J.S.Bach :: Toccata and Fugue in Dm - BWV. 565

Описание: I saw this trend on Youtube where people were tagging their videos with #MIDIFLIP
It's an experiment where you invert all of the intervals of the piece in relation to the starting note.
I believe it was started by ANDREW HUANG, a music Youtuber. I decided to give it a shot because it seemed interesting. I wanted to give Bach's Toccata and Fugue a shot since it's already contrapuntal, so I figured the intervals being flipped would give it a different feel altogether while still maintaining harmonic integrity. I also wanted to pull out the organ since I've only used it once.
------------------------------------------------------------------------------
00:08 I. Toccata
02:57 II. Fugue
-------------------------------[ Social ]--------------------------------

● Website: ToryK13 Productions
https://www.ToryK13.net

● Contact:
http://www.toryk13.net/contact/

●BandCamp: ToryK13
https://toryk13.bandcamp.com/

●SoundCloud: ToryK13
  / toryk13  

● Facebook: ToryK13 Productions
  / toryk13produ.  .

●Twitter: ToryK13
  / toryk13  

------------------------------------------------------------------------------
Download:
http://toryk13.net/BWV565inv
------------------------------------------------------------------------------
I. Toccata
The Toccata begins with a single-voice flourish in the upper ranges of the keyboard, doubled at the octave. It then spirals toward the bottom, where a diminished seventh chord appears (which actually implies a dominant chord with a minor 9th against a tonic pedal), built one note at a time. This resolves into a D major chord.

II. Fugue
The subject of the four-voice fugue is made up entirely of sixteenth notes, with an implied pedal point set against a brief melodic subject that first falls, then rises. Such violinistic figures are frequently encountered in Baroque music and that of Bach, both as fugue subjects and as material in non-imitative pieces. Unusually, the answer is in the subdominant key, rather than the traditional dominant. Although technically a four-part fugue, most of the time there are only three voices, and some of the interludes are in two, or even one voice (notated as two). Although only simple triadic harmony is employed throughout the fugue, there is an unexpected C minor subject entry, and furthermore, a solo pedal statement of the subject—a unique feature for a Baroque fugue. Immediately after the final subject entry, the fugue resolves to a sustained Bb major chord.
------------------------------------------------------------------------------
The magnificent animation couldn't have been done without the amazingly talented Stephen Malinowski and his Music Animation Machine.
   / smalin  
------------------------------------------------------------------------------
The music was recorded and conducted in Ableton Live.
https://www.ableton.com/en/eula/