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Books & Sheet Music In Progress

This page (always a work in progress) lists all the books and titles currently planned and in progress, which are projected to be completed and for sale in 2019 and 2020. Each title will be published as a hardcopy book or folio (usually the music book standard, 9” by 12”) printed and distributed by Subito Music Corporation, while the corresponding PDFs (E-books, instant downloads, great for iPads and tablets) will be sold on this website. Titles and themes are subject to change as they are developed further and approach official publication. We specialize in books and resources for pianists and organists (keyboard and theory type publications), and especially value useful and innovative studies that no other publishers offer. If you are keyboard and/or theory teacher or professor and/or experienced editor-composer-arranger who has an original and potentially marketable idea or compositions/arrangements and are looking for a publisher, you are welcome to email us your proposal for consideration. For more information about the history and mission of BachScholar Publishing, CLICK HERE.

Sincerely, Cory Hall (D.M.A.) — BachScholar® Founder & Editor-In-Chief

Discovering Bach's Secret Tempo Code


Discovering Bach's Secret Tempo Code


ATTENTION: This book is not for sale yet. It is shown here to display the cover page. Please DO NOT add to your cart. To be published sometime in 2020.

ABOUT THIS BOOK: Discovering Bach’s Secret Tempo Code (by Cory Hall) is an investigative and speculative theoretical study based on over 12 years of research, done mostly in 1992-2004 but up until today has remained mostly unpublished. The main hypothesis of the study purports that Bach sought to unify the movements in multi-movement works, such as cantatas and chamber works, and two-movement works, such as preludes and fugues, by common durations and duration ratios, namely, 1:1, 1:2, 2:1, 2:3, 3:2. For example, a prelude and fugue might each last two minutes (1:1), or perhaps the prelude might last two minutes and the fugue three minutes (2:3), or the prelude 4:00 and the fugue 2:40 (4:00 / 2:40 = 3:2). Over the aforementioned 12-year period, the author analyzed Bach’s complete works using a special scientific system of bar counting and tempo analysis, which proves beyond a reasonable doubt that Bach was not merely a composer, but a master “music architect” who planned his tempi in precise beats per minute and an “ideal” number of bars for each movement to achieve duration ratios of 1:1, 2:3 and 3:2. Thus, Bach operated with a set number of about a dozen standard tempi in terms of beats per minute (a spectrum of tempi giusti), which he would select first even before writing the music down, then he would calculate a “target” number of measures for each movement that would result in a desired duration, which in turn, would result in a desired duration ratio among movement pairs or groups. This is analogous to an architect planning equal dimensions in two rooms of a house (1:1), or one room being two times larger than another room (1:2), or one room being one-half larger than another room (2:3) before building the house. This kind of dimensional planning is standard operating procedure for architects, as it was also standard operating procedure for the greatest “musical architect” in history. Using an analogy, the cantata is the “house” and the arias and choruses are the “rooms,” in that an aria from a cantata might last “x” number of minutes and seconds when performed at its “ideal” tempo giusto, while the following chorus might last “2x” number of minutes and seconds when performed at its “ideal” tempo giusto. This study uses hundreds of examples in all genres (i.e., keyboard, organ, cantatas and vocal, chamber, orchestral, didactic) to prove the initial hypothesis as well as show that Bach was preoccupied and even perhaps “obsessed” with attaining symmetry (like making the first and last movements of a multi-movement work or cycle have equal or related durations), which in turn, proves the precise tempi Bach planned for virtually all his music. The conclusion is that Bach operated with a modus operandi of tempi or “unifying tempo system” which this study refers to as Bach’s “secret tempo code.”   

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