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.
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1413 | 1970.01.01 | 4572 | ||
1412 | A.P.BARRIOS MANGORE를 아시나요? 6 | 영서애비 | 2000.05.12 | 6823 |
1411 | 왕야맹을 아시나요?...16살소녀. | 말괄량이 | 2000.05.26 | 4921 |
1410 | 로스 로메로스 공연과 핸드폰소리.... | 명노창 | 2000.05.29 | 5221 |
1409 | 엘리엇 피스크의 마스터클래스..... | 고형석 | 2000.06.11 | 5002 |
1408 | 피스크? 테크니션? | brawman | 2000.06.11 | 5743 |
1407 | [책소개] 스탠다드 팝송기타솔로 | 말괄량이 | 2000.06.20 | 5453 |
1406 | 제 8회 국제기타콩쿠르...이탈리아 | 말괄량이 | 2000.06.20 | 4917 |
1405 | gfa 2000기타콩쿠르 | brawman | 2000.06.20 | 4932 |
1404 | 웅수님 홈에서 아주 잘 쉬었다가 갑니다..^^ | 정성민 | 2000.07.02 | 5092 |
1403 | 행~님!! 홈페쥐 보수작업 추카... | 한쌈 | 2000.07.02 | 5526 |
1402 | 당신 음악못듣게하면? | 늑대 | 2000.07.05 | 4549 |
1401 | ☞:당신 음악못듣게하면? | 여우 | 2000.07.05 | 4856 |
1400 | ☞:화가로 전향했을껄.... | 나그네 | 2000.07.05 | 5008 |
1399 | 나는.... | 눈물반짝 | 2000.07.05 | 4617 |
1398 | 거럼 | 고롬 | 2000.07.06 | 4792 |
1397 | 씨이...... | 오모씨 | 2000.07.06 | 4908 |
1396 | 늑대 일루 와봐봐..... | 늑대사냥꾼 | 2000.07.06 | 4808 |
1395 | 귀가 있을필요가 없죠. | 현규 | 2000.07.11 | 4676 |
1394 | 우메~우째이런 황당한 이야기 거리가...... | 명노창 | 2000.07.12 | 4960 |
1393 | 아래..늑대님 그럼우리에게 손가락이 없다면... | 명노창 | 2000.07.12 | 4686 |
1392 | 쟈끄 르씨엘의 골드베르크변주곡. | 웅수 | 2000.07.13 | 4606 |
1391 | 엘레나 파판드로양에게 갔다왔어요? | 수 | 2000.07.20 | 4600 |
1390 | 엘레나 파판드루 | 이승한 | 2000.07.26 | 4731 |
1389 | ☞:당신 음악못듣게하면? | 이승한 | 2000.07.26 | 4705 |
1388 | ☞:승한님 두번째 부탁입니다. | 수 | 2000.07.26 | 4758 |
1387 | 부탁취소... | 수 | 2000.07.26 | 4620 |
1386 | [re:]부탁취소... | 이승한 | 2000.07.27 | 4617 |
1385 | 쿠쿠....감사. | 수 | 2000.07.27 | 4798 |
1384 | antigoni goni 홈페이지 아시는분~ | 동물원 | 2000.07.30 | 4923 |
1383 | 배장흠기타독주회실황mp3!! | 오모씨 | 2000.07.31 | 4769 |
1382 | 바하전문 연주자 니콜라예바가 차이콥스키를... | 수 | 2000.08.01 | 4583 |
1381 | 이런 곳이 다 있네 ^^ | 초보작곡가 | 2000.08.02 | 4758 |
1380 | 스테판 락 악보어디서 구하나요? | 기타광맨 | 2000.08.08 | 5000 |
1379 | 악보게시판에 올려주세여~ -.-;; | 형서기 | 2000.08.08 | 4486 |
1378 | 알함브라. | sophia | 2000.08.19 | 4844 |
1377 | 요기... | 화음 | 2000.08.20 | 4576 |
1376 | 석굴암 | 화음 | 2000.08.20 | 5589 |
1375 | 꺄오~ 화음님 화이팅! | 수 | 2000.08.20 | 4473 |
1374 | 라흐마니높 피아노협주곡음반은... | 수 | 2000.08.22 | 5011 |
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1371 | 이곳은...다른세상 | whisky | 2000.08.24 | 4908 |
1370 | 바로크 기타 트리오 연주회입니다... | 조우주 | 2000.08.26 | 4694 |
1369 | 바루에코와 러셀의 대담내용 정리 | illiana | 2000.08.27 | 4887 |
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1367 | 그남자와 그여자의 사정. 2 | 눈물반짝 | 2000.08.30 | 6071 |
1366 | ☞:그남자와 그여자의 사정...이런 것을??? | 형서기 | 2000.08.30 | 5184 |
1365 | --;;; | 눈물반짝 | 2000.08.31 | 4720 |
1364 | 헐...어케여..--;;;;;;;; | 형서기 | 2000.08.31 | 5530 |
1363 | 형서기님 다 보고선 | 수 | 2000.08.31 | 5564 |
1362 | 형서기님 요기.... | 화음 | 2000.08.31 | 5765 |
1361 | 어쿠...감사!!!!!!!!!!! | 형서기 | 2000.09.01 | 4544 |
1360 | ☞:야마시타의 비디오를 보고..저악보 있어요 | hochma | 2000.09.04 | 4956 |
1359 | 니콜라예바의 음반 가지고 계신분~ | 수 | 2000.09.04 | 4462 |
1358 | 몰입의 즐거움. | 눈물반짝 | 2000.09.04 | 4577 |
1357 | 몇장 있져! 그럼 다음 기회에... | 나 콜라예바 | 2000.09.04 | 4760 |
1356 | 누굽니까? | 수 | 2000.09.04 | 4551 |
1355 | 음악듣다 운 얘기하라고요? | 고은별 | 2000.09.15 | 4870 |
1354 | 고은별님 반갑습니다. | illiana | 2000.09.16 | 4461 |
1353 | 여러분이 생각하는 차세대 거물(?)은? | illiana | 2000.09.16 | 4548 |
1352 | 고은별님 반갑습니다. | maria | 2000.09.16 | 4409 |
1351 | 고은별님 아직 사지 마셔요. | 수 | 2000.09.16 | 4978 |
1350 | 아이참!!! 이를 어떻게 하죠? | 고은별 | 2000.09.16 | 4503 |
1349 | 새론 거물(?) | 영자 | 2000.09.16 | 4545 |
1348 | 캬!!!!!! 죽이는 Bylsma의 Cello Suites | illiana | 2000.09.17 | 4652 |
1347 | ☞:캬!!!!!! 죽이는 Bylsma의 Cello Suites...2장짜리? | 영자 | 2000.09.17 | 4656 |
1346 | 미운 illiana... | 수 | 2000.09.17 | 4690 |
1345 | 리얼오디오자료실은 어떠실런지... | 신정하 | 2000.09.18 | 4962 |
1344 | ☞:왕야맹때문에 디지게 혼났쟈나... | maria | 2000.09.21 | 4652 |
1343 | 울 성생님은.... | 수 | 2000.09.21 | 4477 |
1342 | 현대기타음악은 어떻게 이해해야 하나요? | 고민중 | 2000.09.24 | 5358 |
1341 | 현대인의 의식분열. | 의식분열 | 2000.09.24 | 5723 |
1340 | ☞:현대기타음악은 어떻게 이해해야 하나요? | 지우압바 | 2000.09.25 | 4606 |
1339 | ☞:현대 미술작품은 어떻게 감상하시나요? | 신정하 | 2000.09.25 | 4822 |
1338 | 새로운길에 대한 두려움.... | 수 | 2000.09.25 | 5289 |
1337 | ☞:현대기타음악에 대한 저의 생각들 | 왕초보 | 2000.09.26 | 4833 |
1336 | 괜찮으시다면 몇가지 짚어보겠습니다. | 신정하 | 2000.09.26 | 5020 |
1335 | 몇가지 짚어주셔서 감사드립니다. | 왕초보 | 2000.09.26 | 5654 |
1334 | 죄송합니다. | 신정하 | 2000.09.26 | 4788 |
1333 | 죄송하다니요...천부당 만부당 하신 말씀입니다.. | 왕초보 | 2000.09.27 | 4995 |
1332 | 역시 고수님들 이십니다. | 지우압바 | 2000.09.28 | 4551 |
1331 | 영서부님 지우압바연주 왜 안올리셔요? | 수 | 2000.09.28 | 4633 |
1330 | 지우압바님의 연주를 듣고싶다!!!!! | 형서기 | 2000.09.28 | 5000 |
1329 | <font color=red>꺄우뚱! 왜 그럴까요? 히히!</font> | 泳瑞父 | 2000.09.28 | 5440 |
1328 | 이중주? 하하하.... | 수 | 2000.09.29 | 4761 |
1327 | martha argerich 의 연주는... | 수 | 2000.09.30 | 5786 |
1326 | .........묵묵........ | 지우압바 | 2000.10.04 | 5035 |
1325 | 골루세스에 대해 알고 싶습니다 | 김소희 | 2000.10.05 | 4927 |
1324 | 음반 게시판을 보세요!!! | 음반방장 | 2000.10.05 | 4824 |
1323 | 정말 좋은 연주자가 확실해요. | 수 | 2000.10.05 | 4734 |
1322 | 저... 어떻하면 아르페지오를 잘할 수 있나여? | wlal | 2000.10.06 | 4965 |
1321 | ☞:저... 어떻하면 아르페지오를 잘할 수 있나여? | 은석 | 2000.10.06 | 4768 |
1320 | ☞:골루세스에 대해 알고 싶습니다 | illiana | 2000.10.07 | 4588 |
1319 | 상대적으로 덜 알려진 기타리스트의 보물창고 NAXOS | illiana | 2000.10.07 | 6231 |
1318 | ☞:NAXOS음반 카타로그를 구하는 방법 | illiana | 2000.10.07 | 4746 |
1317 | ☞:NAXOS음반 정말 싸여. | 수 | 2000.10.07 | 4567 |
1316 | Solo로 연주하는 아란훼즈협주곡 듣고싶지 않으세요? | illiana | 2000.10.08 | 5398 |
1315 | 야마시다의 연주가 최고가 아닌가요? | 김상근 | 2000.10.08 | 4746 |
1314 | 야마시다의 연주! 조치요! | 음반방장 | 2000.10.08 | 4358 |
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