Buxtehude

B
Medido

16 17
TIPOS DE PRELÚDIOS / PROCESSOS DE CONSTRUÇÃO

HARMÓNICO (ideias melódicas emergem gradualmente)

POLIFÓNICO (textura contrapontística/imitativa)

PROCESSO MELÓDICO [acompanhamento homofónico)

processo
harmónico

Dó M: V7 I V7/IV

Dó M: I ii(2)

Dó M: IV vii7/V vii2

Dó M: V6/5 I vi(6)
Sol M: ii(6)

al V
ped
Dó M: V7 I V [4 (—3)]

SOL M: V6/5 I6 IV(2)

Dó M: V7 v2/V V 6 —————————
Sol M: ii7 V7 I 4 —————————

al I
ped
Sol M: vii(7)/vi vi6 Dó M: — 5 7
Dó M: ii6 vii(7) — (4) ————————— 3 V/IV

al I
ped
Dó M: I6 IV(2) ii7
Dó M: IV V7 I
 
Bach, Prelúdio 1

     
           
3 5 7

  
       



Dó M: I ii(2) V6 I vi6
Sol M: ii6 V6 I6 IV(2)

                

9 11 13 15 17 19 21

           
           
  
  

         
 


 
[Dó M] vii7 ii6 vii7 i6 IV(2) ii7 V7 I V7 IV vii7
[Sol M] ii7 V7 I

23 25 27 29 31 33
 35
        
 
   

   
 
    

  
 
      
             
    
7 7 7    
6
vii7 V7 6 5 V 5
V7 vii 4 V7 I V I
4 (4) (4)
J.S. BACH Teclado bem-temperado

PRELÚDIO 1 (meramente acordes quebrados)

Tipo de prelúdio PROCESSO HARMÓNICO —
— não há melodia — apenas difusão de harmonia
— processo de acrescento e decrescendo de tensão harmónica
Efeito de criação de eco (repete cada gesto) — enfatiza o gesto (modelo)

Secções perceptíveis pelos padrões cadenciais claros:

Cp. 1-4
TEMA: Cadenciação autêntica perfeita (CAP) a Dó maior.
Progressão harmónica: I – II2 – V65 – I
Claro estabelecimento da tonalidade (graus principais) torna estes primeiros
quatro compassos uma pequena secção autónoma

Cp. 5-11 Cp. 12-19

ELABORAÇÃO: Modulação a Sol maior Retorno à tónica original (Dó maior)
Fá # — indica sensibilização/tonicização/modulação
Graus fortes em Sol indicam percurso à tonalidade dominante
Cp. 5 6 7 8 9 10 11 Cp. 20-35
Dó M: vi Processo cadencial em Dó M (complexo e
Sol M: ii6 V 6 5 I6 IV(2) ii7 V7 I alongado)
— Johann Sebastian BACH — Prelúdios —

1. Dó M — PROCESSO HARMÓNICO
2. Dó m — PROCESSO HARMÓNICO
3. Dó# M — POLIFÓNICO (textura a 2 partes/contrapontístico/ imitativo)
4. Dó# m — POLIFÓNICO (mas c/ escrita livre das partes)
5. Ré M — PROCESSO HARMÓNICO
6. Ré m — PROCESSO HARMÓNICO (ideias melódicas emergem gradualmente) — desenvolvimento motívico e harmónico
7. Mib M — Três segmentos –> 3 andamentos dentro de 1:
1. Prelúdio: desenvolvimento motívico

2. Fugato: polifónico

3. Fuga: Polifónico

8. Mib m — PROCESSO MELÓDICO [acompanhamento homofónico)

9. Mi M — Polifónico (invento)
10. Mi m — Harmónico (v. Notebook for Wilhelm Friedemann)
processo
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processo
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PONTOS PARA REVISÃO

1. Os excertos seguintes apresentam, progressões harmónicas em simples forma de

coral a 4 partes, dos mais importantes tipos de sequências no modo maior, com as
variações típicas.
2. No modo menor, as sequências mais comuns são aquelas em movimento descendente
(5.as e 3.as descendentes).

! !
QUINTAS DESCENDENTES (b) variante 6 (1.ª inversão)
(a) 3

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6 6 6

! !
QUINTAS ASCENDENTES (b) variante 6 (1.ª inversão)
(a) 3

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! ! !
TÉCNICA 5-6 ASCENDENTE

(a) 5-6 no soprano (b) 10-10 no soprano (c) variante 5

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3
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TÉCNICA 5-6 DESCENDENTE

! !
(a) 5-6 (b) 10-6 (c) variante OUTRAS SEQUÊNCIAS
no soprano no soprano)
(a) por grau (b) 6-5
conjunto descendente

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