4 Tips for Playing “Ich Ruf Zu Dir, Herr Jesu Christ” by Bach for Organists
One ever best known organ chorale preludes by J.S. Bach is “Ich ruf zu Dir, Herr Jesu Christ”, BWV 639. It is incorporated into the Little Organ Book or “Orgelbüchlein”. It is one of a kind among different sytheses in this gathering since it is written in a trio surface with a chorale tune in the soprano voice. In spite of the fact that it utilizes three exceptionally autonomous parts, relative moderate rhythm and delicately throbbing pedal part make it available for organists with unobtrusive capacities. Truth be told, it may be an ideal hand and feet coordination work out. In this article, I will give you 4 hints for playing “Ich ruf zu Dir, Herr Jesu Christ” on the organ.
Fingering. The principle rule for picking the best left hand fingering is to apply arpeggio or broken harmony fingerings. Arpeggios of harmonies in the root position are played utilizing 5 3 2 1 fingers. o’que significa yeshua In the event that the third is major between the two lower notes as in A level C, play 5 3. On the off chance that the third is minor as in F A level, play 5 4. The harmonies of the primary reversal are played utilizing 5 4 2 1 fingerings and 5 3 2 1 are most appropriate for the subsequent reversal harmonies.
Attempt to abstain from setting the thumb on the sharp keys in the correct hand part. Be that as it may, it won’t be constantly conceivable since the key of this chorale prelude has four pads. Play the trimmings utilizing 4 3 fingers of the correct hand.
Accelerating. As in most Baroque sytheses, apply toes-just accelerating in this piece. Since the bass line is throbbing it won’t generally be conceivable to utilize interchange toe procedure. Nonetheless, in measures 4, 8, and 14 substituting both ways accelerating functions admirably. You can treat the slipping entry with rehashed notes in measures 11 and 12 as a scale-like section and play with exchange toes. Play with a similar references that are rehashed and notes with alter of course.
Explanation. In spite of the fact that the conventional method for articulating Baroque music is with verbalized legato, you can see the slurs each four notes in the left hand part. This legato enunciation is unique and you should attempt to play each of the four notes legato. Ensure there are sensitive breaks between the note gatherings. Play all notes with a delicate enunciation in the correct hand part and in the pedals aside from in measure 3, where the appoggiatura in the soprano ought to be slurred.
Decorations. Trimmings in this chorale prelude ought to be played from the upper note. Since it is a delicate and expressive piece, don’t surge your decorations and don’t enable them to sound virtuosic. Attempt to keep up the rich close character even in playing the quicker notes. Try not to play the adornments naturally in the exact musicality. They will sound progressively common on the off chance that you hold the primary note of the trill or the mordent longer and play the rest of the notes somewhat quicker.