonium, m.12, remove the diminuendo, it is not present in the other parts.
Tuba, m. 1, change accent to ^
String bass, m. 1, add ^ to first note
Suggestions for better balance, Points of interest, Pitfalls of which to be careful, Other teaching concepts:
Depth and weight of sound on the first note will set the tone for the opening section. Bass drum and timpani will add much power, but the timpani must be tuned perfectly to establish the center of pitch. Throughout the whole piece, all parts that are a half note or longer need to come down in volume so that other parts that are a quarter note or shorter can be heard. The audience must be able to hear all moving lines in this work. The alto clarinet, alto sax, tenor sax, horn, and trombone quarter notes in the opening measure are glorious and must have the conductor’s full attention. All moving quarter notes after that should be brought to the fore. In m. 8, the eighth notes are of the utmost importance. Treat the eighth notes on beat 2 in the tenor sax, horns, and trombones as a lead in and hand off to the eighth notes on beats 3 and 4 in the piccolo, 1st flute, 1st oboe, 2nd clarinet, and 1st cornet. All six of these notes must have forward motion while the second eighth note of each group should be performed stronger and with more presence. Make sure there are advanced enough players assigned to the trumpet part to handle the split part from mm. 4-13. Take care not to let the mordent at m. 11 stick out of the texture too much or be too forced and rushed. Work diligently with the piccolo, 1st flute, 1st and 2nd oboe, 2nd clarinet, and 1st cornet to ensure that those players understand the concept of the ornament and the role it plays in the texture. Although the C#-D half notes from mm. 12-13 seem like they are the most important, take extra rehearsal time to bring out the quarter note at the end of m. 12 in the 2nd flute, e-flat clarinet, 3rd clarinet, 2nd cornet, and 2nd trumpet so that it will not be covered. They have the last word in the first statement! Kopetz suggests several dynamic additions including a diminuendo in mm. 5-6 and a crescendo in mm. 9-10. He also recommends that “a small ritardando and diminuendo during the deceptive cadence into A makes the passage more musical.” (Kopetz 26)
Letter A to B
Tonal center: Starts in G Major, Ends in D Major
Errata in parts: Piccolo, m. 15, add “p” dynamic marking
1st Flute, m. 21, add slur from beat 1 to 2
1st Flute, m. 21, add tenuto mark to beat 2
1st Oboe, m. 21, add slur from beat 1 to 2
2nd Bassoon, m. 21, change quarter note rest to half note rest
1st Alto Sax, m. 13, change dynamic marking to “p”
Bari Sax, m. 21, change dotted-quarter note to half note
1st Trombone, m. 21, add “ff” dynamic marking
Euphonium, mm. 20-21, move “ff” marking to beat 1 of m. 21
Tuba, mm. 18-20, add crescendo
Tuba, mm. 20-21, move “ff” marking to beat 1 of m. 21
Suggestions for better balance, Points of interest, Pitfalls of which to be careful, Other teaching concepts:
To achieve a true piano dynamic at A, consider reducing the number of players to one on a part until m. 18. The descending quarter note line, beginning on beat two, should be the primary concern in this section. It is passed from instrument to instrument in each successive measure starting in m. 13 with the 1st bassoon, alto clarinet, 1st alto sax, tenor sax, and euphonium; m. 14 in 1st oboe, e-flat clarinet, and 1st clarinet; m. 15 with 1st flute, 2nd flute, 2nd oboe, 2nd clarinet, 3rd clarinet, alto clarinet, 1st alto sax, and 2nd horn; and concludes in m. 16 with 1st bassoon, tenor sax, 2nd trombone, and euphonium. From there, the character, dynamic, and focus changes allowing the full ensemble to reenter with triumph. Measure 19 is of particular importance as the piccolo, e-flat clarinet, solo clarinet, alto clarinet, 1st alto sax, and 1st cornet must be careful to neither rush to get to the sixteenth notes, nor rush the sixteenth notes once they are there. The performers should take their time with the dotted-quarter note and spread the sixteenth notes as far apart as they will go. Next, the conductor’s attention must turn to the 1st flute, 1st oboe, 1st clarinet, 2nd alto sax, 2nd cornet, and 1st horn as they lean on their suspension on the down beat of m. 21 and resolve to the D Major chord with great care and timing. Those that play a half note on beat 3, must not clip their quarter note on beat 2 in order to execute the next phrase. The timpanist will need much encouragement to execute his change of pitch on the exact down beat of m. 21. Hold back on the crescendo until beats 2,3, and 4 of m. 20 for the most effect. Kopetz recommends adding a slight ritardando in m. 20 to prepare the authentic cadence in the key of D.
Letter B to C
Tonal center: E minor / B minor
Errata in parts: 2nd Flute, mm. 30-31, add a tie over the barline
2nd Flute, m. 31, add slur from beat 1 to 2
Bass Clarinet, m. 22, add “mf” dynamic
1st Alto Sax, m. 31, add tenuto mark to beat 2 quarter note
Suggestions for better balance, Points of interest, Pitfalls of which to be careful, Other teaching concepts:
The only brass part written in this section is the tuba. This part is covered in the 2nd bassoon, bass clarinet, bari saxophone, and string bass so if the ensemble has players in those woodwind sections that are strong enough to cover it, consider taking the tuba and string bass part out until m. 31 in order to get a true woodwind choir sound. The conductor may also consider thinning the rest of the ensemble to one or two on a part. If so, keep plenty of players on the 1st flute, 2nd oboe, solo clarinet, and 3rd clarinet parts to cover the moving eighth notes in m. 25. Kopetz suggests adding a crescendo in that measure to bring out the resolution of the third inversion F#7 chord to the B minor triad. The descending quarter note motive heard in section A is also prevalent in section B. Take care that each instrument knows when they have this line and is consciously bringing it out of the texture. Once again, the 4-3 suspension in m. 31 in the 2nd flute, 1st clarinet, 1st alto sax, and tenor sax should be brought out with a slight crescendo over the bar line and a legato quarter note on beat 2. The elision of the brass entrances in m. 31 to begin the C phrase should be the conductor’s next concern. The half note should not cover up the moving quarter notes in the 3rd cornet, trumpets, and horns. Kopetz adds, “...the entry of the cornets, trumpets, and all horns calls for dynamic contrast to support the change back to G major.” (Kopetz 26)
C to D
Tonal center: G Major
Errata in parts: 2nd Flute, mm. 34-36, add accents to match 2nd clarinet and trumpet parts
2nd Bassoon, m. 40, remove accent on beat 3
2nd Cornet, m. 32, Add rehearsal mark C to part
3rd Horn, m. 40, change “ff” mark to “f”
Suggestions for better balance, Points of interest, Pitfalls of which to be careful, Other teaching concepts:
If forces had been reduced in the previous section, consider doubling those forces for this section. The thicker scoring constitutes a few more players, but always keep intonation in this key of utmost importance. Balance between the 1st flute, 1st oboe and 2nd cornet parts on the descending quarter note motive is essential in m. 32 and again, those that continue that pattern in mm. 33-34 must take care that the line is at the forefront of the musical texture. The timpani part from mm. 33-34 should be brought out by the conductor with the timpanist putting extra effort into beat 1 and 2 in m. 34. The piccolo entrance at m. 34 is doubled and harmonized by the 1st flute, 1st oboe, solo clarinet, 1st clarinet, 3rd clarinet, 1st cornet, and 2nd cornet. Kopetz recommends adding a crescendo to these parts to bring out the contrary motion from the descending quarter notes in low voices such as bassoon, saxes, and low brass.
Measure 38 in the 1st flute, 1st oboe, 1st clarinet, and 2nd cornet should be performed with great confidence and presence. Release the tie on beat one and add an accent to the upbeat to ensure proper and precise rhythm. The ensembles’ next challenge occurs in m. 39 in the tenor sax, 1st trombone, 2nd trombone, and euphonium part with a sequence of four eighth notes. Kopetz suggests a slight ritardando in order to bring out this moving line. I found that to be helpful, but also encouraged our students to put more emphasis on the second and fourth eighth notes to bring out the half step interval. Make sure each player (particularly trombones) finds the concert C# with their ears before they produce the sound. The tendency is to be very sharp on this pitch, so a little ear training will go a long way for this measure. At the conclusion of those eighth notes, the conductor should turn his attention to the 1st flute, 1st oboe, 1st bassoon, 2nd bassoon, 1st clarinet, bass clarinet, bari sax, 2nd cornet, 3rd trombone, tuba, string bass, and timpani who have a very important quarter note on beat 4 of m. 39. This dominant-seventh to tonic motion in the key of G would be the final moment of repose in this section, but Bach adds another 4-3 suspension to this cadence, transcribed in the 2nd flute, 2nd oboe, e-flat clarinet, 2nd clarinet, alto clarinet, 1st alto sax, 3rd cornet, and trumpet. These players must crescendo over the bar line and lean on beat one to execute a proper resolution to beat two. Kopetz points out that the 2nd horn, 3rd horn (he actually prints 4th horn, but it is indeed the 3rd horn part), and 2nd trombone part have a concert B printed on beat 2 of m. 40. The question he puts forth to the conductor is whether that beat 2 is part of the resolution from the C section (it is the same note to which the suspension resolves), or a one beat elision into the D section. His solution is to have the 2nd/3rd horns and 2nd trombones delete this note from their part and start the next section on beat 3. This would coincide with the 1st clarinet, tenor sax, and 1st trombone parts. When rehearsing this piece, study this measure carefully, use all available information from the parts/score/original work, practice it both ways, and make a decision that is best suited for the ensemble.
D to E
Tonal center: A minor
Errata in parts: 1st Flute, m. 48, add accent on beat 3
1st Oboe, m. 48, add accent on beat 3
2nd Oboe, m. 48, add accent on beat 3
1st Bassoon, m. 43, add “mf” dynamic on beat 2
2nd Bassoon, m. 43, add “mf” dynamic on beat 2
1st Clarinet, m. 45, remove extra tie on the part
Alto Clarinet, m. 48, add a breath mark between beats 3 and 4
1st Alto Sax, mm. 41-42, add slur to match 1st horn part
Tenor Sax, m. 48, remove double slur on beat 4
Bari Sax, m. 43, add “mf” dynamic on beat 2
1st Cornet, mm. 47-48, remove the slur so the part matches the 2nd clarinet
2nd Cornet, m. 43, change the dynamic to “mp” on beat 1
2nd Cornet, m. 47-48, remove the slur so the part matches the 2nd clarinet
Baritone T.C., m. 41, add a breath mark after beat 1 (part only)
Baritone B.C. and T.C., mm. 41-42, add slur from beat 2 in m. 41 to beat 3 in m.
42 to match bassoon and bari sax
Suggestions for better balance, Points of interest, Pitfalls of which to be careful, Other teaching concepts:
Two beats before D, reduce the forces back to one on a part and ensure the ensemble executes a decrescendo into m. 41. Careful intonation practice will be needed by the solo clarinet, 1st alto sax, and 1st horn from mm. 41-42. The can be amazingly beautiful or excruciatingly painful depending on the level of listening by those three performers across the ensemble. The moving quarter notes in 1st/2nd bassoon, bari sax, and euphonium should be played strongly and lead the musical line into m. 42. The eighth notes on beat 2 in the 2nd clarinet, 4th horn, and 3rd trombone should be brought out of the texture and handed off to the solo and 1st clarinet who conclude the eighth note line on beats 3 and 4. These eighth notes are marked “mp,” but will need to be played much stronger to be heard over the many half notes sounding at the same time. The supporting half notes will want to bring their dynamics down while the clarinets playing the eighth notes will need to bring their dynamics up.
As with all chorale like pieces, notes with accidentals should be played stronger than other notes sounding at the same time. Measures 43-47 are good examples where this technique will help the music move forward. In addition to the accidentals, the ensemble should bring out all descending quarter notes and the very important eighth notes on beat 2 in m. 46 in the solo and 1st clarinet. This section concludes with a 4-3 suspension sounded in the 2nd clarinet, 1st cornet, and 2nd cornet part. Pay particular attention to the brass here, as their phrase lasts one beat longer than the woodwinds and the tuba/string bass lasts the entire measure. They will need to shape the end of their phrase into the beginning of the E phrase, which is woodwind dominated. Kopetz suggests a “small amount of ritardando and diminuendo helps during the V7-i cadence in the key of A minor in measures 47 and 48.” (Kopetz 27)
E to F
Tonal center: G Major moving to E minor
Errata in parts: Solo Clarinet, m. 53, remove accent from beat 3
1st Clarinet, mm. 55-56, remove slur from beat 4 to beat 1
Alto Clarinet, m. 57, remove the natural sign from the C# on beat 3
Euphonium, m. 54, add “mp” dynamic on beat 1
Euphonium, m. 59, remove the slur from beat 1 to 3
Tuba, mm. 55-56, tuba part has cues for bassoon/bari sax part, the slur mark is not
present in the cues, add a slur from beat 2 in m. 55 to beat 3 in m. 56.
Suggestions for better balance, Points of interest, Pitfalls of which to be careful, Other teaching concepts:
The first five measures of this phrase are written for woodwinds only. The euphonium entrance in m. 54 doubles the tenor sax, 3rd clarinet, and alto clarinet part, but keep the woodwind texture in the forefront. In addition to the descending quarter note line being always prominent, encourage the 3rd clarinets, alto clarinet, and tenor sax to play their eighth notes in mm. 48-49 very strong and with presence. Although the piccolo entrance in m. 53 on beat 3 can be difficult to add into the texture, encourage the performer with a confident cue and practice several ear training exercises to match pitch between the piccolo, 1st flute, and solo clarinet. This same group should put extra emphasis on the half step motion in m. 55 between beats 2 and 3. The bass line in the bassoons, bass clarinet, and bari sax needs the most attention in m. 56 when they play eighth notes on beat 2. Bring out the 2nd eighth note to emphasize the V-I motion in D (secondary dominant). The conductor’s attention should turn next to the 3rd clarinet, alto clarinet, tenor sax, and euphonium in m. 57 who also execute the same half step motion as in m. 55 from beats 2 to 3. Two more important events happen before this phrase concludes. First is the 1st cornet entrance on beat 3 in m. 58 which doubles the piccolo, 1st flute, and 1st clarinet part and provides a bridge from the all woodwind texture of E to the all brass texture of F. The last event occurs on beat 2 in m. 59. As much as the eighth notes in the 2nd flute, e-flat clarinet, 1st clarinet, and 1st alto sax seem to need attention, the conductor will find that the dotted quarter-eighth rhythm from beats 1 to 2 in the oboes, 2nd clarinet, and 2nd alto sax will need the most emphasis and practice. Be sure to line up the upbeat of 2 in all these moving parts for the most effective performance.
Kopetz’s attention in this section focuses on the oboe, 2nd clarinet, and 2nd alto sax line beginning at E. He contends that the octave doubling by the oboe should be brought out so listeners can hear this line in the proper octave. He recommends not slowing down from mm. 54-56, but encourages adding a ritardando from mm. 58-59 to help end the V-i cadence with grace.
F to G
Tonal center: A minor
Errata in parts: Bass Clarinet, m. 60, add rehearsal letter F to the part
Bass Clarinet, m. 60, change whole note to half note
Bari Sax, m. 60, change whole note to half note
3rd Trombone, mm. 66-67, add a tie between the two B-naturals
T.C. Euphonium part, m. 60, remove the diminuendo
Tuba, mm. 70-71, continue the slur to the downbeat of m. 71
Measure 63, note that the crescendo in the euphonium and string bass part does not appear in the 3rd trombone or tuba part. Consider revising one way or the other.
Suggestions for better balance, Points of interest, Pitfalls of which to be careful, Other teaching concepts:
This phrase is scored for brass and string bass only until the bari sax enters in m. 67. As the bari sax doubles the tuba/string bass line, take care that the tuba timbre predominates the sound. The cascading entrances from mm. 60-61 should be emphasized each time a new instrument enters. Kopetz writes, “The brass choir effect of the ensuing measures is wonderful in its richness, with entrances in contrasting colors.” (Kopetz 27) The descending quarter note line is pervasive, but the 1st and 2nd trombone line from mm. 60-62 needs encouragement and solid intonation. Careful slide placement and ear training will help this linear line sound through the thick texture. The semi-chromatic scale in mm. 62 -63 in the 3rd trombone, euphonium, tuba, and string bass should be brought out of the texture and handled with confidence.
The most important musical element in this phrase is the use of eighth notes. The 2nd trumpet, 1st horn, and 2nd horn in m. 64 begin the eighth note sequence on the upbeat of 1. A solid release of the tie over the bar line will help place the upbeat at the same time in all the parts. Consider adding a crescendo under those three notes to help their presence. The half note concert D# in m. 66 on beat 3 in the 1st cornet, 1st horn, and 3rd horn part is very important and needs to be played with a crescendo leaning over the bar line to emphasize the half step motion. From here, the conductor must stay with 2nd horn, 4th horn, and 1st trombone from mm. 67-70. This series of notes demands patience by the performers and solid, consistent counting. Be mindful of the 2nd trombone through this section as well, as it is the only part not doubled and may need an increase in dynamics to be heard. Insist that the bari sax, tuba, and string bass part from mm. 67 -70 play very smoothly while avoiding clipping the downbeat of m. 69. One more consideration would be to eliminate the forces down to one or two on a part for this section. That not only helps the balance, intonation, and dynamics of F to G, but also provides the set up to a wonderful tutti band sonority at letter G.
G to H
Tonal center: G Major moving to A minor
Errata in parts: Measure 71, All half notes that enter on beat 3 should have an accent
1st Flute, m. 77, remove accent from half note on beat 3
Oboe 2, m. 77, add accent on beat 3
Bass Clarinet, m. 71, add crescendo
2nd Alto Sax, m. 75, remove slur on beat 4
Bari Sax, m. 78, add breath mark between beats 2 and 3
1st Cornet, m. 75, Continue slur to 3rd note in beat 1
2nd Horn, m. 83, cued part should have a tie from beat 3 in m. 82
1st Trombone, m. 77, cue should read “Bsn, 1”
2nd Trombone, mm. 76-77, add decrescendo and “mp” dynamic mark
2nd Trombone, m. 78, cue should read “Bsn. 2”
String Bass, m. 89, remove slur
Suggestions for better balance, Points of interest, Pitfalls of which to be careful, Other teaching concepts:
This phrase is very similar to phrase 1, but it is thicker in texture and contains many more musical elements. It should be performed from m. 71 to the first half of m. 77 with tutti ensemble. It begins with a strong bass drum hit on beat 1 followed by just 1st and 3rd horn sounding a very important succession of eighth notes that continues for two measures. On beat 3 of m. 71, the bassoons, alto clarinet, tenor sax, 3rd cornet, 2nd and 4th horn, 1st and 2nd trombone, and timpani join the eighth note passage. Put special emphasis on the timpani part for these four notes and make sure the notes are separated enough to come out of the thick texture. As the eighth note passage temporarily subsides in m. 73, the piccolo, 2nd flute, 3rd clarinet, 1sr alto sax, and 2nd cornet should bring their quarter notes on beat 3 and 4 out of the texture to lead the previous group of instruments back into the eighth note passage at m. 74 on beat 2. The listener will hear the 1st flute, 2nd oboe, 2nd clarinet, and 1st cornet line as being familiar, especially in m. 75 when the written out ornament should be the focus for the first beat and the moving eighth notes in 1st oboe, e-flat clarinet, solo clarinet, 1st clarinet, 2nd alto sax, and 2nd trumpet should be the focus on the fourth beat.
The descending quarter note motif appears again in m. 76 as a transition to a new texture in m. 77. Thin out the instrumentation here to make an effective dynamic contrast, maintain balance throughout the parts, and aide in better intonation. Although the horn solo from mm. 77-89 should be the primary point of interest, be sure to bring out the eighth notes in mm. 79 and 83 in the 2nd flute and 2nd oboe. Consider eliminating the tuba and string bass part entirely here if the 2nd bassoon, bass clarinet, and bari sax players can competently cover the part. That will allow the horn brass timbre to thrive on its own without competing with the tuba/string bass volume. Accidentals in mm. 80-87 should also be played more strongly to reinforce the transition in to A minor. The tempo of this section wants to move forward from mm. 86-88 due to the contrary motion quarter notes. The ascending quarter notes tend to dominate, but let the horn solo always take the lead, especially in m. 89 when all other parts are rhythmically moving at half notes and the solo horn is moving at quarter notes. The V-i movement into H should be over emphasized setting up the pieces most glorious section.
Kopetz’s commentary on this section includes reminding the conductor to maintain a steady tempo in the eighth note line from mm. 71-72, not to accent the ornament in m. 75, emphasize the melodic skip in m. 81 by adding a crescendo from beat 1 to 3, and “diminuendo slightly as the cadence resolves” from mm. 88-89. (Kopetz 27)
H to I
Tonal center: A minor moving to D Major
Errata in parts: Piccolo, m. 90, Decide if the “8va” is appropriate since 1st Flute is printed in the
same octave
1st Flute, m. 90, add accent on beat 3
2nd Flute, m. 90, add accent on beat 3
1st Bassoon, m. 90, change dynamic to “mf” and add a crescendo to “f” on beat 3
3rd Clarinet, m. 90, add accent on beat 3
Alto Clarinet, m. 103, change the dynamic to “mp” on beat 4
1st Cornet, m. 103, change “Soli” and “one player” to “Solo”
1st Horn, m. 90, cues should read “Hns. 2, 3, and 4”
3rd Horn, m. 97, add a dot to the half note on beat 1
Suggestions for better balance, Points of interest, Pitfalls of which to be careful, Other teaching concepts:
Similar to section G, section H begins with a bass drum attack which propels the lower voices in the ensemble (1st bassoon, alto clarinet, tenor sax, 1st trombone, 2nd trombone, and euphonium) to begin what can be considered the most active and powerful melodic phrase in the entire transcription. The tutti ensemble should be playing full force in this section. Although the descending melodic line motif is present in the upper woodwinds and upper brass, the interest to the listener, and thus to the conductor, is the moving eighth note material. With the addition of all four horn parts in m. 93, this line intensifies as it moves forward and gains power through the use of sixteenth notes in mm. 94-95. Take special care that these sixteenth notes are not rushed or crunched together. In contrast, have the players take their time and spread these sixteenth notes apart in both measures. The downbeat concert E in m. 95 should be tuned very carefully as younger trombone players may not be putting this note in the exact correct slide position. Measures 97-103 presents a series of eighth notes past around the ensemble on different beats, each with equally important prominence. The main melodic line first sounds them on beat 4 of m. 97. Stretch these eighth notes out making the last one leap to the down beat of m. 98.
On beat 2 of m. 98, the conductor should turn all attention to the 2nd bassoon, bass clarinet, bari sax, 3rd trombone, tuba, and string bass to present the eighth notes. Next, the focus should be on beat 4 of the same measure which has the eighth notes in the solo clarinet, 1st clarinet, 1st alto sax, and 3rd cornet. The original melodic voices of this section have the next set of eighth notes on beat 2 of m. 99 while the opposing low woodwinds and brass complete the succession on beat 4 of m. 99 and again on beat 4 of m. 101. The last word is given to the 2nd flute, 2nd oboe, solo clarinet, 3rd clarinet, and 2nd cornet (a very unlikely combination of instruments for such an important final three notes) in m. 103 as they conclude this passage with eighth notes on beat 2 and a legato beat 3. Take care that beat 3 is extended enough for the listener to hear the resolution before the phrase at I begins. The conductor should cue the timpanist in mm. 102-103 and encourage a strong roll to emphasize the key of D Major that has been established.
The other important virtue to have in this section is patience. The ties over the bar lines, the seemingly forever dotted half notes, the nine beat sustained concert A by the main melodic voices at the end of the phrase, and the length of the first three beats in m. 103 (try incorporating an ever slight ritardando here) leaves great room for mistakes. Be patient with each measure and the glory of this section will speak to the audience.
Kopetz writes more on this section in his article than any other section. He cautions to match articulation style and keep a consistent marcato approach throughout this phrase. If the eighth notes are not rushed in m. 90, then those that enter on beat 3 will be more precise on the accented half note. Harmonically, Kopetz points out the half-diminished F# chord on the beat 1 of m. 96 and advises the breadth of tone be emphasized over the attack of the chord. After a recommendation to add a crescendo from mm. 99-102, he suggests a molto ritardando and subdivision in m. 103 to bring out the cadence and make it sound like the end of the piece.
I to J
Tonal center: G minor moving to D Major
Errata in parts: 2nd Flute, m. 106, add slur to beat 2
2nd Flute, m. 110, add a slur to the two eighth notes on beat 2
1st Oboe, mm. 103-104, move the “mp” marking to beat 1 in m. 104
Solo Clarinet, m. 104, change the word “it” to “if” in the cue
Alto Clarinet, m. 106, add a slur to the eighth notes on beat 2
Alto Clarinet, m. 110, add a slur to the eighth notes on beat 2
2nd Alto Sax, m. 110, remove slur on beat 2
2nd Cornet, m. 110, add a slur to the eighth notes on beat 2
Euphonium, m. 106, change dynamic marking to “p”
Suggestions for better balance, Points of interest, Pitfalls of which to be careful, Other teaching concepts:
After such an expansive section at H, rehearsal I should be an immediate change of identity starting with the eighth note anacrusis in the flutes, alto clarinet, alto saxes, and cornets. Each successive eighth note pattern going into m. 105 should be more strong and lead into the next quarter note. The clarinet and horn entrance on beat 2 in m. 104 can be brought out of the texture with a slight crescendo over the bar line to the descending quarter note motif statement, which should not be covered by the dotted half notes in m. 105. Two important events happen in m. 106 with the 2nd flutes, alto clarinet, 2nd alto saxes, and 2nd cornets playing eighth notes on beat 2 and the bassoons, bass clarinet, tenor sax, bari sax, 3rd and 4th horn, and euphonium entering with a new layer on beat 3. The conductor should address both of those musical events in that measure. Measures 109-114 are filled with moving eighth notes occurring in a different set of instruments each time they are sounded. The bassoons, bass clarinet, tenor and bari saxes, 3rd and 4th horn, and euphonium layer sounds eighth notes on beat 2 of m. 109 while the 2nd flute, alto clarinet, 2nd alto sax, and 2nd cornet performs eighth notes on beat 2 of m. 110. The third layer of instruments (1st flute, 1st alto sax, and 1st cornet) have eighth notes printed on beat 4 on m. 110, followed by the low voice layer playing eighth notes on beats 2 and 3 in m. 112. The final word on this sequence of eighth notes is sounded by the 1st flute, 1st alto sax, and 1st cornet layer who use it to bring the section to a tender cadence on beat 2 in m. 114.
Besides the eighth note sequence in this section, pay close attention to the half step motion from beats 2 to 3 in m. 110 by the low voice layer (which also includes the 3rd and 4th horns by now), clarinets, and 1st and 2nd horns. Make sure the clarinets play into the horn sound through out this phrase and have all players over emphasize the half step interval. Two players on a part should suffice for the dynamic range of this section, but consider adding more players 2nd flute, 2nd alto sax, and 2nd cornet parts if those lines are not coming through the texture. Cue the tuba and string bass entrance at m. 111 so they will enter with confidence after having rested for a while. The appearance of the tuba/string bass in the low voice layer helps make up the difference when the 3rd and 4th horn abandon it in m. 111.
Kopetz cautions that only the 1st bassoon and 1st trombone play a half note on beat 3 in m. 103 before the entrance of the eighth note sequence. Let that half note start the phrase and make sure those players know their level of importance. He also recommends to “Add the designation dim. e rit. to all parts a measure 112 and insist that the upper woodwinds extend their quarter note slightly in measure 115 so as to end this gorgeous music smoothly.” (Kopetz 28)
J to K
Tonal center: G Major
Errata in parts: 2nd Bassoon, m. 123, add “mf” dynamic mark to beat 3 half note
3rd Clarinet, m. 120, add accent to beat 3
Bari Sax, m. 123, add “mf” dynamic mark to beat 3 half note
Suggestions for better balance, Points of interest, Pitfalls of which to be careful, Other teaching concepts:
The phrase at J begins on beat 2 of m. 115 and contains some very independent lines in the brass. Reminiscent of the section at F, the orchestration is very thin from mm. 115-119 with only bari sax, cornets, trombones, euphonium, tuba, and string bass playing. The bari sax doubles the tuba/string bass line and, if the conductor so wanted, could be omitted until the other woodwinds enter in m. 120 creating a true brass choir sound. The 3rd cornets will need a cue to secure their entrance in m. 116, which doubles the 1st trombone and euphonium line. Have the 2nd cornets play very strong on the their eighth notes on beat 2 in m. 117 and work especially hard with the 2nd trombones in the same measure. Those four quarter notes can get lost in the texture and should be played with great confidence and forward motion. From m. 120 to 129, have the performers think of passing off the quarter notes and getting out of the way for the next part of the relay. Anything in this section that is a half note or longer needs to recede into the texture while those that are playing eighth notes need to play to the fore. Have the players mark their dynamics “mf” when they have quarter notes and “p” when they have half or whole notes.
The brief pause in the bass line in m. 123 makes for a more exciting and meaningful re-entrance on beat 3, this time adding the bassoons and bass clarinet to the layer. Measure 126 has two points of interest. First is the 1st and 2nd trombone rhythm which is not sounded by any other section and second is the very important 2nd cornet part, also not printed in any other part. As this section decreases in volume and intensity, the conductor should turn all attention to the 3rd trombone and euphonium from 128-129 who complete this phrase and transition to the next section with the recurring descending quarter note motif. Stretch the quarter notes in the deceptive cadence by adding a slight ritardando and make sure the players perform with good intonation into K.
Kopetz’s commentary on this section includes a recommendation for the cornets to match the trombone-euphonium layer to balance through the crescendo, an urging for the conductor to use “gestures that direct the lines forward through the implied tension,” and to keep the music very sustained with forward moving energy. (Kopetz 28) All of these suggestions will prohibit the music from sounding static and lackluster.
K to L
Tonal center: G Major
Errata in parts: 2nd Flute, m. 148, add an accent to beat 3
1st Oboe, m. 138, add accent to beat 3
1st Bassoon, m 130, add “p” marking to beat 1
2nd Bassoon, m 130, add “p” marking to beat 1
Eb Clarinet, m. 142, remove accent from beat 2
Solo Clarinet, m. 138, add accent to beat 3
Solo Clarinet, m. 148, add accent to beat 3
1st Clarinet, m. 136, remove accent on beat 2
1st Clarinet, m. 148, add accent to beat 3
2nd Clarinet, m. 136, remove tenuto mark from beat 3
2nd Clarinet, m. 148, only the 2nd clarinet has this crescendo, decide if you want
to delete it or add to the other parts
3rd Clarinet, m. 136, add “mf” to beat 3
Bass Clarinet, m. 130, add “p” dynamic marking on beat 1
Tenor Sax, m. 130, add “p” dynamic marking to the cue on beat 1
1st Horn, m. 148, add an accent to beat 3
String Bass, m. 143, move the “mp” marking to beat 3
Suggestions for better balance, Points of interest, Pitfalls of which to be careful, Other teaching concepts:
This calamity of this section is a wonderful contrast to the upcoming and final phrase. Words the ensemble should associate with this phrase are peaceful, restful, tranquil, and/or reflective. Its characteristic features include a constantly ascending bass line in the bassoons, bass clarinet, bari sax, tuba, and string bass from mm. 130-136 with the tenor sax and euphonium adding in mm. 137 (the tubas exits this layer from m. 137 to beat 3 of m. 143). Also prevalent is the 2nd clarinet, 3rd clarinet, all horns, and 1st trombone layer which can be heard as the main melody in this section to m. 136. That texture should crescendo over the bar line from mm. 130-131 and stay down in dynamic level when playing half notes or whole notes. The 1st clarinet and 2nd trombone layer have a supporting role to the bass line, but should be played with great importance in mm. 132-133 before they join the other clarinets, horns, and 1st trombone in harmony to conclude that phrase. However, the most important line of music from mm. 130-136 is the solo clarinet part which must find a way to balance one person against the other forces playing. Bring everybody down and encourage the soloist to play much stronger than the piano that is marked. Of particular importance are the eighth notes in m. 132 and the descending quarter notes in mm. 133-134. The solo clarinet is also the first instrument that begins the octave leap motive that will be the main feature in the final section by sounding an F to F interval in m. 135.
Except for the euphonium, tuba, and string bass the phrase from mm. 136-147 is set only in the woodwinds. The use of the descending quarter note motive is used extensively as the oboes, alto saxophones, flutes, e-flat clarinet, and piccolo (in that order) are introduced to the texture. Although the listener will hear the descending quarter notes and the octave leaps as the dominant feature, the 3rd clarinets, alto clarinet, and alto saxophones should be encouraged to play their rising sequence with increased intensity and volume until they reach m. 142 when they begin the descending quarter notes. The octave leap downward in the bass line in m. 143 is enhanced by the re-entrance of the tubas and brings the listener’s attention to the half-step motion from mm. 143 to 144. If the ensemble has been reduced to one or two on a part in this section, consider adding as many 1st flutes, 2nd oboes, e-flat clarinets (!), and 1st clarinets to the ornamental m. 145. The low range for which this sixteenth note passage is written makes it almost impossible to hear without some added forces and all other layers playing underneath it. The performers should add a crescendo throughout that measure to provide the forward motion needed into m. 146.
Before concluding this section, make sure the eighth notes in the 1st flute, 2nd oboe, e-flat clarinet, and 1st clarinet on beat 4 in m. 146 and the eighth notes in the piccolo, 2nd flute, and all clarinets on beat 2 in m. 148 are played strongly and with the purpose of propelling the music to the next beat. The elision of the K phrase and the L phrase begins on beat 1 of m. 148 with the bass drum hit and roll of the timpani. It is continued by the alto clarinet, alto sax, 2nd horn, 4th horn, and 1st trombone with their descending quarter notes on beats 2, 3, and 4. Turn all attention to them at this point and allow all performers to play the final section with an increase in volume and intensity until the “fine” of the work.
Kopetz writes that he prefers a slower tempo in the passage but warns that if it gets too slow, it will become lifeless. He also recommends adding more clarinets to the solo clarinet passage from mm. 130 to 136 so the part is heard adequately. Kopetz points out that only the 1st clarinet doubles the oboe entrance at m. 136 and cautions the conductor about adding a crescendo here. The music gets louder as the different layers of instruments are added and the thickening of the texture and rising of the line should be enough built in crescendo to suffice until the piccolo enters in m. 142, changing the color of this section and grabbing the attention of the listener. His last words of advice are to make sure the sixteenth notes in m. 145 are played perfectly together by all three sets of instruments.
L to the End
Tonal center: G Major
Errata in parts: 1st Flute, m. 149, add accent to beat 2
2nd Oboe, m. 157, remove the tenuto marks on beats 3 and 4
1st Clarinet, m. 154, add accent to beat 3
3rd Clarinet, m. 149, remove the accent on beat 3
1st Horn, m. 151, add accent to beat 4
Tuba, m. 156, add accent to beat 3
String Bass, m. 156, add accent to beat 3
Timpani, m. 156, add accent to beat 3
Suggestions for better balance, Points of interest, Pitfalls of which to be careful, Other teaching concepts:
The coda section of the transcription begins in m. 148 with the bass drum, alto clarinet, alto saxes, 2nd horn, 4th horn, and 1st trombone playing the descending quarter note motif which is stated by a multitude of instruments seven times in the space of eleven measures. Each measure builds to the end in intensity and volume, aided by the rising whole note bass line in the bassoons, alto clarinet, bass clarinet, tenor sax, 2nd horn, 4th horn, trombones, and euphonium. The addition of the 2nd and 4th horns to this grouping of instruments is of particular interest and the new timbre should be brought to the forefront. The dominant pedal point in the bari sax, tuba, string bass, and timpani only lets up for a re-attack on beat 3 in m. 156. Cue those instruments at that point to emphasize the attack and movement from V-I to finish the work.
Intonation of the octaves in the final section is of the utmost importance. Consider having only one trumpet or cornet play the printed high C# in m. 153 plus the subsequent notes to the end. All others should take the line down an octave to help intonation with the woodwinds, balance of high to low, and to avoid a strident, pinched tone quality. Measure 154 provides the only eighth notes in the final phrase. On beat 4, allow the alto clarinet, tenor sax, 2nd horn, 4th horn, and 1st trombone to sing those eighth notes out with passion, brilliance, and vigor. Although not printed, it is customary to incorporate an extended ritard in the final three measures. Stretch the penultimate measure out as long as possible with subdivision and have all players with whole notes stay underneath the flutes, 2nd oboe, e-flat clarinet, solo clarinet, 3rd clarinet, tenor sax, 2nd cornet, 2nd horn, and 2nd trombone as they play the final two quarter notes with a good leading tone, half step interval. The ensemble should be at its fullest volume on the final chord pushed by the shimmering suspended cymbal. Keep the crescendo building until the release of the final G major chord.
Two things to look closely at in this phrase include the exact markings of the crescendos and the voicing of the final chord. The parts and reduced score have the designations “cresc........” throughout the final section, but each part, even within the same layer, has the designation at different places. I have replaced the “cresc........” with haripins throughout the full score, but some clarification by the conductor as to the exact points of crescendo and arrival dynamics will be needed. A restructuring of the entire dynamic placement from L to the end will provide more understanding for the performers as to when they should finally reach the “fff” level. If one were to count the number of G’s, B’s, and D’s in the final chord, one would fine 16-G’s, 10-B’s, and only 6-D’s. Even the most astute of ensembles would have a difficult time balancing the chord with this imbalance of pitches. Consider taking three to four instruments off of the tonic and adding them to the third and fifth of the chord. A better balance would be 11-G’s, 11-B’s, and 10-D’s. Work this voicing out to what best suites the strengths of the ensemble so it balances well and is in tune.
The final phrase has the least amount of comment in the Kopets Instrumentalist article. After pointing out that the pedal point in the bari sax, tuba, string bass, and timpani heralds the beginning of the end, he suggests starting this section at “mf” or less and building “to a dramatic conclusion.” (Kopetz 28) He cautions to be careful of the octave leaps in m. 150 and recommends subdividing the last two measures to achieve a more precise final cadence.
Other considerations for rehearsal and performance:
A very important and essential teaching technique for the Bach Fantasia in G is to find a great organist who has access to an outstanding pipe organ. The church I attend in Chattanooga, TN has such a person and instrument. I bought the original organ piece on an online sheet music dealer’s website, gave it to our church organist, and set up a field trip for our band. Half way through our eight week rehearsal period on this piece, I took the entire band (with their own music) to First Christian Church in Chattanooga. Sheri Melton, church organist, took 20 minutes or so to described to the students how the organ works now, how it worked in the time of Bach, how the organ is played, and how it produces sound. She played the highest note possible and the lowest note possible. She described in detail how the pipes work and what all the stops do. Then, she performed the entire work (all three sections) for the students. After this incredible performance, the students all got to go behind the organ and see all the registers, stops, and manuals/pedalboard. The students where in awe of the instrument and had many very viable and thought provoking questions of Ms. Melton. It was truly an educational experience and our rehearsals on the piece improved immediately after they had the sound and concept of the organ in their head and ears.
Depending on the size of the ensemble, the conductor may want to consider thinning out the number of performers in certain sections. The ensemble that performed this at Ridgeland High School for the East Tennessee State Band and Orchestra Association Concert Band Festival numbered 90 players. I reduced the number of players in the work in certain sections for intonation, balance, and dynamic improvements. Those reductions are as follows:
Beginning to A-Tutti
A to m. 17-one on a part
17 to B-Tutti
B to C-One on a part except 1st flute and 3rd clarinet which had 3 on a part.
C to D-Two on a part
D to E-One on a part
E to F-One on a part
F to G-One on a part
G to m. 77, beat 2-Tutti
Measure 77, beat 3 to H-One on a part
H to I-Tutti
I to J-Two on a part
J to K-One on a part
K to L-One on a part except 2nd and 3rd clarinet which had 3 on a part. Also, in m. 145, all 1st flutes and all 1st clarinets joined in to add volume to the sixteenth note figure and all played to the end.
One before L to the end-Tutti
Along with the above analysis, the most important thing I did to help rehearsals along and to help me learn the piece was to color coat each layer in each section. Using colored pencils of red, light blue, dark blue, orange, brown, green, and yellow I colored coded each section of the work and colored the students’ parts to match my score. As layers move from one group of instruments to the other, or as a set of instruments enter an existing layer, the performers can “see” how their parts fit and how they need to play in the background or the foreground. Rather than saying, “At A, would the solo clarinet, piccolo in m. 15, alto sax and 1st horn on beat 1 of m. 16, and 1st cornet on beat 4 of m. 18 please play?” I would say, “At A, can we hear the dark blue layer please?” The players count their rests or count their parts that are not colored in blue and only enter when their music is colored in dark blue. The musicians understand better how their parts fit and, after learning the level of importance of the colors, understand when their layer is the most important and when they are subordinate. The color coding method was an extremely helpful teaching tool for myself and the students. There was one color blind student in band, so we wrote in the names of the colors for him rather than coloring his music.
Conclusion
A full score with repaired errata for this piece has been in need for a long time. My hope is that this project will add to our band analysis literature and provide conductors and educators with a better tool from which to teach. Next time I program this piece I will not hand out the error riddled parts, but rather print out parts from the new full score to ensure a more proper and error free performance. Although I had performed this piece several years before, the use of a full score for this set of rehearsals and performances created a whole new piece of music for me. I hope it does the same for others.
Work Cited
“Fantasia in G.” Teaching Music Through Performance in Band, Vol. 1. Compiled by Richard
Miles. Chicago: GIA Publications, 1997.
Kopets, Barry E. “Bach’s Fantasia in G: An Interpretive Analysis.” The Instrumentalist. August 1993. 25-28, 30-34.
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