Johann PachelbelGERMAN ORGANIST, TEACHER AND COMPOSER

1653-1706

Johan Fischer 1646-1716

Nicolaus Bruhns1665-1697

Georg Bohm1661-1733

Pachelbel belonged to a generation of German Composers

Education

St Lorenz High School

Musical instruction from G.C. Wecker and Heinrich Schwemmer

University of Altdorf 1969- age 15

Gymnasium Poeticum-age 16

Work Experience

On a personal level

• First wife and child died unexpectedly

• Remarried with 7 children.

• 4 of his children followed artistic paths: 2 organists, 1 instrument maker, 1 painter/engraver

• Johann Pachelbel died in 1706 at 52 years old.

Canon in D Major

Widely used in the modern world as a wedding processional.

The history of Canon in D

Influence in our music today

Sk8tr Boi-Avril Lavigne

Graduation- Vitamin C

Superman- Goldfinger

Don’t Matter- Akon

The Black Parade- My Chemical Romance

Backet Case- Green Day

Life goes on- Tupac

The Day You Went Away- M2M

Girls Fall Like Dominoes- Niki Minaj

Operation- Reliant K

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Music Analysis: Canon in DBEGINNING: THE BEGINNING STARTS WITH A PIZZICATO FROM THE BASS. THIS INVOLVES PAUSING FOR 1 BEAT AND THEN PLUCKING 3 QUARTER NOTES IN SUCCESSION. THE CELLOS ARE PLAYING THE BASS LINE WITH WHOLE NOTES IN A LOVELY SCALE. VIOLINS COME IN SHORTLY THEREAFTER AND JOIN IN ON THE BASS LINE AT A HIGHER OCTAVE. THE 2 SOUNDS TOGETHER CREATE A BEAUTIFUL CONSONANT HARMONY. THE VOLUME IS AT A NICE PIANO AND THE RHYTHM APPEARS TO BE A QUADRUPLE METER.

00:30 VIOLINS CONTINUE THE DE-ESCALATION OF THEIR SCALE ON THE BASS LINE AS THE 2ND VIOLIN START THE BASS LINE SCALE UP AT THE TOP. THE PIZZICATO AND BASS HARMONY CONTINUE ON AT THIS POINT. THE RHYTHM IS STILL AT A PIANO AT THIS TIME. THE TEXTURE BEGINS AN IMITATION FORMAT

00:44: VIOLAS START IN AT THE TOP OF THE BASS LINE SCALE OF WHOLE NOTES WHILE THE 2ND VIOLINS CONTINUE THEIR DE-ESCALATION OF SCALE USING WHOLE NOTES. THIS AGAIN CREATES A BEAUTIFUL CONSONANT HARMONY WITH THE CELLOS. AT THIS TIME THE IST VIOLINS START IN ON THE MELODY AT A MODERATO RHYTHM CONSISTING OF QUARTER NOTES. THE MELODY FEELS A LITTLE DISJUNCT. THIS IS HAPPENING AS THE BASSISTS CONTINUE THEIR PIZZICATO.

00:57: 2nd violins start on at the beginning of the melody using quarter notes as the 1st violin is continuing through to the end of the disjunct melody. Violas continue on their scale of whole notes in harmony with the cello and the bass continues their pizzicato of quarter notes. The texture is polyphonic.1:26: The form begins to repeat itself which provides a sense of comfort. The polyphonic and imitation texture continues mostly through the 1st and second violins and the viola as the bass continues their pizzicato with quarter notes and the cello continue their bass line of whole notes. Violins and violas move into a crescendo from mezzo to forte. 1st violins also being to quicken their tempo by playing eighth notes.1:56: The polyphonic texture continues through the violins and violas as their crescendo is still building. 1st violins playing a quarter note followed by a half note with a very strong and accentuated sound. The form continues to repeat itself.2:26: The violins and viola are playing in a beautiful harmony. The polyphony continues to build and become more complex. Dynamically, the music continues to build with each instrument becoming stronger and more defined in their separate pieces. The pizzicato continues through this point.

2:56: The violins cease playing the melody at this time. The pizzicato continues with an accompaniment from what sounds like a harp, keyboard or organ instrument. The bass line scale continues in a piano volume.

3:26: The violins pick back up on the bass line but instead of whole notes they are playing quarter notes. Their volume is in a crescendo. The texture of the piece simplifies at this time.

3:56: All of the instruments have joined back in at this point. Volume is still in a crescendo. The timbre has such beautiful harmonics. The texture becomes an intricate polyphony once again.

4:26: The strings come together wonderfully at this time. The repetitive form takes on a bit of a different feel as the violins and viola play additional notes that haven’t been previously heard. The overall feel of the piece is strong yet serene at the same time.

4:56: The second violins playing the base line scale is such a great accompaniment to the 1st violin and creates a great consonance.

5:26: All of the parts of the music blend so harmonically at this point. The notes are all so smooth and rich that I feel goosebumps! This is one of my favorite parts of the piece (from 5:16 up through 5:56)

5:56: The violins continue their soprano tones with beautifully placed vibrato as the violas play at a forte level. The bass continues to play the bass line scale throughout

6:26: After a brief pause, the piece starts over with the bass playing bass line scale and the cellos doing their pizzicato. The violins play eighth notes of the bass scale as well. The music is a little bit stronger than a piano level but it feels as though it is going to crescendo into great volume.

6:56: The 2nd violins pick up the bass line scale at this time as the 1st violins continue on to play the melody with quarter notes. The pizzicato continues in the background as the harps continue to play.

7:26: The 1st violins continue their quarter notes as they begin a different section of the melody. The 2nd violins then pick up the beginning of the melody starting their quarter notes. Cellos continue their pizzicato and bass continues the bass line scale.

7:56: The violas and 1st violins are very prominent to me at this time. The volume starts to crescendo. As the polyphony once again becomes more complex.

8:26: This part is all about the violins and violas as they start to build volume. The pizzicato and bass scale are still being played in the background but at a much more piano level.

8:56: The music becomes more simplified as the violins and violas are playing the same notes in perfect harmony. The pizzicato continues in softer tones in the background.

9:26: The violins have ceased, allowing for the harp and keyboard instruments to take the spotlight. It sounds as though the strings are playing pp in the background.

9:56: The violins and violas start to crescendo as the pizzicato continues in the background.

10:26: The piece once again becomes more complex. As each instrument begins playing different notes the dynamic is beautiful and very interesting to hear all at once. The violins start to crescendo.

10:56: The violins continue playing their melody as the viola plays an altered version of the bass line scale. The feeling of this part is so rich and beautiful.

11:26: The pizzicato continues on and thus begins my favorite part. The tones are so rich and absolutely amazing. The high octave of the note combined with the expertly timed vibrato defines perfection in this piece.

11:56: the notes have repeated from the last 30 seconds.

12:26: After a brief pause, and the piece begins again.

 

References

http://www.biography.com/people/johann-pachelbel-9431433

http://www.hoasm.org/VIB/Pachelbel.html

http://www.britannica.com/EBchecked/topic/437515/Johann-Pachelbel

http://www.classical.net/music/comp.lst/pachelbel.php

http://musiced.about.com/od/classicalmusicians/a/onehitwonder.htm

http://listology.com/lukeprog/list/songs-based-pachelbels-canon

http://weddingmusicunveiled.com/the-pachelbel-canon-in-d-what-you-probably-dont-know-10007

References Continued

http://travel.nationalgeographic.com/travel/365-photos/st-stephens-cathedral-vienna/

http://www.youtube.com/watch?v=Xu5TlSXEzzs