Johann Pachelbel

By: Patricia Waleske

Biography

Born in Nuremberg, Germany

Exact Day of Birth Unknown

Baptized Sept. 1, 1653

Schooling

Attended High School at St. LorenzStudied General

Education

Enrolled at the University in Altdorf

Schooling Continued

Attended For Only One Year

Received Scholarship to Gymnasium Poeticum in Regensburg

Teachers Early Instructors

Heinrich SchwemmerGeorge Kaspar Wecker

○ Would teach Pachelbel to play the organ

While at RegensburgKaspar Prentz

Employment St. Lorenz Church in 1669

St. Stephens Cathedral in 1673

Court Organist in 1677

Predigerkirche in 1678

Employment continued Organist in

Stuttgart in 1690

Gotha Town Organist in 1692

St. Sebaldus Church in 1694

Family Married in 1681

Barbara GablerOne Son

Wife and Son Die 1683

http://youtu.be/57AZuH32ouo

Musical Thoughts of Death

Family Continued

•Married in 1684• Judith Drommer

•7 Children• 2 Sons becomer

composers

Friends While in Eisenach

Becomes Friends with Johann Ambrosius Bach○ Father of Johann Sebastian Bach○ Pachelbel tutors Johann Christoph Bach

It is said Pachelbel lived with Johann Christian Bach

Pachelbel’s DeathMarch 3 r d , 1706

Music By Pachelbel Chorales

Half of Pachelbel’s works

FuguesMore than 100

Chaconnes and Variations6

Toccatas20

Fantasias6

PreludesSeveral similar to

the Toccatas Canon

1

History of Canon in D and Gigue What is a Canon?

A canon is a technique that employs a melody with one or more imitations of the melody played after a given time

What is Ground Bass?Ground bass is a type of variation that forms

the bassline of the piece and is repeated as an underlying variation

What is a Gigue?A baroque dance, usually lively, that

originated from the British jig

Canon in D Written for 3 violins and a basso

continuo Ground bass is 8 notes that repeat

throughout the piece

The Gigue Baroque Dance

Lively

Originated from British Jig

Written in 3/8 metre

Danced by Nobility

Musikalische Erogtzung No. 6

One of 6 Chamber Suites

Referred to as Partita

Means Musical Delight

Written for 2 Scordatura and Basso Continuo

Basso Continuo• Form of accompaniment

•Played by a keyboard instrument

Listening Guide for Canon in D and Gigue i. 0:00-0:20- the canon begins with just the harpsichord (the ground

bass) and the plucking of the strings of the violins. The ground bass is 8 notes repeated throughout the piece. This sets the rhythm and beat of the song.

ii. 0:20-1:00- the melody begins at this point with the strings as the harpsichord continues with the same rhythm. The plucking of strings can still be heard as well.

iii. 1:00-1:15- one violin begins what is the familiar melody of the canon. The melody is soft as this point.

iv. 1:15-1:41- a second violin begins to play in harmony with the first. It’s melody slightly different than the first.

v.1:41-2:07- a third violin is added. The melody seems to crescendo. While the other 2 violins begin to play together, the third plays a different tune in harmony with the others. The technique of the layering of the 3 violins playing variations of the same melody is what makes this piece a canon.

The Canon continued vi. 2:07-3:00- all 3 violins begin to play together the same

melody. The tempo is quicker, the music more lively. vii. 3:00-3:40- the strings have quit playing and only the

plucking of strings and the harpsichord can be heard. The tone is quiet.

viii. 3:40-3:53 the original violin begins again playing the same melody.

ix. 3:53-4:40 the other violins join again, but the tempo has slowed. The notes seem to be higher.

x.4:40-5:30 the tempo has definitely changed here. The violins play more hauntingly. The melody is played in an even higher tone.

xi. 5:30-6:16 the plucking of the strings has ended and all the instruments take up the same melody. The tempo has slowed. The song ends with all instruments fading on one note.

The Gigue xii. 0:00-0:24- the melody starts off just as one

would expect from a gigue lively and light. The strings are keeping the tempo upbeat.

xiii. 0:26-0:47-first one violin begins, then one more in a higher note, then the third even higher. All playing together

vx. 0:47-1:09- the melody repeats itself as before each violin joining the melody one at a time.

vxi. 1:09-1:37- Again the melody is repeated. The tempo is still very lively. The violins playing in harmony then culminating to end on a single note.

http://www.youtube.com/watch?v=HgSWzQtiFwM&feature=player_embedded

Listening Guide to Musikalische Ergotzung No. 6 i. 0:00-0:03- Just the harpsichord can be heard at the

opening of the song. ii. 0:03-0:30- 2 violin joins the harpsichord each playing

different melody’s but in harmony with one another. One string is playing long low tones while the other is following along with the melody of the harpsichord.

iii. 0:30-1:16- the violins continue to play in harmony as the harpsichord keeps the beat and tempo of the music slow and haunting.

iv.1:16-1:34- the tempo picks ups, all instruments are playing the same melody. It appears to be repeated 3 times before changing.

Musikalische Ergotzung No. 6 continued v. 1:34-2:05-there is a slight variation to the melody and the tone

seems to be in lower notes. The cello or perhaps a similar string instrument can be heard more clearly playing the melody at the lower tone.

vi. 2:05- 2:23- the melody has changed again. This is more upbeat. The harpsichord is stilling keeping the bass and rhythm of the music. Just the higher string instruments can be heard.

vii. 2:23-2:56- The melody continues the same as before; the harpsichord keeping the rhythm, the bass underlying the violins higher melody.

viii. 2:56-3:15- the tempo and melody have changed. The strings are playing in harmony with the harpsichord.

ix. 3:15-4:09- another melody change this time more lively in rhythm. The harpsichord is clearly holding the beat while the strings play.

Musikalische Ergotzung No. 6 continued x. 4:09-5:07- The harpsichord and a violin are carrying the melody while a

second violin is playing quickly and lively in harmony to the harpsichord and first violin. The tempo in this section is faster than in previous sections.

xi. 5:07-5:59- the tempo slows down with this section. The harpsichord is again keeping the beat of the melody while the strings play in harmony to one another.

xii. 5:59-6:30- The rhythm picks up but just for a moment, the violins pick up the tempo and change the tune.

xiii. 6:30-6:38- just the strings are playing, high and light, together. The tune is lively, the tempo quick.

xiv. 6:38-7:10- the harpsichord and other strings have joined the melody. xv. 7:10-7:32- the same melody and tempo are continued, repeated as before.

Violins begin the melody with the harpsichord and other strings joining to keep the bass of the piece.

xvi. 7:32-8:10- the melody is still the same, the strings seem to be playing quicker.

8:10-9:06- the violins change tone here; they become higher and have changed the melody slightly. The harpsichord and lower strings are still keeping the same beat but the violins seem to be playing longer notes. The tune and tempo are still quick. The piece ends with all instruments on a single note.

Work CitedWAGSTAFF, JOHN, and STEVEN ZOHN. "Pachelbel Outside The

Canon." Notes 66.1 (2009): 164-166. Academic Search Premier. Web. 7 Oct. 2012. 

All Music by Rovi. (2012). Johann Pachelbel. Retrieved from http://www.allmusic.com/artist/johann-pachelbel-mn0000635037

 Here of a Sunday Morning Radio. (2012). Johann Pachelbel.

Retrieved fromhttp://www.hoasm.org/VIB/Pachelbel.html

 Wikipedia the Free Encyclopedia. (2012). Johann Pachelbel.

Retrieved fromhttp://en.wikipedia.org/wiki/Johann_Pachelbel