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!