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Johann Pachelbel's Canon in D major, written in the mid-Baroque period and revived from obscurity in the 1960s, has been credited with inspiring pop songs. Some pop songs borrow its chord progression, bass line, or melodic structure, a phenomenon attributed to the memorability and simplicity of the work.
Pachelbel's Canon (also known as the Canon in D, P 37) is an accompanied canon by the German Baroque composer Johann Pachelbel. The canon was originally scored for three violins and basso continuo and paired with a gigue, known as Canon and Gigue for 3 violins and basso continuo. Both movements are in the key of D major.
Neither Pachelbel's nor J.M. Bach's works survive. [4] 99 Deutlich Anweisung. Wie man durchs ganze Jahr bey wehrenden Gottesdienst, so wohl in den Vespern als Tagambt, bey S. Sebald m. der Orgel zu intonieren und zu respondiren sich zu verhalten habe. A set of liturgical instructions for organists of St. Sebaldus Church. 130
The style is a departure from TSO's usual rock arrangements, instead being performed in the style of a children's choir with light accompaniment from piano and strings. The group would later create a rock version of the song, entitled "Christmas Canon Rock" with Jennifer Cella on lead vocals, which debuted on their 2004 album The Lost Christmas ...
St. Sebaldus Church, Nuremberg, which played an important role in Pachelbel's life. Johann Pachelbel was born in 1653 in Nuremberg into a middle-class family, son of Johann (Hans) Pachelbel (born 1613 in Wunsiedel, Germany), a wine dealer, [3] and his second wife Anna (Anne) Maria Mair.
"Christmas Canon" Trans-Siberian Orchestra: 1998 Chord progression is based on that of Pachelbel's Canon in D major. [130] "Christmas Can't Be Far Away" Eddy Arnold and his Guitar 1954 Peaked at No. 12 on Billboard 's Country & Western Records Most Played by Jockeys chart in 1955. [3] [131] "Christmas Can't Be Very Far Away" Amy Grant: 1999
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Pachelbel also confesses that "something weightier and more unusual" than this work should have been written for the occasion, [2] apparently feeling that this is not his best work. Pachelbel alludes to the "friendly nature" of Buxtehude and Richter, which might indicate that he knew one of them or both, perhaps through correspondence.