2003.09.02 16:57
J. S. BACH CHACONNE FROM PARTITA II, BWV 1004 - 제3부
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ANALYSIS
Bach 's Chaconne stands apart from the traditional form customary at the time. The monumental size and the deceptively simple harmonic language and rhythmic patterns makes of this piece a landmark on its own. Every note, its value and relation to the rest, is crafted onto a work of art as precise and inexplicably simple as it is beautiful and brilliant.
This is one of the most studied and analyzed pieces by Bach. It is not and exaggeration to assert that a thorough and exhaustive analysis of this piece brings sufficient material for a dissertation on its own.
The following analysis is just a series of approximations from different perspectives that help to understand the basic features of the Chaconne in order to produce an initial edition and a satisfactory performance.
According to Dr. Robert U. Nelson, there are twelve points that describe a chaconne piece in general: (*14)
1. The chaconne is invariably in triple meter.
2. Also quite common is the division of the set into sections, usually three, in
opposing modes rather than contrasting keys, although the latter is also
encountered.
3. The accented second beat of the old chaconne is carried over from the original dance form.
4. Stock themes, based on or derived from ascending or descending tetrachords, were much used.
5. The harmonic structure is invariably as important as the theme itself as a basis for variation, although there is no fixed practice of either rigid conformity to, or departure from, the original harmonies.
6. In some of the chaconnes based on the descending tetrachord, the ascending tetrachord is substituted as a basis for variation in one or more variations.
7. Pairing of couplets is a common practice.
8. Transpositions of the ostinato from the original voice to some other are common.
9. Contrapuntal devices, such as imitation and pedal point, are widely used.
10. Sequential treatment of figuration ideas is prominently featured in variations based on the tetrachord.
11. Increased rhythmic movement is a prominent feature of the chaconne.
12. Other musical forms are often suggested by returning to the original or related settings.
--------------------------------------
(*14) ; Robert U. Nelson. The Technique of Variation: A Study of the Instrumental Variation from Antonio de Cabez? to Max Reger. (Berkeley: University of California Press, 1962), 152. 20
In particular, Bach's Chaconne is a set of strophic variations divided into three parts. Part I has 133 measures, part II 76, and part III has 48. The proportions are approximately 8:4:3.
Modeled on the French orchestral chaconne, Bach reverses the usual order of mode: minor-mayor-minor, although he uses the customary key of D. The major mode provides Bach with a means of formal contrast. The very use of the major mode fosters a more peaceful mood by giving a simpler chord material: more simple triads and fewer secondary dominants.
Rhythmically, Part II is more relaxed (see table in page 24). The shortest note value is 16th notes, in contrast to the long passages of thirty-second notes in Parts I and III.
The sarabande rhythm, which appears briefly to frame parts I and III, is a prominent feature of Part II. Regarding thematic content and texture, Part II is simpler than parts I and III. There is no more than one tetrachord used within a variation. There are fewer themes in upper voices. The polyphonic devices of voice-exchange and imitation of Part I are absent here. The fact that Part II is simpler than the outer parts by no means implies that it is anti-climatic. In fact, 21 the calm beginning of the section gradually gains in intensity and leads to a peak in variation 22 through 24 (mm. 177~200).
Bach uses the dotted (sarabande) rhythm as an underground seminal pulse that is maintained almost throughout. In the original, some variations this 'pulse?is almost, if not completely, imperceptible. However, the process of transcription and the performance practice of this piece lead to very interesting discoveries (see in The Present Transcription for Guitar, page 30). This dotted rhythm is typical also of the contemporary French passacaglia, the sarabande and fol? (see in: The Chaconne and Related Dance Forms: Historical Relationships, starting in page 4).
Although the traditional accented second beat, derived from the initial anacrusis, is evident from the first measure and for a while thereafter, it disappears in measure 24 and does not reappear until the close of the first section. In Part II, and in the concluding part III, the accented second beat is used in several successive variations, and them temporarily abandoned.
In this way Bach avoids rhythmic monotony and actually intensifies the effect of the traditional chaconne rhythm by highlighting it.(*15)
---------------------------------------------
(*15) ; Byron Cantrell, "Three B's - Three Chaconnes.?Current Musicology, 12. 22
There has been a great debate that has endured for more almost two centuries about the nature of the theme. Schweitzer thinks that the theme is the opening 8-bar melody in the top voice. Spitta gives no less than five themes: some are explicitly stated in the bass, others are extracted from figuration. Robert Erikson believes that the Chaconne is a fine example of the
type of piece organized by chord progression, not melodic basso ostinato. Cedric Thorpe Davie asserts that "here, as in many chaconnes, the variations are as much upon the simple noble harmonies which accompany the bass at the outset as upon the bass itself. Reinhard Oppel concluded that the theme of Bach's Chaconne is a descending tetrachord." (*16)
-------------------------------------------------
(*16) ; Sister Felicitas Curti, "J. S. Bach's Chaconne in D minor: A Study in Coherence and Contrast,?in The Bach Chaconne for Solo Violin, A Collection of Views, edited by Jon F. Eiche (Urbana, IL, 1985), 76.
Evidence, however, points to the tetrachord as Bach's "theme.?Beneath the surface, at a level abstracted from the actual notes, lies the unifying factor of the Chaconne. Underlying the chord-progressions and the various bass melodies is a descending tetrachord, a traditional chaconne bass. The tetrachord appears in several forms (Ex. 5).
Ex. 5
Sometimes the tetrachord is stated explicitly, especially in the chromatic and inverted forms. More often, it is in a deeper level of abstraction. It often appears prominently either as the first note of every measure (Ex. 6); or in the form of a frequently recurring bass theme derived from it (Ex. 7).
Ex. 6
Ex. 7
Bach uses different harmonic progressions as elements of variation. Four of them are quite predominant:
Developing a model of analysis that is compatible with the present performer's edition of the Chaconne is a challenging task. From Schweitzer to Curti the points of view diverge enormously. This is the question: is the tetrachord theme the ultimate answer about basic structure or there is another solution? It is possible to speculate that there is indeed a fourmeasure theme that is included in a two-period phrase: antecedent and consequent (Ex. 8). From now on, the term 'Theme?refers to this eight-measure phrase.
Ex. 8
However, Bach sometimes extends this eight-measure phrase by using pedal points not only upon the bass, but also in top-middle voices. Such are the case of variation 18, mm. 149~160, and variation 27, mm. 229~240. The obvious reason for these four-measure extensions is that of tension builders since they break with the eight-measure pattern by extending the usual time allowed for the dominant. Other times Bach only uses either a variation of the antecedent or consequent for a single four-measure variation, like in variation 26, mm. 225. Bach features another technique that is used very often: Bach states a variation of the antecedent or the consequent followed by the diminution. Examples are variation 3, mm. 25~32 and variation 7, mm. 57~64.
Although the traditional Chaconne's rhythmic characteristic is of an increasing
movement, Bach is successful in keeping the flow for 257 measures doing exactly the opposite. There is an evident arch form, not only rhythmic but also regarding the number of voices used, thus implying a three part sub-structure within every main section. For instance, Part I has elements of contrast and return: the sarabande rhythm gives way to increasingly shorter notevalues, to reappear at the end. The number of voice parts starts with four, is reduced in the middle, and ends again with four. The bass and soprano melodies of the beginning also disappear, to return at the end of Part I. The following charts are based on Curti's analysis: (*17)
--------------------------------------------------
(*17) Ibid, 80.
Part I, D minor :
Part II, D major :
Part III, D minor :
There may be a suggestion of rondo form: The division into three sections and the use of variants of the antecedent and consequent to finish parts I and III. These overall structural pillars give greater cohesiveness to such and extended work and conveys a sense of musical unity and coherence to the listener and the performer. Further examination of these fragments shows that there are direct and subtler connections between them, both through motivic development and chord progressions (Ex. 9).
Ex. 9
From the former example, it is easy to observe that:
1. a) and b) have similar top lines.
2. b) and c) have similar chord progressions.
3. Bass lines of a) and c) begin, and all three end similarly.
4. Hemiola rhythm appears in top or inner voices in all three.
Another issue regarding analysis is whether the Chaconne is an integral part or an appendix to Partita II. Spitta writes: "It is longer than all the rest of the suite put together, and must not be considered as the last movement of it, but as an appended piece; the suite proper concludes with the guigue." (*18) However, there is enough evidence to think otherwise.
------------------------------------------------
(*18) ; Spitta, Phillip. Johann Sebastian Bach, His Work and Influence on the Music of Germany, 1685-1750, trans. Clara Bell and J. A. Fuller-Maitland (London: Novello, 1899), 564.
Indeed, the four preceding movements are standard movements in a Baroque suite. The comparative length of the Chaconne is in fact disproportionate:
However, this is not exceptional in Bach's work: three of the six solo violin Sonatas and Partitas have long movements. Both Sonata II and Sonata III include a movement, in both cases a fugue that is longer than the other movements put together. Yet, it is very clear that these fugues are essential to the Sonatas.
Physical evidence in the manuscript supports the idea of the Chaconne as an integral part of the partita: After the Chaconne Bach continues with the opening Adagio of the following Sonata III in the same page (see the reproduction of the manuscript, page 59).
Further analysis proves that there is a musical relationship between the movements of Partita II. There is a "signature?that opens all the movements: The bass motion from d to c# and back to d (Ex. 10).
"As the Chaconne is an essential part of the Partita, so the Partita is part of a larger plan involving the six solo violin pieces. Several of Bach's large-scale works show his predilection for symmetrical cyclic organization, such as, for example, the Mass in B minor, The Musical
Offering, or the Clavier?ung, Part III." (*19)
There is also another fact regarding the Chaconne as an integral part of the Partita and the six solos as a whole: The Chaconne falls in the Golden Section, the ancient Greek architectural theory of perfection.
----------------------------------------------------
(*19) ; Sister Felicitas Curti. Op. cited, 84.
Bach 's Chaconne stands apart from the traditional form customary at the time. The monumental size and the deceptively simple harmonic language and rhythmic patterns makes of this piece a landmark on its own. Every note, its value and relation to the rest, is crafted onto a work of art as precise and inexplicably simple as it is beautiful and brilliant.
This is one of the most studied and analyzed pieces by Bach. It is not and exaggeration to assert that a thorough and exhaustive analysis of this piece brings sufficient material for a dissertation on its own.
The following analysis is just a series of approximations from different perspectives that help to understand the basic features of the Chaconne in order to produce an initial edition and a satisfactory performance.
According to Dr. Robert U. Nelson, there are twelve points that describe a chaconne piece in general: (*14)
1. The chaconne is invariably in triple meter.
2. Also quite common is the division of the set into sections, usually three, in
opposing modes rather than contrasting keys, although the latter is also
encountered.
3. The accented second beat of the old chaconne is carried over from the original dance form.
4. Stock themes, based on or derived from ascending or descending tetrachords, were much used.
5. The harmonic structure is invariably as important as the theme itself as a basis for variation, although there is no fixed practice of either rigid conformity to, or departure from, the original harmonies.
6. In some of the chaconnes based on the descending tetrachord, the ascending tetrachord is substituted as a basis for variation in one or more variations.
7. Pairing of couplets is a common practice.
8. Transpositions of the ostinato from the original voice to some other are common.
9. Contrapuntal devices, such as imitation and pedal point, are widely used.
10. Sequential treatment of figuration ideas is prominently featured in variations based on the tetrachord.
11. Increased rhythmic movement is a prominent feature of the chaconne.
12. Other musical forms are often suggested by returning to the original or related settings.
--------------------------------------
(*14) ; Robert U. Nelson. The Technique of Variation: A Study of the Instrumental Variation from Antonio de Cabez? to Max Reger. (Berkeley: University of California Press, 1962), 152. 20
In particular, Bach's Chaconne is a set of strophic variations divided into three parts. Part I has 133 measures, part II 76, and part III has 48. The proportions are approximately 8:4:3.
Modeled on the French orchestral chaconne, Bach reverses the usual order of mode: minor-mayor-minor, although he uses the customary key of D. The major mode provides Bach with a means of formal contrast. The very use of the major mode fosters a more peaceful mood by giving a simpler chord material: more simple triads and fewer secondary dominants.
Rhythmically, Part II is more relaxed (see table in page 24). The shortest note value is 16th notes, in contrast to the long passages of thirty-second notes in Parts I and III.
The sarabande rhythm, which appears briefly to frame parts I and III, is a prominent feature of Part II. Regarding thematic content and texture, Part II is simpler than parts I and III. There is no more than one tetrachord used within a variation. There are fewer themes in upper voices. The polyphonic devices of voice-exchange and imitation of Part I are absent here. The fact that Part II is simpler than the outer parts by no means implies that it is anti-climatic. In fact, 21 the calm beginning of the section gradually gains in intensity and leads to a peak in variation 22 through 24 (mm. 177~200).
Bach uses the dotted (sarabande) rhythm as an underground seminal pulse that is maintained almost throughout. In the original, some variations this 'pulse?is almost, if not completely, imperceptible. However, the process of transcription and the performance practice of this piece lead to very interesting discoveries (see in The Present Transcription for Guitar, page 30). This dotted rhythm is typical also of the contemporary French passacaglia, the sarabande and fol? (see in: The Chaconne and Related Dance Forms: Historical Relationships, starting in page 4).
Although the traditional accented second beat, derived from the initial anacrusis, is evident from the first measure and for a while thereafter, it disappears in measure 24 and does not reappear until the close of the first section. In Part II, and in the concluding part III, the accented second beat is used in several successive variations, and them temporarily abandoned.
In this way Bach avoids rhythmic monotony and actually intensifies the effect of the traditional chaconne rhythm by highlighting it.(*15)
---------------------------------------------
(*15) ; Byron Cantrell, "Three B's - Three Chaconnes.?Current Musicology, 12. 22
There has been a great debate that has endured for more almost two centuries about the nature of the theme. Schweitzer thinks that the theme is the opening 8-bar melody in the top voice. Spitta gives no less than five themes: some are explicitly stated in the bass, others are extracted from figuration. Robert Erikson believes that the Chaconne is a fine example of the
type of piece organized by chord progression, not melodic basso ostinato. Cedric Thorpe Davie asserts that "here, as in many chaconnes, the variations are as much upon the simple noble harmonies which accompany the bass at the outset as upon the bass itself. Reinhard Oppel concluded that the theme of Bach's Chaconne is a descending tetrachord." (*16)
-------------------------------------------------
(*16) ; Sister Felicitas Curti, "J. S. Bach's Chaconne in D minor: A Study in Coherence and Contrast,?in The Bach Chaconne for Solo Violin, A Collection of Views, edited by Jon F. Eiche (Urbana, IL, 1985), 76.
Evidence, however, points to the tetrachord as Bach's "theme.?Beneath the surface, at a level abstracted from the actual notes, lies the unifying factor of the Chaconne. Underlying the chord-progressions and the various bass melodies is a descending tetrachord, a traditional chaconne bass. The tetrachord appears in several forms (Ex. 5).
Ex. 5
Sometimes the tetrachord is stated explicitly, especially in the chromatic and inverted forms. More often, it is in a deeper level of abstraction. It often appears prominently either as the first note of every measure (Ex. 6); or in the form of a frequently recurring bass theme derived from it (Ex. 7).
Ex. 6
Ex. 7
Bach uses different harmonic progressions as elements of variation. Four of them are quite predominant:
Developing a model of analysis that is compatible with the present performer's edition of the Chaconne is a challenging task. From Schweitzer to Curti the points of view diverge enormously. This is the question: is the tetrachord theme the ultimate answer about basic structure or there is another solution? It is possible to speculate that there is indeed a fourmeasure theme that is included in a two-period phrase: antecedent and consequent (Ex. 8). From now on, the term 'Theme?refers to this eight-measure phrase.
Ex. 8
However, Bach sometimes extends this eight-measure phrase by using pedal points not only upon the bass, but also in top-middle voices. Such are the case of variation 18, mm. 149~160, and variation 27, mm. 229~240. The obvious reason for these four-measure extensions is that of tension builders since they break with the eight-measure pattern by extending the usual time allowed for the dominant. Other times Bach only uses either a variation of the antecedent or consequent for a single four-measure variation, like in variation 26, mm. 225. Bach features another technique that is used very often: Bach states a variation of the antecedent or the consequent followed by the diminution. Examples are variation 3, mm. 25~32 and variation 7, mm. 57~64.
Although the traditional Chaconne's rhythmic characteristic is of an increasing
movement, Bach is successful in keeping the flow for 257 measures doing exactly the opposite. There is an evident arch form, not only rhythmic but also regarding the number of voices used, thus implying a three part sub-structure within every main section. For instance, Part I has elements of contrast and return: the sarabande rhythm gives way to increasingly shorter notevalues, to reappear at the end. The number of voice parts starts with four, is reduced in the middle, and ends again with four. The bass and soprano melodies of the beginning also disappear, to return at the end of Part I. The following charts are based on Curti's analysis: (*17)
--------------------------------------------------
(*17) Ibid, 80.
Part I, D minor :
Part II, D major :
Part III, D minor :
There may be a suggestion of rondo form: The division into three sections and the use of variants of the antecedent and consequent to finish parts I and III. These overall structural pillars give greater cohesiveness to such and extended work and conveys a sense of musical unity and coherence to the listener and the performer. Further examination of these fragments shows that there are direct and subtler connections between them, both through motivic development and chord progressions (Ex. 9).
Ex. 9
From the former example, it is easy to observe that:
1. a) and b) have similar top lines.
2. b) and c) have similar chord progressions.
3. Bass lines of a) and c) begin, and all three end similarly.
4. Hemiola rhythm appears in top or inner voices in all three.
Another issue regarding analysis is whether the Chaconne is an integral part or an appendix to Partita II. Spitta writes: "It is longer than all the rest of the suite put together, and must not be considered as the last movement of it, but as an appended piece; the suite proper concludes with the guigue." (*18) However, there is enough evidence to think otherwise.
------------------------------------------------
(*18) ; Spitta, Phillip. Johann Sebastian Bach, His Work and Influence on the Music of Germany, 1685-1750, trans. Clara Bell and J. A. Fuller-Maitland (London: Novello, 1899), 564.
Indeed, the four preceding movements are standard movements in a Baroque suite. The comparative length of the Chaconne is in fact disproportionate:
However, this is not exceptional in Bach's work: three of the six solo violin Sonatas and Partitas have long movements. Both Sonata II and Sonata III include a movement, in both cases a fugue that is longer than the other movements put together. Yet, it is very clear that these fugues are essential to the Sonatas.
Physical evidence in the manuscript supports the idea of the Chaconne as an integral part of the partita: After the Chaconne Bach continues with the opening Adagio of the following Sonata III in the same page (see the reproduction of the manuscript, page 59).
Further analysis proves that there is a musical relationship between the movements of Partita II. There is a "signature?that opens all the movements: The bass motion from d to c# and back to d (Ex. 10).
"As the Chaconne is an essential part of the Partita, so the Partita is part of a larger plan involving the six solo violin pieces. Several of Bach's large-scale works show his predilection for symmetrical cyclic organization, such as, for example, the Mass in B minor, The Musical
Offering, or the Clavier?ung, Part III." (*19)
There is also another fact regarding the Chaconne as an integral part of the Partita and the six solos as a whole: The Chaconne falls in the Golden Section, the ancient Greek architectural theory of perfection.
----------------------------------------------------
(*19) ; Sister Felicitas Curti. Op. cited, 84.
번호 | 제목 | 글쓴이 | 날짜 | 조회 수 |
---|---|---|---|---|
1415 | 스트라디바리우스. 과르네리 | 수 | 2024.07.31 | 681 |
1414 | 베토벤의 운명교향곡 | 수 | 2024.07.31 | 752 |
1413 | 오늘의 명언 한마디 보시고 행복한 하루 되세요 ^^~ | 모모 | 2024.04.24 | 1138 |
1412 | 한국의 음악논문을 찾아볼 수 있는 곳 하나 소개합니다. | 변종현 | 2023.11.04 | 1781 |
1411 | 2023 론 브랜튼의 재즈 크리스마스 | whomre | 2023.10.09 | 1854 |
1410 | 2023 김제 기타페스티벌 1 | Jo | 2023.04.05 | 2342 |
1409 | 손톱 다듬기.....이건화 2 | 수 | 2023.01.27 | 2442 |
1408 | 주윤발 휠체어 춤신 음악제목 | 민트짱구 | 2023.02.02 | 2447 |
1407 | 안녕하세요 서울기타콰르텟 한형일입니다 | 10현 | 2022.11.14 | 2554 |
1406 | 이필수님 초청 화성학강의 | 수 | 2022.09.27 | 2582 |
1405 | ☞ 전 실제로 가봤는데여.... | 음... | 2001.01.19 | 4370 |
1404 | 우와~ 고맙습니다~ | 라라 | 2000.11.30 | 4447 |
1403 | 제가 올렸는데여..-.-; | 형서기 | 2000.12.13 | 4483 |
1402 | 부끄럽습니다...저두 잘 모르는데요... | 왕초보 | 2001.01.13 | 4489 |
1401 | 왜 아무도 답을 안 주시죠. 그러면 곡 올린 왕초보님께 부탁을.... | illiana | 2001.01.12 | 4491 |
1400 | ☞ ☞ 전 실제로 가봤는데여.... | 눈물반짝 | 2001.01.19 | 4516 |
1399 | ^^ 그런거 같아요 | 망상 | 2000.12.14 | 4518 |
1398 | 낙제점 나올거 같아 불안해요. | 수 | 2000.12.03 | 4522 |
1397 | 밑에분과 다른 견해... | 으랏차차 | 2001.02.21 | 4526 |
1396 | 안타깝게도... | 미니압바 | 2000.11.25 | 4526 |
1395 | 정말 동감! 갈브레이쓰..... | filliads | 2000.11.24 | 4534 |
1394 | 존경하는?....형서기님....보셔.. | 예진아빠 | 2000.12.25 | 4539 |
1393 | ☞ 와~ 역시 실천에 옮기시는군요~ ^^ | Clara | 2000.12.26 | 4539 |
1392 | 저도... | 지우압바 | 2000.11.27 | 4545 |
1391 | 아! 갈브레쓰를 깜빡했습니다... | 왕초보 | 2000.11.15 | 4546 |
1390 | 좋은정보 너무감사합니다. 그리고.. | 파뿌리 | 2001.02.08 | 4547 |
1389 | 야마시타 비디오를 보고.... 야마시타 오버액션에 관한 이야기 | 기타랑 | 2000.12.28 | 4549 |
1388 | 진님, 그 그게요..... | 수 | 2000.12.17 | 4549 |
1387 | ☞ ☞갈브레이스의 하이든 소나타앨범...글쎄요... | 형서기 | 2000.12.16 | 4555 |
1386 | ☞ 제 잡문 넘 신경쓰지 마세여 | 셰인 | 2001.01.15 | 4557 |
1385 | 베네주엘라 왈츠에 관한 고수님들의 도움을... | 고앙이 | 2000.11.20 | 4567 |
1384 | 왕자는 아닌데요... | 형서기 | 2000.10.25 | 4567 |
1383 | 아래 줄줄이 달린 글들을 읽고... | 변소반장 | 2000.12.11 | 4569 |
1382 | 초보중의 왕은 확실히 다르구나! | 곰팽이 | 2000.11.16 | 4573 |
1381 | 어... | 눈물반짝 | 2000.12.18 | 4581 |
1380 | 저는요... | 미니압바 | 2001.02.09 | 4582 |
1379 | 메일공개....일랴나님 꼭좀 구해줘여... | 수 | 2000.11.22 | 4583 |
1378 | Porro가 음반자료실에....떳어요! | 반짱 | 2001.01.13 | 4590 |
1377 | ☞ 빨리요...푸꾸다와 바덴째즈에 대해 좀 알려주세요... 1 | 망상 | 2000.12.12 | 4596 |
1376 | 아랑훼즈 또는 아랑후에즈가 맞습니다. | 문진성 | 2000.12.11 | 4599 |
1375 | ☞ 악보를 찾는데여...부탁해여 | mess | 2000.11.24 | 4602 |
1374 | ☞ 나 또 울었쟈나...... | 신동훈 | 2000.12.17 | 4607 |
1373 | 크리스마스라고 나만 한가하군요. 수님 | 진 | 2000.12.24 | 4612 |
1372 | 대식님은 클래식기타에도 조예가 깊으신분입니다. | 일랴나 | 2000.10.25 | 4612 |
1371 | 제 경험상... | 왕초보 | 2001.01.19 | 4614 |
1370 | 부탁드려요.. | 봄날호수 | 2000.11.25 | 4614 |
1369 | 상단 칭구네집에 가면 대식이네집이 있걸랑요... | 수 | 2000.12.04 | 4617 |
1368 | 빨리요...푸꾸다와 바덴째즈에 대해 좀 알려주세요... | 이크 | 2000.12.11 | 4619 |
1367 | ☞ ☞ 부족하지 않은 답변입니다... | 광범 | 2000.11.30 | 4619 |
1366 | ☞ 저두^^ | 오모씨 | 2000.11.28 | 4620 |
1365 | 야마시따 연주를 보고.. | giny | 2000.12.27 | 4623 |
1364 | 최근 왕야맹 소식... 퍼온글 | 김동형 | 2000.10.14 | 4623 |
1363 | 다른 음악에서의 예가 하나 있어서여..... | 당근 | 2001.02.09 | 4626 |
1362 | ☞ ☞ 나 또 울었쟈나......그게여.... | 수 | 2000.12.17 | 4627 |
1361 | 대외적으로는 합법적으로 활동하는것이... | 수 | 2000.10.26 | 4627 |
1360 | ☞ ☞ 본인 글에 대한 본인의 대답 | 차차 | 2001.02.05 | 4631 |
1359 | 듣는 것과 연주하는 것. | 눈물반짝 | 2000.11.30 | 4631 |
1358 | ☞ 부탁드려요.. | 안진수 | 2000.11.26 | 4634 |
1357 | 알리리오 디아즈랑, 오스카길리아얘긴 왜 없죠? | 수 | 2000.12.28 | 4635 |
1356 | 음.. 리얼은여... | 변소반장 | 2000.10.17 | 4636 |
1355 | 컴퓨터스피커 음악감상하는데 어떤거라도 상관없나요? | 수 | 2001.01.19 | 4638 |
1354 | ☞ ☞ ^^ 감사..... | 오모씨 | 2000.10.25 | 4638 |
1353 | 어.. | 눈물반짝 | 2000.12.18 | 4641 |
1352 | 어려운 일은 아니져!!!!! | 수 | 2000.10.20 | 4643 |
1351 | 그건... | 신동훈 | 2000.12.18 | 4649 |
1350 | 기타 음악 중 가장 제목이 아름답다고 생각된 곡명...? | 진 | 2001.01.10 | 4652 |
1349 | ☞ 확실히... | 공감 | 2000.12.03 | 4652 |
1348 | ☞ 도서안내...인류와 기타.....정상수님과 토레스회원들의 편집. | 21대 토레시안 | 2001.01.10 | 4653 |
1347 | 저는 음반을 고를때 남의 말은 권위자 말이라도 안들어요. | 미니압바 | 2000.11.05 | 4657 |
1346 | 데이비드 러쎌에 대하여... | 왕초보 | 2001.01.09 | 4658 |
1345 | 초보방장(옆,옆집)입니다. | 형서기 | 2000.10.19 | 4662 |
1344 | 채소님께 답장아닌 답장을.. | 최성우 | 2001.07.04 | 4664 |
1343 | ☞ 감사합니다. (내용없음) | filliads | 2000.12.22 | 4665 |
1342 | ☞ 존경하는?....형서기님....보셔.. | illiana | 2000.12.26 | 4667 |
1341 | ☞ 바흐 샤콘느를 다시 포기함..... | 광범 | 2000.11.30 | 4668 |
1340 | 연주회장도 악기랑 똑같네요. | 수 | 2001.03.09 | 4672 |
1339 | 기교가 100% 해결된다면.... | Filliads | 2001.02.08 | 4672 |
1338 | ☞ ☞ 미니디스크 녹음기 SONY MZ-R70PC 를 써 봤는데... | 셰인 | 2001.02.02 | 4672 |
1337 | ☞ 모짤트냄새나는 바하? | 눈물반짝 | 2000.12.20 | 4674 |
1336 | ☞ 혹시 도움이 되시기를... | 김웅찬 | 2000.10.25 | 4674 |
1335 | ☞ 저도 초보입니다. 많이들 도움주시기를...꾸벅... | 김웅찬 | 2000.10.24 | 4675 |
1334 | sun입니다. | 선경진 | 2000.10.19 | 4677 |
1333 | 좋은 소개.......... | 화음 | 2000.10.25 | 4679 |
1332 | 소르의 러시아의 회상에 관한 질문 | 파뿌리 | 2001.02.14 | 4681 |
1331 | ☞ 아! 갈브레쓰를 깜빡했습니다... | 갈브레쓰.... | 2000.11.25 | 4689 |
1330 | 참으로 아름다운 노래..^^; | 오모씨 | 2000.10.24 | 4689 |
1329 | 그건요... | 지우압바 | 2000.10.16 | 4689 |
1328 | 조만간 정리해서 알려드리겠습니다. | 미니압바 | 2000.10.29 | 4692 |
1327 | 텔레만의 소나타G장조를 들어볼수 없을까요..부탁드립니다. | 이크 | 2001.01.18 | 4693 |
1326 | 요즘 나온시디...바루에코. | 수 | 2000.10.21 | 4695 |
1325 | ☞ 온고지신... | 솔개 | 2001.03.04 | 4697 |
1324 | ☞ 실황연주를 보았는데... | 셰인 | 2001.02.19 | 4706 |
1323 | 마자!! 마자!! | 신동훈 | 2001.01.15 | 4707 |
1322 | ☞ 스승님..한수 가르쳐주세요.소주와 함께 謁見하고 싶군요.. | 명노창 | 2000.10.30 | 4707 |
1321 | [펀글] 편곡 연주에 대한 셰인님의 견해 | 형서기 | 2001.01.15 | 4711 |
1320 | 귀염둥이님~ 그렁건 제게 물어보셔야죵~ | 수 | 2000.10.25 | 4724 |
1319 | 답변 정말 감사.. 1 | 으랏차차 | 2001.06.02 | 4727 |
1318 | ☞ 그림의 떡이군...... | 예진아빠 | 2000.12.28 | 4727 |
1317 | 고맙습니다! 잘 듣겠습니다! (냉무) | 반짱 | 2000.12.25 | 4727 |
1316 | ☞ 야마시타의 오른손 | 셰인 | 2001.01.06 | 4728 |
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