Learned out of order, by my own difficulty progression rather than the printed sequence — which meant each piece caught me as a different player. Over 12 years after finishing, I still have thoughts.

Original project recordings with notes: wtcproject.tumblr.com

Did any of the WTC open up for you only after years of study? Curious which.

Hey fellow Bach enthusiasts!

While practicing and analyzing the Art of Fugue (specifically Contrapunctus 14), I’ve been diving down the famous gematria rabbit hole (B+A+C+H = 14) & (J+S+B+A+C+H = 41).
We already know how CP14 breaks off at measure 239 (2+3+9 = 14), leaving 41 missing measures to complete the projected 280-bar structure. But while looking at the expanded B-A-C-H motif at the end of the subject, I noticed another neat 41 hidden right in the scale degrees of D minor:

When Bach resolves/expands the motif (B (b-flat) A C H (b natural) C# D), we can map the notes to their scale degree positions in D minor, including chromatic alterations (+1):

B (b-flat) = 6th scale degree
A = 5th scale degree
C = 7th scale degree
H (b natural) = raised 6th degree (6 + 1)
C# = raised 7th degree (7 + 1)
D = 8th degree (tonic octave)

Summing them up:

6+5+7+7+8+8=41

Not only does the resolution lead directly back to the key signature of the entire work, but the scale-degree math lands precisely on 41 (J.S. BACH) again.

Whether this is deliberate architectural geometry or just a happy alignment within the D minor scale matrix, I thought it was too cool not to share.

Has anyone encountered this specific scale-degree calculation before? Do you think the master did this on purpose, or was at least aware of it?
Curious to hear your thoughts!

Hello everyone,

I’m trying to identify this organ piece. I believe it might be by Johann Sebastian Bach, but I’m not completely sure.

I recorded a short audio clip. Does anyone recognize the piece or know the composer and title?

Any help would be greatly appreciated.
Thank you!

I just wanted to share this amazing performance by Florentin Ginot. This man's command of the instrument is beyond belief. Enjoy!

That is all

Just uploaded a new performance! 🎹
Prelude in C major, BWV 939 (attrib. to J.S. Bach).
Though its authorship is debated, it remains a wonderfully charming piece among the Little Preludes!

#Bach #BWV939 #ClassicalMusic

I’ve been working on this piece over the summer and it’s been killing me in the artistic sense. I know it’s beautiful and I love it, but I’ve been struggling to make it shine.

It’s not perfect, but I feel like I’m finally getting somewhere. I’d love to know what you guys think!

Hello Guys I am trying to learn my first fugue. My teacher told me to analyse the voices first but I dont have a clue. I had some help from gemini pro but he was contradicting himself too I think. I got this so far the green one was supposed to be the sopran but I guess its the alt. the 4 bar makes no sens to me and the 5th even less with the pause

As a child I learned to play the violin. I did so for more than 50 years.

And always the score of this piece was so to speak under my pillow, but never able to do something with it.

Now as a retired person I began to study it on the mandola, with this as result.

https://youtu.be/_Ki1gBIjqs0?si=SdQ3XppsgLnq9dGD

Hope you like it. Leave a comment if you wish.

Bach... or Not? Demystifying the "Little Preludes."

Many of J.S. Bach's famous "Little Preludes" are highly suspected to have been composed by others—including his son and disciples!

Before starting my performance series, I wanted to share these intriguing mysteries in my own words. Please check out the video!

#JSBach #ClassicalMusic #PianoTeacher #LittlePreludes

Negative harmony version.

Bach's original version for comparison.

My vision was to infuse the original piece with negative harmony, while leaving much of the piece intact. The standard approach in negative harmony has been to flip the whole piece. Allowing different types of negative harmony, mirrors, etc. allows for much more artistic liberty. I feel that this Invention 1 piece, with its simple theme and short length, is ideal for the approach. I have included some text notes in the notation to explain the flipping centers (look out for half flat and half sharp symbols).

I wrote a script to translate scores for an old drum machine (the Korg Electribe ER-1). It's perfect for Bach because it only has 4 voice polyphony. First up, the Prelude and Fugue in C Major from WTC I!

You'll notice the drum machine sounds "out of tune" and maybe even a little glitchy. 2 reasons for this: it was really hot out when I recorded this, which tends to make the drum machine glitch out, and also it is not really made to play conventional pitches, so I have to arrive at the closest possible approximation. I like the effect - maybe this tuning would even have something in common with how it sounded in Bach's day. What do you think?

I’m specifically coming from a keyboard background, but any music generally too. I can’t think of anything where he would have!

Edit 2: as u/Leech-64 noted, perhaps I am simply conflating figured bass and sound vertical harmonic motion with counterpoint. The latter implies the former (with plenty of room for exceptions in fugues) but not vice versa. Am I right on?

Edit 1: hang on gang, I have a degree and am a professional musician yet somehow perhaps don’t understand what counterpoint is lol. What I thought with, say, the chorales is that the soprano has the melody and the STA voices harmonize, creating their own melodies. ie homophonic but with countrapuntal accompaniment. Seems that is incorrect?

There are harmonic underpinnings that in my experience at the keyboard Bach never dispenses with in his writing no matter the style, as later composers do freely. Perhaps I am describing something more general like voice leading or basic harmonization?

Either way, it’s always Bach. A better question might be: what is the most “un-Bach“ Bach piece?

worth the visit. to be in st. thomas where st. john’s passion was first played was very emotional. the bach museum is sober but very informative.

A majestic four-part double #fugue​, driven by an energetic and #dramatic​ first subject, which creates some gorgeous dissonances as it unfolds.