Johann pachelbel
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Johann Pachelbel. By: Patricia Waleske. Biography. Born in Nuremberg, Germany Exact Day of Birth Unknown Baptized Sept. 1, 1653. Schooling. Attended High School at St. Lorenz Studied General Education. Enrolled at the University in Altdorf. Schooling Continued.

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Johann Pachelbel

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Johann pachelbel

Johann Pachelbel

By: Patricia Waleske



Born in Nuremberg, Germany

Exact Day of Birth Unknown

Baptized Sept. 1, 1653



  • Attended High School at St. Lorenz

    • Studied General Education

  • Enrolled at the University in Altdorf

Schooling continued

Schooling Continued

  • Attended For Only One Year

  • Received Scholarship to Gymnasium Poeticum in Regensburg



  • Early Instructors

    • Heinrich Schwemmer

    • George KasparWecker

      • Would teach Pachelbel to play the organ

  • While at Regensburg

    • KasparPrentz



  • St. Lorenz Church in 1669

  • St. Stephens Cathedral in 1673

  • Court Organist in 1677

  • Predigerkirche in 1678

Employment continued

Employment continued

  • Organist in Stuttgart in 1690

  • Gotha Town Organist in 1692

  • St. Sebaldus Church in 1694



  • Married in 1681

    • Barbara Gabler

    • One Son

  • Wife and Son Die 1683

Http youtu be 57azuh32ouo

Musical Thoughts of Death

Family continued

Family Continued

Married in 1684

Judith Drommer

7 Children

2 Sons becomer composers



  • While in Eisenach

    • Becomes Friends with Johann Ambrosius Bach

      • Father of Johann Sebastian Bach

      • Pachelbel tutors Johann Christoph Bach

  • It is said Pachelbel lived with Johann Christian Bach

Pachelbel s death

March 3rd, 1706

Pachelbel’s Death

Music by pachelbel

Music By Pachelbel

  • Chorales

    • Half of Pachelbel’s works

  • Fugues

    • More than 100

  • Chaconnes and Variations

    • 6

  • Toccatas

    • 20

  • Fantasias

    • 6

  • Preludes

    • Several similar to the Toccatas

  • Canon

    • 1

History of canon in d and gigue

History of Canon in D and Gigue

  • What is a Canon?

    • A canon is a technique that employs a melody with one or more imitations of the melody played after a given time

  • What is Ground Bass?

    • Ground bass is a type of variation that forms the bassline of the piece and is repeated as an underlying variation

  • What is a Gigue?

    • A baroque dance, usually lively, that originated from the British jig

Canon in d

Canon in D

  • Written for 3 violins and a basso continuo

  • Ground bass is 8 notes that repeat throughout the piece

The gigue

The Gigue

  • Baroque Dance

  • Lively

  • Originated from British Jig

  • Written in 3/8 metre

  • Danced by Nobility

Musikalische erogtzung no 6

Musikalische Erogtzung No. 6

  • One of 6 Chamber Suites

  • Referred to as Partita

  • Means Musical Delight

  • Written for 2 Scordatura and Basso Continuo

Basso continuo

Basso Continuo

Form of accompaniment

Played by a keyboard instrument

Listening guide for canon in d and gigue

Listening Guide for Canon in D and Gigue

  • i. 0:00-0:20- the canon begins with just the harpsichord (the ground bass) and the plucking of the strings of the violins. The ground bass is 8 notes repeated throughout the piece. This sets the rhythm and beat of the song.

  • ii. 0:20-1:00- the melody begins at this point with the strings as the harpsichord continues with the same rhythm. The plucking of strings can still be heard as well.

  • iii. 1:00-1:15- one violin begins what is the familiar melody of the canon. The melody is soft as this point.

  • iv. 1:15-1:41- a second violin begins to play in harmony with the first. It’s melody slightly different than the first.

  • v.1:41-2:07- a third violin is added. The melody seems to crescendo. While the other 2 violins begin to play together, the third plays a different tune in harmony with the others. The technique of the layering of the 3 violins playing variations of the same melody is what makes this piece a canon.

The canon continued

The Canon continued

  • vi. 2:07-3:00- all 3 violins begin to play together the same melody. The tempo is quicker, the music more lively.

  • vii. 3:00-3:40- the strings have quit playing and only the plucking of strings and the harpsichord can be heard. The tone is quiet.

  • viii. 3:40-3:53 the original violin begins again playing the same melody.

  • ix. 3:53-4:40 the other violins join again, but the tempo has slowed. The notes seem to be higher.

  • x.4:40-5:30 the tempo has definitely changed here. The violins play more hauntingly. The melody is played in an even higher tone.

  • xi. 5:30-6:16 the plucking of the strings has ended and all the instruments take up the same melody. The tempo has slowed. The song ends with all instruments fading on one note.

The gigue1

The Gigue

  • xii. 0:00-0:24- the melody starts off just as one would expect from a gigue lively and light. The strings are keeping the tempo upbeat.

  • xiii. 0:26-0:47-first one violin begins, then one more in a higher note, then the third even higher. All playing together

  • vx. 0:47-1:09- the melody repeats itself as before each violin joining the melody one at a time.

  • vxi. 1:09-1:37- Again the melody is repeated. The tempo is still very lively. The violins playing in harmony then culminating to end on a single note.

Johann pachelbel

Listening guide to musikalische ergotzung no 6

Listening Guide to Musikalische Ergotzung No. 6

  • i. 0:00-0:03- Just the harpsichord can be heard at the opening of the song.

  • ii. 0:03-0:30- 2 violin joins the harpsichord each playing different melody’s but in harmony with one another. One string is playing long low tones while the other is following along with the melody of the harpsichord.

  • iii. 0:30-1:16- the violins continue to play in harmony as the harpsichord keeps the beat and tempo of the music slow and haunting.

  • iv.1:16-1:34- the tempo picks ups, all instruments are playing the same melody. It appears to be repeated 3 times before changing.

Musikalische ergotzung no 6 continued

Musikalische Ergotzung No. 6 continued

  • v. 1:34-2:05-there is a slight variation to the melody and the tone seems to be in lower notes. The cello or perhaps a similar string instrument can be heard more clearly playing the melody at the lower tone.

  • vi. 2:05- 2:23- the melody has changed again. This is more upbeat. The harpsichord is stilling keeping the bass and rhythm of the music. Just the higher string instruments can be heard.

  • vii. 2:23-2:56- The melody continues the same as before; the harpsichord keeping the rhythm, the bass underlying the violins higher melody.

  • viii. 2:56-3:15- the tempo and melody have changed. The strings are playing in harmony with the harpsichord.

  • ix. 3:15-4:09- another melody change this time more lively in rhythm. The harpsichord is clearly holding the beat while the strings play.

Musikalische ergotzung no 6 continued1

Musikalische Ergotzung No. 6 continued

  • x. 4:09-5:07- The harpsichord and a violin are carrying the melody while a second violin is playing quickly and lively in harmony to the harpsichord and first violin. The tempo in this section is faster than in previous sections.

  • xi. 5:07-5:59- the tempo slows down with this section. The harpsichord is again keeping the beat of the melody while the strings play in harmony to one another.

  • xii. 5:59-6:30- The rhythm picks up but just for a moment, the violins pick up the tempo and change the tune.

  • xiii. 6:30-6:38- just the strings are playing, high and light, together. The tune is lively, the tempo quick.

  • xiv. 6:38-7:10- the harpsichord and other strings have joined the melody.

  • xv. 7:10-7:32- the same melody and tempo are continued, repeated as before. Violins begin the melody with the harpsichord and other strings joining to keep the bass of the piece.

  • xvi. 7:32-8:10- the melody is still the same, the strings seem to be playing quicker.

  • 8:10-9:06- the violins change tone here; they become higher and have changed the melody slightly. The harpsichord and lower strings are still keeping the same beat but the violins seem to be playing longer notes. The tune and tempo are still quick. The piece ends with all instruments on a single note.

Work cited

Work Cited

WAGSTAFF, JOHN, and STEVEN ZOHN. "Pachelbel Outside The Canon." Notes 66.1 (2009): 164-166. Academic Search Premier. Web. 7 Oct. 2012.

All Music by Rovi. (2012). Johann Pachelbel. Retrieved from

Here of a Sunday Morning Radio. (2012). Johann Pachelbel. Retrieved from

Wikipedia the Free Encyclopedia. (2012). Johann Pachelbel. Retrieved from

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