CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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DOI:10.1590/permusi20163305
SCIENTIFICARTICLE
Bach’sWell‐TemperedClavier:PedagogicalApproachesandtheDifferentStylesofPreludes
OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios
LarissaPaggiolideCarvalhoUniversityofNorthernColorado,Greeley,Colorado,[email protected]
Abstract:ThepresentarticlediscussespedagogicalaspectsaimingtocontributetoteachingandlearningBach’sPreludesoftheWell‐TemperedClavier.SectiononepresentsareviewofthepreludeasamusicalgenreandthedifferentstylesthatinfluencedtheWell‐TemperedClavierPreludes.Then,thereisananalysisofselectedpreludesthatwillexemplifythevarietyofstylesfoundinthisworkofBach.Keywords:TheWell‐TemperedClavier;preludestyles;pedagogicalapproachesinthemusicofJ.S.Bach.Resumo:OpresenteartigodiscuteaspectospedagógiosquecontribuemcomoensinoeaaprendizagemdosPrelúdiosdeOCravoBemTemperadodeJohannSebastianBach.PrimeiramenteéfeitaumarevisãodoprelúdiocomogêneromusicaledosestilosqueinfluenciaramosPrelúdiosdeOCravoBemTemperado.Emseguida,éfeitaumaanálisedeprelúdiosselecionadosquevirãoexemplificaravariedadedeestilospresentesnessaobradeBach.Palavras‐chave:OCravoBemTemperado;estilosdeprelúdios;abordagempedagógicanamúsicadeJ.S.Bach.
Dataderecebimento:03/12/2015.
Datadeaprovaçãofinal:18/03/2016.
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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1–Introduction
This research proposes a discussion of pedagogical aspects that could benefit students
workingonJohannSebastianBach’sPreludesoftheWell‐TemperedClavier.ThesePreludes
encompass a wide range of styles, being important pedagogical tools when used
appropriately. They offer opportunities for refining basic skills such as phrasing clearly,
voicing, choosing articulation, tempo and the different affects found in the Baroque Era.
Theseworkscanalsobeusedtohelpstudentsdevelopanimportantskillwhichisdecision
making.Thefactthattherearefewindicationsinthescore,ifanyatall,createstheneedto
makedecisionsontheirown.
Thepresentresearchcannotencompassallthestylesavailablefordiscussionintheseworks.
BothpreludesandfuguesoftheWell‐TemperedClavierwerebasedonpopulargenresofthe
time such as trio‐sonatas, concertos, lute pieces, inventions, ariosos, dances and French
overtures.Oncestudentsarefamiliarwiththetypeofmusicthatwasinfluentialinaprelude,
therearemanymorechancestoachieveasuccessfulandconvincinginterpretationofBach’s
preludes.
2–ThePrelude
Apreludeisapieceofmusicthatprecedes“somethingelse”,afugue,forinstance,oritcould
betheopeningortheintroductionofasuite.Itnormallyhasthefunctionofpreparingthe
listeners’earsforacertainaffectthroughthecomposer’schoiceofkeyandtimesignature.
According to LEDBETTER (2014), early instrumental preludes developed from
improvisationworkingasmeanofcheckingthetuningandthetonequalityoftheinstrument
–thelute,forinstance–andwouldalsobeawarmupfortheplayer.Theneedfornotating
these improvisations came to provide models for students but the free style remained
characteristicofthisgenre.
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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Thesewere fundamental features of preludes up to the sixteenth century. Later on they
becameamoreorganizedform.Atthetime,apreludeor“praeludium”wasmoreoftencalled
intonazione (tuning), intrada (entrance), ricercare (to search) or even toccata (to play).
Preludesfromtheearlysixteenthcenturycouldlookjustlikeafantasiaorcouldbesemi‐
measured.Sometypesofpreludes,tryingtokeepitscharacteristic“freestyle”couldhaveno
measures at all, being called unmeasured preludes. MORONEY (2014) states that Louis
Couperin, JeanHenryD’Anglebert,NicolasLebègue,GasparddeLeRoux and JeanPhillip
Rameau are some of the most significant composers of unmeasured preludes for
harpsichord.
AccordingtoLEDBETER(2014),thepreludereacheditspinnaclewithBachwhodeveloped
itinbothcompositionalqualityandrangeofstyles,mannersandform.TheWell‐Tempered
Clavierisagreatexampleofhowmuchvarietyispossibletoachieveinthisgenre.Thetwo
setsof24preludesand fugues–Book1dating from1722andBook2 from1742–had
pedagogicalobjectives.Bachusedthesepreludestodemonstratetechniques,fingeringand
composition,exploringthetitle“prelude”sinceitwasusedsofreely.Hewasalsoexploring
theentirerangeofmajorandminorkeysonlypossibleduetotherecentlycreatedsystemof
temperament–asweuseonkeyboardinstrumentstoday.Priortothe“new”system,pieces
couldonlybeplayedincertainkeys.Othercomposersexploitedthisnewtuningsystemand
createdcollectionsofpreludes;JohnWilsonwithhiscollectionoflutepreludes,writtenin
the1640s,andJ.C.FFisherwithhispreludesandfuguesfororganaresomeexamples.Bach,
however,wasthemostsystematiccomposertoexploitthisnewtonalsystem,beingthefirst
onetowriteinall24majorandminorkeys.
3–Influenceofdance
BachwasheavilyinfluencedbydancessinceFrenchculturewasastrongpresenceinmost
placeswherehelivedandworked.LearningFrenchlanguage,musicanddancewaspartof
formaleducationatthetimeforhighbornGermans.AsateenagerhevisitedthecityofCelle
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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–aminiatureVersailles–manytimesprobablyencounteringFrenchplays,danceandmusic
performedbyexcellentFrenchartists(LITTLEandJENNE,2001,p.3‐4).
FamiliaritywiththeFrenchmannerswasveryimportantespeciallyforsomeonelikeBach,
whohadbeenintroducedtocourtandparticipatedinitsactivitiesmanytimes.Accordingto
LITTLEandJENNE(2001,p.7),averyspecificbehaviorwasexpectedinsuchmomentand
German courts would hire French dancingmasters to help courtiers on the pathway to
elegance:
Inadditiontoteachingdancingtheyinstructedcourtiersindeportment,such
astheproperwaytobowtoasuperiororaninferior,howtodohonorsin
passing,whattodowhenintroducedatcourt,whattodowithone’shatand
sword,andsoon.Therewerepreciseruleswhich,whenfollowed,resulted
ineleganceandtheappearanceofgentility,theheightofcivilizedbehavior.
Frenchsocialdancewasnotonlypartofcourtactivitiesbutalsopresentatformalballsand
important events of the middle‐class and aristocrats. Student dramas in Leipzig also
incorporatedthisstyle.Placesthatwerebiggerculturalandartisticcenterscouldsupport
events that demandedbigger productions such as theballet andopera. Celle, Berlin and
DresdenweresomeofthoseplacesabletomaintainafullorchestraofFrenchplayersforan
entireseasonandBachundoubtedlysawFrenchdanceswhenheattendedoperasinthose
places–Frenchdancesoraballetscenewouldbetypicallyperformedduringtheinterludes
betweenacts.
LittleandJennealsosaythatBachknewpersonallyorknewtheworkofthreefamousFrench
dancingmastersinSaxony.JohannesPasch,PantaleonHebenstreit,Jean‐BaptisteVolumier
weredancemastersandthelattertwo,Bach’sgoodfriends,werealsomusicians,performing
atcourtandcomposingdancemusic(LITTLEandJENNE,2001,p.14‐15).Itisinterestingto
notehowmusicanddancewerebothpartofthesecomposers’trainingandhowintrinsically
connectedthetworealmswere,tothepointthatonepersonalonecouldteachdance,write
musicforitandstillplaythismusiconaninstrument.Bachwascertainlyveryfamiliarwith
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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Frenchdanceandmusicand,morethanthat,thesewerenotonlyimportantelementsinhis
music—theywerealsopartofhisworld.
4–Otherstyles
TheWell‐TemperedClavierencompassesahugevarietyofstylesrangingfromthestileantico,
based onwhite‐key Renaissancemotets, to themostmodern French court styles.When
studyingaparticularpiecefromthesesets,itisveryimportanttoknowwhattypeofmusic
weareworkingwithinordertogiveittherightcharacter,tempo,articulationandstyle.
AccordingtoWATERMANandANTHONY(2014),theFrenchoverturefoundinsomeofthe
preludescomesfromtheLully’sballetoverturesoriginatedinthe1650s.Thisstylequickly
becameapatternalsoinFrenchoperaandballetovertures.Germancomposersincorporated
thestylethatwasalsousedinopeningsofsuites.Thisformcomprisesofaslow,majestic
opening,markedbydottedrhythmsandsuspensions,withalivelyfugalsecondsection.The
toccatastyleoftenfoundinthisworkswasoriginallyapiecethatdisplaysmanualdexterity,
alwaysforsolokeyboardinstrument.IntheBaroque,thesepiecesbecamelargescaleworks
infreeformnormallyincludingoneortwofugues(CALDWELL,2014).
5–SelectedPreludes
RegardlessthefactthatBachonlywrotefewsetsofdancesuitesforthekeyboard–thesix
FrenchSuites,sixEnglishSuites,thesixPartitasandtheFrenchOvertures–otherworkswere
heavilyinfluencedbydancestylesevenwhennotgivendancetitles.SomeofthePreludesof
theWell‐TemperedClavierbasedondancesaretheFminor,Book2(gavotte‐like)andtheC#
minor,Book1(loure‐like).
ThePreludeinEbmajorfromBook1issarabande‐like.AccordingtoTROEGER(2003,p.64),
dotted rhythmic figures, varied harmonic rhythms and full texture are elements
characteristic of the sarabande.Often, there are streams of notes coming out of a chord
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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evokingaluteaccompaniment.Inatypicalsarabande,theaccentuationoftenhappenson
thesecondbeatbutcanalsohappenonthefirst.Inthiscase,theemphasisonthefirstbeat
is given through ornamentation in measure 4, arpeggiation in measures 5‐7 and a
combinationofbothinmeasure8.
Figure1:PreludeinEbminor,WTCI,mm.1‐8.Thispreludepresentscharacteristicsofasarabande.
The3/2timesignatureimpliesaslowertempothantheoneswithsmallervalues(2/4,3/4
and6/8).Itisimportanttomentionthatthedottedquarternotescouldbeplayedasdouble
dottednotes,givingamoredramaticcharactertothepiece,whichwouldbeveryappropriate
here.Besidestheperformancepracticeapproachtodoubledotsandtheimportanceofthe
danceelementtothispiece,thispreludewouldbealsoahelpfultoolforstudentswhoneed
toimproveonlisteningandmatchingthesound,especiallyinthiscase.Here,thelongnotes
requirecarefullisteningthroughthesoundasitdecays,inordertomatchthesoundofthe
followingnotes.
A good preparatory piece for this preludewould be the Sarabande inGminor from the
EnglishSuiteNo.3–theconceptofasarabandecanbemoreeasilyunderstoodinthiscontext.
Thisspecificsarabandeisashorterpieceanditstimesignature(3/4),aswecanseeinfigure
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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2,ismorecommonlyfoundinlessadvancedpieces;therefore,studentsaremorefamiliar
withthisnotationthanwiththeoneintheprelude(3/2meter).Besides,thissarabandehas
thesametypeofchordaltextureofthePreludeinEbminor,whichwouldalsohelptoclarify
theconceptofthedance.Inthiscase,emphasisonbeatsareachievedthroughlongernote
valuesonthesecondbeatofmostmeasuresaswellasornamentation–trillsandarpeggios.
Figure2:SarabandeinGminor,EnglishSuiteNo.3,mm.1‐12.SuggestedpreparatorypieceforthePreludeinEbminor,WTCI.
SimilartothepreviouspreludeistheoneinEminorfromBook1.Aswecanseeinfigure3,
thisoneismorevocal,in4/4meterwhichimpliesamoremoderatetempo,beinglikeanaria
whereasingerwouldbeaccompaniedbythevioladagamba.Agreatwaytopracticethis
prelude, after learninghands separate,wouldbe toplay the lefthandpartwithonly the
chordsintherighthand(beatsoneandthree).
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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Figure3:PreludeinEminor,WTCI,mm.1‐4.Presentscharacteristicsofanaria.
ThePreludeinC#major,Book1,islikeagigue.Itrequiresgreatindependenceinbothhands
sinceitsmaterialexchangebetweenhands.Fastandlight,therearenochordalpassagesin
this piece, but a continuous stream of sixteenth notes. This particular one fits into the
categoryofgigaIIdescribedbyLITTLEandJENNE(2001,p.168)asapiecetypicalofthe
instrumentalstylewithjoyfulaffect,longphrases,imitativetextureandlackofcadences.
Figure4:PreludeinC#major,WTCI,mm.1‐15.ThispreludeisgigaII‐like.
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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Rotationisessentialinthispreludeandexercisescouldbedonebyisolatingmeasures3‐5
and10‐13toworkwithhandsseparateonrotationinintervalsoffourths,fifths,andsixths;
theseintervalsarefoundthroughoutthisentirepreludeinbothhands.Thefirstmeasureof
each phrase (mm. 7 and 9) requires rotation in awider interval – the augmented sixth.
Blockingthesemeasuresandthenusingrotationtoplaythenotesaswrittenwillhelpthe
student to achieve a comfortable and secure approach to these passages. In addition,
blockingthehandwiththeeasierpart(lefthandinmm.1‐7andrighthandinmm.9‐15)and
playingitalongwiththeotherhandcangivemoreawarenessofintervalsandmoresecurity,
especiallyinsuchanunusualandsometimesuncomfortablekey.
AnothergigueisthePreludeinAmajor,Book2.ThisonefitsinthecategoryofgigaI,with
consistenttriplegroupingsthroughoutthepieceandimitativecounterpointastexture.The
12/8timesignatureandthekeyofFmajorsuggestsamoderatetempoandanatmosphere
(affect)ofconstancyandgenerosity(SCHUBART,1806).
Figure5:PreludeinAmajor,WCTII,mm.1‐6.ThispreludeisgigaI‐like.
Thispreludeisagreatpiecetoworkoncontrapuntaltextures.Despiteitsthreevoices,itis
notverycomplexsincethecounterpointisimitative,notpresentingmanydifferentsubjects
asinatypicalBachfugue.Furthermore,itsslowertempomakesiteasierforthestudentto
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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hear through thedifferent voices. Practicing each voice separately is a good strategy for
shapingthephrasesandespeciallylisteningtothesoundasitcontinuesthroughafterlong
notevalues.
ThefamousPreludeNo.1inCmajor,Book1,isagoodexampleofafree,improvisatorystyle,
aliteral“prelude.”Thispiecerelatestotheoriginoftheearlyprelude,workingasapieceor
“something”thatyouplaytowarmupyourfingers,tryouttheinstrument,itstonequality,
andtuning.
Figure6:PreludeinCmajor,WTCI,mm.1‐5.Thispreludepresentsafreeandimprovisatorystyle.
The arpeggiated chords in figure 6 all fit comfortably in the hand and the same type of
articulation(legato)iskeptthroughoutthewholepiece.Itwouldbeaverygoodpiecefor
beginner or early intermediate students to improve their touch and soundby practicing
legatoandevenness.Wristflexibilityandrotationshouldalsobeaddressedtohelpwiththe
smoothness of legato along with alignment of the forearm and fingers to improve tone
quality.
Another important aspect that would be very useful when working with intermediate
studentsisthechoiceofdynamics.Becausetherearenodynamicmarksinthispiece(and,
overall,inanyofJ.S.Bach’sworks),thestudentcouldbechallengedtochoosehowtoshape
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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phrasesbasedontheharmony.Whenworkingonphrasing,studentscanpracticeblocking
thechordstodevelopamoreclearsenseofthechordprogression.Theteachercanhelpby
askingquestionssuchas“wheredoyoufeeltension?,”wheredoyoufeelthemusicrelaxes?,”
or“wheredoyouthinkwegethome?”Listeningand feelingthemomentsof tensionand
relaxationinthemusicisamoreaccessibleapproachforstudentswhoarenotveryadvanced
ordonothaveastrongtheorybackgroundandwillstillhelpthemtomakemoreappropriate
andconsciouschoices.
ThePrelude inCmajor fromBook2 isalsowritten in the same free‐improvisatorystyle,
almostlikeanunmeasuredprelude.TherhythmsBachwritesrightintheopening,measures
1‐5offigure7,notrepeatedinpatterns,suggestanattempttonotate,withmeasures,afree
andimprovisatorypieceofmusic.ThispreludeismuchmorecomplexthantheCmajorfrom
Book1,withcontrapuntalwritingthatneedstobecarefullyaddressedandpracticedwith
eachhandseparatelyandwithaclearideaofwherethemanyoverlappingphrasesbeginand
end.
Figure7:PreludeinCmajor,WTCII,mm.1‐5.Itpresentsfreecontrapuntalstyle.
ThePreludeinBbmajor,Book1,istoccata‐like.Thisisabold,virtuosopiecewithbrilliant
passage‐works/runs in long, continuous lineswith sixteenthnotes. It is a greatpiece for
workingonevenness.Practicinghandsseparateinthiscaseisnotidealsincethecontinuous
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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lineissplitbetweenhands,andpracticingeachhandalonecouldcreateunwantedaccents.
Eachgroupoffourthirty‐secondnotes,asinmeasures1thoughthesecondbeatofmeasure
3(seefigure8a),shouldbeblockedinawaytohelpthestudentunderstandtheharmony,
seeinggroupsofnotesinsteadofeachnoteindividually.Afterbecomingcomfortablewith
grouping,andmorefamiliarwiththenotes,thestudentshouldbeabletomakedecisionson
howtoshapethispiece.
Figure8a:PreludeinBbmajor,WTCI,mm.1‐3.Thispreludeistoccata‐like.
Since there are no indications in the score, the student needs to choose dynamics and
whetherornottotakesometimeinspecificplacesbasedontheharmonyandstructural
points of the piece. The short cadenza‐like passages found throughout the second page,
demonstratedinmeasures11‐15offigure8b,ofthispreludearegoodexercisesforlearning
theconceptof“cadenza”.Workingonshapingcadenzasinshortpassageslikethiscanbea
veryusefultoolinpreparationtoplayinglingerconcerticadenzas.
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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Figure8b:Cadenza‐likepassagesinthePreludeinBbmajor,WTCI,mm.10‐15.Thispieceisrecommendedinpreparationforconcerticadenzas.
ThePrelude inCminor fromBook2 isanexampleof two‐part invention.Handsseparate
practiceisidealsincehandswillbetradingrolesbetweenhavingthemelodyandproviding
accompaniment. Rotation exercises in thirds would be helpful to apply in each hand
separately.Sinceeachbeatofthefirsttwomeasuresiscomposedofchordswithaneighbor
tone,oneshouldplayonlytherealnotesofthechordwhenapplyingrotation.Alsoimportant
istoworkontherotationandalignmentor“armsupportingthefingers,”isolatingthetwo‐
beatpattern–asinmeasures3‐4.
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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Figure9:PreludeinCminor,WTCII,mm.1‐4.Thispreludepresentscharacteristicsofatwo‐partinvention.
It would be good for the student to be familiar with some of the two‐part inventions.
InventionNo.4inDminorwouldbeagreatpreparationforthispreludesinceitinvolvesthe
sametypeofrotationbetweenwiderintervalsandtheexchangeofmaterialbetweenhands
inashorterpiece,asdemonstratedinfigure10.
Figure10:Two‐partinventionNo.4inDminor,mm.1‐15.SuggestedpieceaspreparationforthePreludeinCminor,WTCII.
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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AccordingtothegreatpianistandinterpreterofBach,AngelaHEWITT(2002),thePrelude
inBmajorfromBook2soundslikeaconcerto.Itsbrilliantopeninginthefirsttwomeasures
suggestsatuttifollowedbythesoloistinmeasure3.Laterinthepiece,measures12‐15for
instance(seefigure11b),itseemstherearetwosoloistsalternatingwiththetutti,perhaps
aviolinandaflute.Thispreludehasdifferentsections,somesoundinglikelittlecadenzasin
themiddleoftheconcerto,otherssoundinglikesolosortutti.Thestudentshoulddefinitely
takeadvantageofthisaspecttocreatedifferentcolorsandcontrastwithinthepiece.
Figure11a:PreludeinBmajor,WTCII,mm.1‐7.Concerto‐likeprelude.Itsopeningmeasuressuggestatutti(mm.1‐2)andasoloist(mm.3‐7).
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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Figure11b:PreludeinBmajor,WTCII,mm.11‐15.Thisspecificpassageshowsatexturethatcouldrepresenttwosoloists(intheuppervoices).
Findingthedifferentsectionswillenablethestudenttoidentifymaindifferencesintextures
andpatterns.Sincethispiecewaswrittenwithmanysequences,itisveryimportanttofind
itsmainpatterns.Forinstance,measures3isamodelformeasures3‐7(seefigure11a)thus,
practicingeachmeasureandstoppingonthedownbeatofthenextoneisagoodstrategy.
Thecadenza‐likepassages(mm.17‐23)shouldbepracticedwithbothhandsasiftheywere
being played by only one instrument. This is a very challenging prelude for its virtuoso
characterandconstantflowofsixteenthnotesinatleastoneofthehands,withtheeventual
additionofathirdvoiceinmeasure12.
AnotherstyleoftenfoundinBach’spreludesfromtheWell‐TemperedClavieristheFrench
OvertureStyle.ExamplesofthisstylearethePreludeinDmajorfromBook2andthePrelude
inGminor,alsofromBook2.AccordingtoSCHUBART(1806),thekeyofDmajorisakeyof
joy,triumphandrejoicewhichenhancestheFrenchoverturecharacter.Inthecaseofthe
PreludeinGminor–keyofdiscontentment,resentmentanddislike–thedoubledotsshould
definitelybeappliedsinceitincreasesthedrama.Acarefulstudyofthevoicesseparatelyis
necessarysincetheyfloatinbetweenhands,aswecanseeinfigure12,beingveryimportant
toknowwhereexactlyacertainvoiceendsorbegins.
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Figure12:PreludeinGminor,WTCII,mm.1‐4.ThispreludepresentscharacteristicsoftheFrenchoverturestyle,characterizedbythepracticeofdoubledots.
6–Conclusion
ThePreludesoftheWell‐TemperedClavierarepiecesthatpresentagreatvarietyofstyles.It
isundeniably important tobe familiarwith thesedifferentstylesbeforeapproaching the
Preludessothatonecanachieveawell‐informedinterpretation.Bach’sLittlePreludes,the
Frenchand(sometimes)EnglishSuites,andalsothetwoandthreepartinventionsofferthe
varietyofstylesthatweneedinordertoplaythesePreludeswithspontaneity,characterand
style.
A student does not need to have played an entireFrench suite in order to understand a
PreludefromtheWell‐TemperedClavier.Learningsomeofthedancesoraspecificonethat
relatestothestyleoftheassignedPreludecanbeahelpfulandclarifyingwaytointroduce
the concept of style to a student. Often, the dance movements from the suites, or the
two/three‐part inventions, are shorter pieces of music and technically less demanding,
makingthemagoodpreparationtothesePreludes.
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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InadditiontoteachingstudentsaboutthemanystylesofBach,thesePreludesarefascinating
pieces of music, effective repertoire and performance material. After working on these
Preludes,thestudentwillhaveabetterunderstandingofBach’slanguageandwillbeableto
makemoreconsciousartisticdecisions.
References
1.ALFANO,Donald.(2014).“LearningBach’sShortPreludes:ASequentialApproach”.ClavierCompanion.http://www.freewebs.com/newhavenchapter/Bach_Short_Preludes_JanFeb14.pdf.(AccessedDecember7,2014).
2.CALDWELL,John.“Toccata”.GroveOnline.http://0‐www.oxfordmusiconline.com.source.unco.edu/subscriber/article/grove/music/28035?q=toccata&search=quick&pos=1&_start=1#firsthit.(AccessedDecember7,2014).
3.HEINEMANN,Ernst‐Gunter.Well‐TemperedClavier.HenleVerlag.http://www.henle.de/us/detail/index.html?Title=The+Well‐Tempered+Clavier+Part+I+BWV+846‐869_1014.(AccessedDecember7,2014).
4.LEDBETTER,David.“Prelude”.GroveOnline.http://0‐www.oxfordmusiconline.com.source.unco.edu/subscriber/article/grove/music/43302?q=prelude&search=quick&pos=1&_start=1#firsthit.(AccessedNovember26,2014).
5.LITTLE,Meredith;JENNE,Natalie.(2001).DanceandtheMusicofJ.S.Bach.Bloomington,EUA:IndianaUniversityPress.
6.MORONEY,Davitt.“Préludenonmesuré”.GroveOnline.http://0‐www.oxfordmusiconline.com.source.unco.edu/subscriber/article/grove/music/22290.(AccessedNovember26,2014).
7.SCHUBART,Christian.(1806).IdeenzueinerӒesthetikderTonkunst.Wien.http://www.wmich.edu/mus‐theo/courses/keys.html.(AccessedNovember30,2014).
8.TROGER,Richard.(2003).PlayingBachontheKeyboard:APracticalGuide.NewJersey,EUA:AmadeusPress.
9.WATERMAN,George;ANTHONY,James.“FrenchOverture”.GroveOnline.http://0‐www.oxfordmusiconline.com.source.unco.edu/subscriber/article/grove/music/10210?q=French+overture+&search=quick&pos=1&_start=1#firsthit.(AccessedDecember7,2014).
CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.
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Musicscoresandvideo
1.BACH,JohannSebastian.(1895).EnglishSuiteNo.3.Ed.ErnstNaumann.Leipzig:BreitkopfundHärtel.
2.BACH,JohannSebastian.(1853).15Sinfonias.Ed.CarlFerdinandBecker.Leipzig:BreitkopfundHärtel.
3.BACH,JohannSebastian.(2007).TheWell‐TemperedClavier.v.1.Ed.Ernst‐GünterHeinemann.Munich:G.HenleVerlag.
4.BACH,JohannSebastian.(2007).TheWell‐TemperedClavier.v.2.Ed.YoTomita.Munich:G.HenleVerlag.
5.HEWITT,Angela.(2008).BachPerformanceonthePiano.DVD(LectureRecital):HyperionRecords.
RecommendedReading
1.BADURA‐SKODA,Paul.(1995).InterpretingBachattheKeyboard.OxfordNewYork,EUA:ClarendonPress.
2.LEDBETTER,David.(2002).Bach’sWell‐TemperedClavier:the48PreludesandFugues.NewHaven,EUA:YaleUniversityPress.
Noteabouttheauthor:
LarissaPaggiolideCarvalhoisadoctoralstudentinpianoperformanceattheUniversityofNorthernColoradowhereshehasworkedonresearchentitled“EdmundoVillani‐Côrtes’WorksforViolinandPiano:AnalysisandPerformanceGuide”.Larissahasgraduatedfromthe Universidade de Brasília in 2008 with a bachelor’s of music degree in piano and ateaching license. At the University ofWyoming, hermaster’s research was dedicated toHeitorVilla‐Lobos’BachianasBrasileirasNo.4.Duringtheschoolyearof2013‐2014,Larissawashiredasadjunctteacherofclasspianoattheinstitutionwhereshecurrentlystudies.Shehasbeenworkingactivelyasasoloandcollaborativepianistandalsoservingasateacherand researcher.Larissahas recentlydefendedherdissertationand, inMay2016,will beconferredherdoctorofartsdegreewhichshehasearnedwiththesupportofscholarshipsfromtheUniversityofNorthernColoradoandCAPES.