View Single Post
  #5  
Old 2009-03-28, 18:48
MateMarcina MateMarcina is offline
New Blood
 
Join Date: Mar 2009
Posts: 1
Okay, here's where I can help!

At least with the Passacaglia (Chaconne will come later in time)

So, the basic point of a passacaglia is, that it's a baroque type of a composition, where the theme is played in the lower register of the church organ (so the dude played it with his feet) and is built of mainly long notes, depending on the tempo. What follows is in fact counterpointing stuff played by the player's hands, while his feet are still playing the same theme unchanged, exactly as before. It is allowed to modulate in keys of course, but the tricky part is in the fact, that the counterpointing voices have to get more complicated with each period. So let's say we've got our opening theme in whole notes. In the beginning of second voices the counterpointing lines should be in half notes or someplace even whole notes, while trying to keep lines as simple as possible. While advancing through the composition, notes get shorter, melodies get richer and so do the harmonies. And it is actually not so important what you play above - the thing that makes a passacaglia a passacaglia is the repeating low voice theme in long notes, and the counterpointing melodies which get more complicated with time.

Oh, and it surely doesn't have to be a Waltz. Time signature is freely chosen by the composer.

Hope I helped

PS: About Chaconne - when I learn about it.
Reply With Quote