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Canon In D (Pachelbels Canon) Cello Piano REPACK

Pachelbel's Canon (also known as the Canon in D, P 37) is an accompanied canon by the German Baroque composer Johann Pachelbel. The canon was originally scored for three violins and basso continuo and paired with a gigue, known as Canon and Gigue for 3 violins and basso continuo. Both movements are in the key of D major. Although a true canon at the unison in three parts, it also has elements of a chaconne. Neither the date nor the circumstances of its composition are known (suggested dates range from 1680 to 1706), and the oldest surviving manuscript copy of the piece dates from 1838 to 1842.[1]

Canon in D (Pachelbels Canon) Cello Piano

The circumstances of the piece's composition are wholly unknown. Hans-Joachim Schulze, writing in 1985, suggested that the piece may have been composed for Johann Christoph Bach's wedding, on 23 October 1694, which Pachelbel attended. Johann Ambrosius Bach, Pachelbel, and other friends and family provided music for the occasion.[7] Johann Christoph Bach, the oldest brother of Johann Sebastian Bach, was a pupil of Pachelbel. Another scholar, Charles E. Brewer, investigated a variety of possible connections between Pachelbel's and Heinrich Biber's published chamber music. His research indicated that the Canon may have been composed in response to a chaconne with canonic elements which Biber published as part of Partia III of Harmonia artificioso-ariosa. That would indicate that Pachelbel's piece cannot be dated earlier than 1696, the year of publication of Biber's collection.[8] Other dates of the Canon's composition are occasionally suggested, for example, as early as 1680.[9]

The canon (without the accompanying gigue) was first published in 1919 by scholar Gustav Beckmann, who included the score in his article on Pachelbel's chamber music.[10] His research was inspired and supported by early music scholar and editor Max Seiffert, who in 1929 published his arrangement of the "Canon and Gigue" in his Organum series.[11] However, that edition contained numerous articulation marks and dynamics not in the original score. Furthermore, Seiffert provided tempi he considered right for the piece, but that were not supported by later research.[12] The canon was first recorded in 1940 by Arthur Fiedler.[13]

In 1968, the Jean-François Paillard chamber orchestra made a recording of the piece that would change its fortunes significantly.[2] This rendition was done in a more Romantic style, at a significantly slower tempo than it had been played at before, and contained obbligato parts, written by Paillard.[2] The Paillard recording was released in June in France by Erato Records as part of an LP record that also included the Trumpet Concerto by Johann Friedrich Fasch and other works by Pachelbel and Fasch, all played by the Jean-François Paillard chamber orchestra. Paillard's interpretation of the canon was also included on a widely distributed album by the mail-order label Musical Heritage Society in 1968.

In 1977, the RCA Red Seal label reissued the original Erato album in the United States and elsewhere. In the U.S. it was the 6th-highest-selling classical album of 1977. (Two other albums containing Pachelbel's Canon charted for the year: the Stuttgart Chamber Orchestra album at number 17, and another album featuring the Paillard recording, Go For Baroque!, at number 13.)[18] The Paillard recording was then featured prominently in the soundtrack of the 1980 film Ordinary People.[2] The Erato/RCA album kept climbing the Billboard Classical Albums chart, and in January 1982 it reached the number 1 position,[2] where it remained until May 1982, when it was knocked out of first place by an album featuring Pachelbel's Canon played by the Academy of Ancient Music directed by Christopher Hogwood.[19] The canon was selected for the soundtrack of Carl Sagan's popular 1980 American PBS television series Cosmos: A Personal Voyage, and the astronomer cited this work as one of his Desert Island Discs on the BBC on 18 July 1981.[20] In 1981 The Music of Cosmos, an album by RCA Records, and in 2000 a CD by the Cosmos Studios label of the soundtrack were published, that feature an arrangement of the canon by Glenn Spreen and James Galway.[21][22]

In Germany, Italy and France of the 17th century, some pieces built on an ostinato bass were called chaconnes or passacaglias; such works sometimes incorporate some form of variation in the upper voices. While some writers consider each of the 28 statements of the ground bass a separate variation,[5] one scholar finds that Pachelbel's canon is constructed of just 12 variations, mostly four bars in length, and describes them as follows:[25]

Pachelbel's canon thus merges a strict polyphonic form (the canon) and a variation form (the chaconne). Pachelbel skillfully constructs the variations to make them "both pleasing and subtly undetectable."[25]

The gigue is set in 128 time and consists of 2 equal sections of 10 bars each. Unlike the canon, the gigue neither has a repeating bass voice nor a set chord progression. The gigue exhibits fugal writing, with each section introducing a brief melodic statement which is then imitated in the other voices.

The Trans-Siberian Orchestra's 1998 song "Christmas Canon" is a "take" on Pachelbel's Canon.[30] JerryC's version, titled "Canon Rock", was one of the earliest viral videos on YouTube when it was covered by Funtwo.[31] "Sunday Morning" on Procol Harum's 2017 album Novum is based on just the chords of the canon.[32]

Ahem...all the bitter cello-malice aside, Pachelbel's Canon in D (written in the 1600's) has stood the test of time -- celebrated as the most recognizable piece of classical music. We like to call it the "one-hit wonder of the 1600's." It really is an amazingly catchy piece of music. It demonstrates the musical form of the "canon," when a melody is played and then repeated in a round by other voices. (watch how the melodies are passed from one cello to the next - right to left)

He uses an ostinato (the same bass line repeated over and over again) and a canon (the same music repeated by the violin parts, in a round) to construct his piece. Listen out for the same music being passed between the violins.

This is what creates the canon aspect of the piece: when the same melody is repeated shortly after it is played by another instrument while remaining layered on top of each other. If done right, as in Canon in D, this sounds absolutely stunning!

That formula is especially useful on a solo instrument such as the piano, where it may be difficult to continue a true canon through each new melody. As a piano performer at weddings, sometimes this is required since I often have no idea how long it will take exactly for the wedding party to walk down the aisle. It usually requires improvising to make it work just right.

I have kept this arrangement of the canon in D major for piano quite simple so that piano players of varying levels of ability can all enjoy learning it. I have scored it with the opening bass notes played as half notes (minims) as this makes it easier for piano players to read the later rhythms. Note that the original version notates the opening notes as quarter notes (crotchets). The opening bars are simple, but as the piece progresses to increasingly complex sixteenth notes (semiquaver patterns) it becomes quite challenging and will be a satisfying task for more experiences players to tackle.

It is impossible to transcribe this aspect of the Canon in D major onto a piano arrangement without making the piece extremely difficult and so I have simply taken one line of melody for most of the right hand part. You could achieve the canon of the 3 violins to varying degrees of success in an organ arrangement as the pedals would play the bass part leaving 2 hands free to play the other parts. 041b061a72

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