«THE NEUMEISTER COLLECTION OF CHORALE PRELUDES OF THE BACH CIRCLE: AN EXAMINATION OF THE CHORALE PRELUDES OF J. S. BACH AND THEIR USAGE AS SERVICE ...»
It has been the purpose of this study to examine the thirty-eight J. S. Bach chorale preludes contained in The Neumeister Collection as pedagogical material and as functional, accessible service music. With regard to their usefulness to church organists, they offer a wide variety of liturgical classifications, and are short and sectional so that they fit easily into any time requirements for music during the Liturgy. In addition to this, the melody is almost always recognizable; in most of these works, the chorale tune can be found in the soprano voice.
These works are also excellent teaching pieces. They are accessible to all levels of playing, and fit even the most modest organ specifications. Most use only one manual, and little or no pedaling is required. This study has also presented an outline of forms found in the J. S.
Bach chorale preludes in The Neumeister Collection and has classified them accordingly: standard forms; composite forms; evolving forms. A variety of contrapuntal techniques and harmonies also contribute to the uniqueness of these compositions.
The student should be encouraged to attempt alternate voicings of four-part harmonizations; in this study the chorale contained in Herzliebster Jesu, was hast du verbrochen, BWV 1093 has been arranged with the chorale in the soprano voice, with the bass line played on the pedals, and again with the melody in the pedals as a cantus firmus with the three accompanying voices on the manuals. Another such voicing could include the soprano voice on a solo manual, alto and tenor voices on an accompanimental manual, and the bass line in the pedals.
After practice, the student may become proficient enough to attempt this at sight.
It is hoped that this monograph, along with the various tables and scores presented along with it will provide a starting point for the inclusion of the J. S. Bach chorale preludes in The
Ann Earl Jones received a Bachelor of Arts degree in organ performance from McNeese State University, where she held the Brewer Organ Scholarship and was a member of Alpha Psi Omega. She earned a Master of Music degree from Northwestern State University and a Doctor of Musical Arts degree in organ performance from Louisiana State University. While at Northwestern, Ms. Jones held a graduate assistantship in accompanying; at Louisiana State University, she held a teaching assistantship and was awarded the Hatton Organ Scholarship, as well as joining the society of Pi Kappa Lambda, an association pursuing scholarly excellence in music. Ms. Jones is a