Magnificat Fugue III.7, by Pachelbel
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Get the practice plan for Magnificat Fugue III.7
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- Hear it through at Slow (28 bpm). Open it in the reader, choose Slow, and follow the page with your eyes without playing. As it plays, count 4 to the bar.
- Learn the right hand of bars 1 to 8 on its own. Say the note names out loud the first time through, then play it three times without stopping.
- Learn the left hand of the same bars on its own. Keep it quiet and even: it is the floor the tune stands on.
- Put hands together at Slow, 28 bpm. Bars 1 to 8 only. Stop after every wrong note and play that bar again before moving on.
- Move up to Steady (42 bpm) once Slow feels easy three times in a row. Then learn the next 8 bars the same way: right hand, left hand, together.
- Play the whole piece (about 2 minutes) from the start, at whatever speed keeps it going. A steady run with a few slips beats a fast one that stops.
About this piece
Pachelbel wrote around ninety short fugues for the organist to play in alternation with sung verses of the Magnificat at Vespers. This one is a compact fugue of 28 bars, its subject a little turning figure that begins on D, closing on a bright G major chord.
How to play it
Play each entry of the four-note turning figure clearly, whichever hand has it. On the piano keep the sound clean and even, since this was written for organ.
Reading it, and printing it
The score opens in Artform's reader, which shows the music as engraved notation and plays it back so you can hear the line before you try it. You can slow the tempo down, loop a passage that is not working yet, and print the page when you would rather have paper on the stand.
The file itself is MusicXML, which MuseScore, Sibelius, Finale and Dorico all open, so the notes are yours to keep whatever you read them in.
Edition: Mutopia Project #420, licensed CC BY-SA. Converted to MusicXML by Artform and checked note for note against the original.
More free Pachelbel sheet music
Who Pachelbel was
German organist of the generation before Bach, respected in his lifetime as a teacher and church musician in Nuremberg, and known today for a single piece he would have thought one of his least important. The Canon in D sat unplayed for nearly three centuries until a 1968 recording turned it into the most performed piece of Baroque music on earth, at weddings, in adverts, and under a thousand pop songs that borrow its chords. He taught Johann Christoph Bach, who taught his younger brother Johann Sebastian, so the line to the Well-Tempered Clavier runs through him.
Learn the music behind it
Reading a piece and understanding it are different skills. If you want the harmony under this one, the chord trainer teaches chords the way songs use them, and the scale pages cover the fingering for every key.