One of the most famous charms of the chorals in the organs of Johannes Brahms, “Herzlich here is the miracle verlangen” (6/4 meters), Op. 122 can be considered part of the novice organ. It’s easy to play because of a languid tempo, right pedal and lack of imitative polyphony. His soft but sad character can make a nice contrast in your body if you play it between two louder and faster figures. In this article, I will give you five tips on how to learn this prelude chorale.

1. Repeated notes. Several halftones are repeated in the chorale melody in the part of the pedal. According to the tradition of the technique of Legato’s game, repeated notes should be shortened with the help of true rhythmic value. Brahms wrote for the clarinet in his early orchestral works, such as two serenades and his symphonies, but his interest in the clarinet had to be expanded when he met a virtuoso clarinetist named Richard Mulfeld. Starting his musical career as a violinist, Mühlfeld soon became the leading clarinet of his generation. Becoming friends soon after they were introduced, Brahms and Mühlfeld will discuss clarinet possibilities, and Mühlfeld often plays a repertoire in his style for Brahms.

Narrow down these notes by the smallest frequently used rhythmic value in this part (the value of a unit). This will be the sixteenth note. This means that you must make the sixteenth note. Repeated notes on the left side should be shorter than the sixteenth note.

2. Preparing the pedal. It’s best to automate your pedal playing in this part, applying the pedal preparation technique. For example, as soon as you release the pedal played by the right foot, immediately slide this foot with a quick movement in the position for the next note and let it wait. The same applies to the preparation of the pedal on the left foot.

3. Rely on dissonance (harmony). Not all notes are considered equally important in this part. The most significant notes in romantic music, as a rule, are those that form a discordant chord.

The dissonant chord consists of dissonant intervals, such as any seconds, sevenths, reduced and extended intervals. In this case, emphasize chords that have four or more chordal tones and chromaticity. In other words, rely on dissonances, being late or holding them a little longer.

4. Long melodic lines. Brahms’s signature is his endless melodies, somewhat similar to the words of Richard Wagner. The difficult part of playing long melodic lines is that you can not breathe in the middle of the line.

Instead, use your mental focus, looking for the end of this line. Do not stop mentally in the middle of the sentence. Also, try to calculate the volume of the measure parts. Thus, long melodies will have a goal and direction, and listeners will be able to follow and appreciate the lines.

Registration. Since the dynamic level of the standard part is the piano, you should use several 8-inch stops. It is best to play the middle section in the helper guide.

Choral melody in the pedals should be based on an 8-inch stop. Do not use 16 ‘in the pedals here. Instead, select a soft 8-inch or 8-minute button with or without 8 ‘flutes.

Use these tips when you practice this charm chorale today. For best results, try to be very precise when performing each part, for example, repeated notes, using pedals and emphasizing dissonant chords.

 

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Brahms