THE TWO-PART INVENTIONS OF J. S.

BACH: A PERFORMING

EDITION BASED UPON THE KEYBOARD TECHNIQUE AND

PERFORMANCE PRACTICE OF BACH AND HIS CIRCLE

by

DELANO K. KAHLSTORF, B.A., M.M.

A DISSERTATION

IN

FINE ARTS

Submitted to the Graduate Faculty

of Texas Tech University in
Partial Fulfillment of
the Requirements for
the Degree of

DOCTOR OF PHILOSOPHY

Approved

Chairperson of the Committee

Accepted

Dean of the Graduate School

August, 2002
;C) 2002, Delano K. Kahlstorf
 ACKNOWLEDGEMENTS

Many people have been generous with assistance and

encouragement in the preparation of this project, and they
have my heartfelt gratitude. Dr. Lora Deahl provided much
good advice, encouragement, and hospitality as this study
progressed. Drs. Linda Donahue, Wayne Hobbs, John
Stinespring, and William Westney were excellent to work with
as a committee, and gave many helpful comments toward the
improvement of various aspects of the project. The Texas
Tech University Graduate School staff and library staff were
very supportive of my work and helped to make this a positive
educational experience.
This study would not have been undertaken without the
development of a passion for the subject-matter. For this I
thank my parents, Kenneth and Helene Kahlstorf, who have
wholeheartedly supported me in my educational goals from
start to finish, including helping me to build my first
harpsichord as a teenager. Thanks are also due to Kenneth
Wold, who nurtured my enthusiasm for music in general and the
music of Bach in particular; to Robert and Helen Short, who
gave me their classical record collectionincluding Bach's
Brandenburg Concertos, the Well-Tempered Clavier, and many of
the cantataswhen I was twelve; to harpsichordists Gustav
Leonhardt, Trevor Pinnock, and Edward Parmentier, whose
recordings of the music of Bach and other Baroque masters
have been, in various ways, an inspiration; and to Sandra
Rosenblum, whom I have never met, but whose method in
ii
Performance Practices in Classic Piano Music was a revelation
to me.
My family has been especially supportive during this
process. I extend thanks to Heidi Kahlstorf and to William
and Edith Trudgeon for their unceasing encouragement and help
as I completed this paper, and to Stefan, Aidan, and Brendan
Kahlstorf, who have consistently brightened my days. Finally,
many, many thanks to Kathy Kahlstorf, who was willing to take
this journey with me.

Ill
 TABLE OF CONTENTS

ACKNOWLEDGEMENTS ii
ABSTRACT vi
LIST OF EXAMPLES viii
CHAPTER
I. THE INVENTIONS OF J.S. BACH: PEDAGOGICAL
SIGNIFICANCE AND THE DESIRABILITY OF
INCREASED HISTORICAL AWARENESS 1
Pedagogical Significance 1
The Desirability of Historical
Awareness 2
Scope and Methodology of the
Present Study 3
Prioritization of Eighteenth-Century
Sources 7
II. BAROQUE EMPHASIS UPON RHETORIC
AND AFFECT 11
Baroque Emphasis Upon Rhetoric 11
Affect 19
III. ARTICULATION AND THE IMPACT OF
METRICAL PLACEMENT 23
Articulation 23
The Impact of Metrical Placement
Upon Articulation 36
IV- BAROQUE FINGERING PRACTICES,
HAND AND BODY POSITION 62
Baroque Fingering Practices 62
Hand and Body Position 70

IV
 V- TEMPO CONSIDERATIONS AND APPLICABLE
DANCE FORMS 74
Tempo Considerations 74
Applicable Dance Forms 78
VI. DYNAMICS AND ORNAMENTS 105
Introduction 105
Dynamics and Ornaments 105
VII. EXPRESSIVE RESOURCES OF THE
VARIOUS KEYBOARD INSTRUMENTS 122
Introduction 122
The Clavichord 123
The Harpsichord 126
The Piano 126
VIII.RAMIFICATIONS OF THIS STUDY FOR
PERFORMANCE PRACTICE 132
A Review of the Information 132
Specific Application of the
Collected Evidence to the Inventions ... 138
BIBLIOGRAPHY 173
APPENDIX
A. A PERFORMING EDITION OF FIFTEEN
TWO-PART INVENTIONS BY
J.S. BACH 178
B. FORMAL CONSIDERATIONS, LEVEL OF DIFFICULTY,
AND CONSEQUENT PLACEMENT IN THE
17 20 AUTOGRAPH 254

V
 ABSTRACT

The Inventions of J.S. Bach are a set of miniature

masterworks for keyboard instruments which form one of the
pillars in the training of young keyboard players. The
Inventions have been examined from several compositional and
theoretical perspectives, and the present study does not
focus primarily upon these concerns, but rather upon the
keyboard technique and performance practice of Bach and his
circle. It is essential that these technical and performance
issues be examined, drawn together, and applied to the
musical text if an adequate understanding of this repertoire
is to be attained.
The present study pulls together information from the
primary sources, secondary sources, and from modern research.
Differences of opinion between the various sources are noted
and evaluated, and the information gleaned from this process
is applied in detail to the Inventions. In order to
communicate the results of this study as clearly as possible,
an appendix contains a musical text upon which the results
are explicitly diagrammed. Variant readings are incorporated
as needed.
Aspects of these pieces which are considered include
differences between the two autograph sources, genres of the
various pieces. Baroque fingering compared and contrasted
with Bach's fingering, questions of articulation, the meaning
of Bach's preface in the 1723 edition, and eighteenth-century
performance practices which pertain to the performance of
these pieces. Although choice of instrument undoubtedly has
vi
an impact upon performance decisions, the question of which
instrument to choose for the performance of the Inventions is
not addressed in detail. Rather, the present study explores
alternatives for performance which can be extracted from the
relevant sources and applied to these pieces at the
discretion of the performer.

Vll
 LIST OF EXAMPLES

2.1 Examples of articulative patterns from

Quantz's treatise 15

3.1 "String-like" slurs in the Inventions in D major

and F minor 30

3.2 Typical Baroque scale-fingering pattern 38

3.3 "Double measures" in the Passepied from the

E-minor English Suite 43

3.4 Comparison between 12/8 and 12/16 47

3.5 Normal Accentuation for the various meters found

in the Inventions 49

3.6 Allemande from the C-minor Partita 52

3.7 Courante from the A-minor Partita 53

3.8 Courante from the E-minor Partita, measures 1-9 .. 54

3.9 Gique from the F-major English Suite 55

3.10 Prelude from the G-minor English Suite,

measures 1-3 56

4.1 Fingering which "crosses over" 65

4.2 Applicatio from W.F. Bach's Clavier-Biichlein 67

5.1 Excerpts from "Metric Levels in Baroque Dances" .. 82

5.2 (Premier) Menuet Croises from the Vingt-Deuxieme

Ordre by Francois Couperin 86

5.3 Typical rhythmic patterns in the Sarabande 88

5.4 Sarabande from the C-minor Partita 90

5.5 Courante (Corrente) from the B-flat major
Partita 92
5.6 Courante (Corrente) from the E-flat major
French Suite 93
5.7 Courante (Corrente) from the G-major
French Suite 94
Vlll
5.8 Excerpts from "Model for the [French] Gigue
Dance Rhythm" 95
5.9 Typical rhythmic patterns for Giga I 97

5.10 Gigue from the F-major English Suite 98

5.11 Typical rhythmic pattterns for Giga II 101
5.12 Excerpts from "Alternate Model for the Giga
II Dance Rhythm" 102
5.13 Gigue from the E-minor English Suite 103
5.14 Gigue from the A-major English Suite 104
6.1 Allemande from the F-major English Suite 106
6.2 Prelude from the G-minor English Suite 108
6.3 Style brise in the final measures of Allemande I
from the Premier Livre de Pieces de Clavecin
by Jean Philippe Rameau 109
6.4 Two versions of the opening of Couperin's
"Les Bergeries" 116
6.5 Excerpt from Pieces de Clavecin (1724)
by Rameau 118
6.6 A possible use of prolonged touch in the
F-major Invention 120
8.1 Allemande from Nouvelles Suites de Pieces
de Clavecin by J.P. Rameau 139
8.2 Prelude from the F-major English Suite 140
8.3 Triplet version of the C-major Invention 142
8.4 Giga II articulation 150
8.5 "Normal" slurring for the E-major Invention 156
8.6 Articulation from Variation 14 of the
Goldberg Variations 158
8.7 Comparison of the chosen articulation with
syncopated patterns 159

IX
 CHAPTER I
THE INVENTIONS OF J.S. BACH: PEDAGOGICAL
SIGNIFICANCE AND THE DESIRABILITY OF
INCREASED HISTORICAL AWARENESS

Pedagogical Significance
The fifteen Inventions of Johann Sebastian Bach form one
of the most widely acknowledged bodies of literature deemed
useful for the training of young pianists and other keyboard
players. Pianists from the eighteenth century to the present
have valued these pieces for several reasons. First, the
study of the Bach Inventions helps performers develop the
ability to simultaneously play two well-developed independent
melodic lines. As a result, the Inventions serve as a primer
in the study and performance of tonal contrapuntal keyboard
music. Second, these works comprise an effective introduction
to several key elements of Baroque style, elements which
include compositional use of melodic units which are
organized around recurring motoric rhythmic motives, Baroque
articulative practices, unity of affect, and Baroque trill,
mordent, and other ornamentation. These elements are
contained within a compact formal structure. Third, the
Inventions provide the advancing pianist with an accessible
window which opens onto the musical world of J.S. Bach, who
is one of the most revered icons in the hagiography of the
Western cultural canon.
 The Desirability of Historical Awareness
This corpus, assembled in 1720 along with approximately
forty-five other pieces, was intended to instruct Bach's
eldest son in keyboard technique, composition, and
"cantabile" performance style.' In the intervening years
between Bach's era and the present, countless pianists have
benefited from the pedagogical and artistic influence which
Bach exerted upon his son(s) through this set of pieces,
entitled Clavier-Biichlein vor Wilhelm Friedemann Bach. During
this time, musical styles have, naturally enough, evolved in
a variety of ways. In particular, several nineteenth-century
performance practices have become entrenched. These include a
seamless legato as the normal mode of articulation (aided by
the piano's sensitive damper pedal), tempos which range from
extremely slow to extremely fast, use of the widest possible
range of dynamics, and liberal use of rubato.' In addition,
music conceived after Bach's era tends to emphasize flow
between widely differing emotional states expressed through
technical virtuosity, through tonal and formal ambiguity and
complexity, and predominantly, though not exclusively,
through homophonic textures.'

Contemporary pianists, because they are removed from

the cultural setting in which Bach lived and worked and
heavily influenced by nineteenth-century performance and

'J.S Bach, Two and Three Part Inventions, facsimile edition (New
York: Dover, 1968), v. The preface to the fair copy of the Inventions
which Bach made in 1723 makes explicit these intentions.
' Sandra Rosenblum, Performances Practices in Classic Piano Music
(Bloomington: Indiana University Press, 1989), 106, 120-21, 435n., 312,
334-5, 382.
'Leonard G Ratner, Romantic Music (New York: Schirmer Books,
1992), 3-10.
2
compositional practice, possess an ingrained tendency to view
Baroque music through a conceptual framework which distorts
and refashions it into something more in line with Romantic
ideals. On the other hand, scholars in the current century,
as inheritors of the Romantic passion for things historical,
have uncovered an iitmiense deposit of information regarding
the keyboard performance practices of J.S. Bach and his
predecessors, contemporaries, and students. Harpsichordist
David Schulenberg comments that "no one would purposely
ignore the tempo or dynamic markings in a Debussy piece. Yet
one still hears (and teachers still teach) Bach's keyboard
pieces played as if well-understood conventions regarding
ornaments, rhythm, and other matters could be disregarded."'
While an explicit reconstruction of Bach's particular style
of performance for each piece of his oeuvre remains out of
reach, it is now possible to utilize many of the basic
stylistic parameters with which he and his circle were
concerned. It is this drawing together of information from
various interrelated endeavors and the specific application
of it to the fifteen Inventions which forms the focus of the
present study.

Scope and Methodology of the Present Study

Eighteenth-century materials discussed in the course of
this paper will include the Bach autograph sources of the
Inventions, dated 1720 and 1723; C.P.E. Bach's Versuch liber

* David Schulenberg, The Keyboard Music of J.S. Bach (New York:

Schirmer Books, 1992), 9.
3
das wahre Art das Clavier zu Spielen;' selections from The
New Bach Reader, edited by H.T. David and A. Mendel, revised
and expanded by Christoph Wolff;* and J.P. Kirnberger's Die
Kunst des Reinen Satzes in der Musik.' For a discussion of the
methodology which was employed in the establishment of the
musical text, see Appendix A.
As mentioned above, the twentieth century has witnessed
a profusion of musicological research pertaining to the
keyboard music of J.S. Bach. Sources in this category to be
considered include Interpreting Bach at the Keyboard by P.
Badura-Skoda,^ Bach Interpretation: Articulation Marks in the
Primary sources of J.S. Bach by J. Butt,' Baroque Music:
Style and Performance by R. Donington," J.S. Bach's Keyboard
Technique: A Historical Introduction by Q. Faulkner,"
Phrasing and Articulation by Hermann Keller,'' Dance and the
Music of J.S. Bach by M. Little and N. Jenne,'' Bach and the
Baroque, by A. Newman,'" The Keyboard Music of J.S. Bach by
^ C.P.E. Bach, Essay on the True Art of Playing Keyboard
Instruments William J. Mitchell, trans, and ed.(New York: W.W. Norton,
1949) .
' Hans T. David and Arthur Mendel, eds., The New Bach Reader
Christoph Wolff, revised and expanded (New York: W.W. Norton, 1998).
'J. P. Kirnberger, Die Kunst des Reinen Satzes in der Musik Vol.
II Part 1, 1776. David Beach and Jurgen Thym, Trans., The Art of Strict
Musical Composition (New Haven: Yale University Press, 1982).
' Paul Badura-Skoda, Interpreting Bach at the Keyboard (New York:
Oxford University Press, 1993).
' J. Butt, Bach Interpretation: Articulation Marks in Primary
Sources of J.S. Bach (Cambridge: Cambridge University Press, 1990).
'" Robert Donington, Baroque Music: Style and Performance (New
York: W.W. Norton and Co., 1982).
" Quentin Faulkner, J.S. Bach's Keyboard Technique: A Historical
Introduction (St. Louis: Concordia Publishing House, 1984).
" Hermann Keller, Phrasing and Interpretation (New York: W.W.
Norton and Co., 1973).
" Meredith Little and Natalie Jenne, Dance and the Music of J.S.
Bach (Bloomington: Indiana University Press, 1991).
" Anthony Newman, Bach and the Baroque (New York: Pendragon
Press, 1985).
4
D. Schulenberg,^' and An Introduction to the Performance of
Bach by R. Tureck.''
Thus the present study will bring together information
from the primary sources, pertinent secondary sources, and
modern research. Differences of opinion between the various
sources will be evaluated, and the information gleaned from
this process will be applied in detail to the Inventions. In
order to cormnunicate the results of this study as clearly as
possible, an appendix will contain the musical text of the
Inventions, upon which a possible interpretation will be
constructed. Variant readings will be included where
appropriate. Aspects of performance which will be considered
include elements of phrasing and articulation, the impact of
metrical placement upon articulation. Baroque fingering
practices, what is known about Bach's hand and body position
at the keyboard, tempo considerations, applicable dance
forms. Baroque emphasis on affect and rhetoric, and dynamics.
The presence of ornamentation within the fabric of
these Inventions will be recognized, and the musical effect
of ornaments will be considered, but the mechanics of
executing each ornament will not be discussed
comprehensively, since that topic has been thoroughly
addressed elsewhere. Other topics (e.g., overdotting or
assimilation of dotted notes to triplet figures) which do not
impact the Inventions will not be addressed. It should be
noted that this study is quite specific in that it focuses
intently upon the stylistic traits found in a small group of
" David Schulenberg, The Keyboard Music of J.S. Bach (New York:
Schirmer Books, 1992).
'* Rosalyn Tureck, An Introduction to the Performance of Bach
part 1, (London: Oxford University Press, 1960).
5
pieces, but it is also general in that it draws together
evidence for the performance practices of Bach and his circle
from a wide variety of endeavors. In this way it differs from
Schulenberg's survey of Bach's keyboard music (which gives a
general overview of hundreds of works) or Butt's analysis of
Bachian articulative practices (which rigorously examines one
aspect of performance and notation). The present study
represents an attempt to gain a practical understanding of
the several interpretive issues which pertain to a small yet
pedagogically significant repertoire.
Although choice of instrument will undoubtedly have an
impact upon performance decisions, the issue of which
instrument to choose for the performance of the Inventions
will be scrutinized only briefly here. Instead, this study
will explore several alternatives for performance which can
be extracted from the relevant sources and then applied to
these pieces at the discretion of the performer. This line of
inquiry is not to be thought of as a binding set of rules
which function as an interpretational straitjacket designed
to ensnare the performer. Indeed, the attempt to impose such
constraints upon the performer would be potentially
counterproductive to an expressive performance and
furthermore would be futile, since it is obviously impossible
to recreate Bach's exact mode of performance. Rather, this
approach to the interpretation of these little masterworks
can serve as a matrix in which greater artistic creativity,
centered within guidelines established through historical
awareness, is possible. As J. Butt has aptly remarked with
reference to articulation: "[Bach's] music will not be
destroyed by unidiomatic articulation, but so many more
levels of detail and meaning can be discerned if we 'edit'
and 'interpret' the music with at least some of the care and
insight that Bach himself has shown."" This same attitude,
when extrapolated to each performance parameter for which
evidence is extant, has the potential to deepen one's
appreciation for the beauty and integrity of this repertoire.

Prioritization of Eighteenth-Century Sources

The eighteenth century witnessed a gradual evolution
from the High Baroque aesthetic principles of J.S. Bach,
Handel, and others, toward the Classicism of the Viennese
composers. J.S. Bach was aware of the beginnings of this
evolution; however, when the Inventions were entered into the
Clavier-Biichlein in 1720, most of the aesthetic trends which
would animate the music of the Classic style were not yet
firmly established.'' Furthermore, even a brief glance
through the score of the Inventions will confirm that these
are two-voice contrapuntal compositions in which each part
maintains a high degree of melodic independence. This is a
characteristic Baroque texture, but it is not a frequent mode
of expression for the late eighteenth-century Classicists."
As a result of these factors, it is appropriate to use
only those sources which reflect a Baroque perspective toward
performance when selecting stylistic information for
application to the Inventions. Even evidence from Bach's son

" Butt, 212.

" Donald J. Grout and Claude Palisca, A History of Western
Music, 6th ed.(New York: W.W. Norton, 2001), 425-432.
" Ibid.
7
Carl Philipp Emmanuel, his pupil Johann Philipp Kirnberger,
and his biographer Johann Nicolaus Forkel must be weighed
carefully, since these sources were influenced by the musical
trends of the latter part of the eighteenth century.
Yet, we ask, in the more objective reporting on
matters of technique, what can we trust more? Surely
not the ideas of Bach's contemporaries, most of whom
never had anything to do with him. If we slight or
dismiss the information provided us by C.P.E. Bach
and Forkel (especially when all the relevant sources
are in solid agreement about that information), what
are we to substitute for it? Only our own opinions,
which are likely to be far more speculative and
arbitrary than their reports.'"

When these (and other) sources report on a performance

practice which they learned from J.S. Bach or a practice
which can be shown to have been in common use during the
early eighteenth century in Northern Germany, they can
generally be relied upon, especially when another source
confirms their claims. Other performance issues are discussed
within these contemporary sources, however, and these may or
may not be representative of the keyboard technique of J.S.
Bach.
Texts by Bach's close associates, students, and sons, as
well as the primary sources themselves, receive the greatest
consideration in this study. Additionally, it is known which
music influenced Bach as a young man, because C.P.E. Bach
wrote down a list of those influences:
The departed, like myself or any true
musician, was no lover of dry, mathematical stuff.
The instruction received by the departed in Ohrdruf
may well have been designed for an organist and
nothing more. Besides Froberger, Kerl, and Pachelbel,
he heard and studied the works of Frescobaldi, the
Baden Capellmeister Fischer, Strunck, some old and
'Faulkner, 12.
 good Frenchmen, Buxtehude, Reincken, Bruhns, and
[crossed out: his teacher Bohm] the Liineburg organist
Bohm.''

There are many other late Baroque sources for information

about keyboard technique, but since some of these sources
represent the varying regional (e.g., French, Italian, etc.)
preferences of their era, they "are valuable for our purposes
only insofar as they corroborate and amplify ideas of those
within [Bach's] circle."'' In addition, the polyphonic nature
of Bach's music and general lack of scale passagework in
favor of motivic construction indicate that
scale fingerings (as found in various 18th-century
manuscripts and publications, including C.P.E. Bach's
Versuch iiber die wahre Art das Clavier zu Spielen)
are less valuable in determining fingering practices
and basic articulation than are the few polyphonic
works from Bach's circle which have been preserved."
Despite this preference for a particular set of secondary
sources, however, those sources which illuminate general
facts about this literature (e.g., the rhythmic character of
the gigue) will not be neglected.
The order of preference for sources, then, is as
follows: (1) autographs by Bach himself; (2) the texts and
annotated musical manuscripts by Bach's associates, sons, and
pupils, when they reflect a known German Baroque aesthetic
perspective; and (3) the opinion of other respected Baroque
authorities, such as Couperin, when they complement or expand
information already acknowledged in the first or second
source categories. This hierarchy represents an appropriate
method by which to evaluate the pertinent evidence. In order
" David, Mendel, and Wolff, 398.
"Faulkner, 12.
= 'Ibid., 12.
9
that a picture which is representative of Bach's intentions
may be developed, sources will be grouped according to
performance topic in the following chapters.

10
 CHAPTER II
BAROQUE EMPHASIS UPON RHETORIC AND AFFECT

Baroque Emphasis Upon Rhetoric

What is known as the "doctrine of figures" was a
Baroque adaptation to music by musicians such as Christoph
Bernhard and Johann Mattheson of the rules for rhetorical
speech which had been established in antiquity by Aristotle
and Quintilian. These consist of "standard devices that
differ from ordinary speech and are introduced to render
oratory more expressive and impressive."' It is not necessary
for the present study to enter into the details of this
topic, but a few general observations are in order. First, a
"speechlike" articulation was preferred, even in purely
instrumental music. Second, the object of this preference was
the emphasis and clarification of the most important material
(i.e., material was considered to be presented more clearly
when it was articulated more distinctly) and by implication
the downplaying of less important elements. Third, the
doctrine of figures explicitly allowed for deviation from the
normative metrical accentuation of a given passage, provided
that the textual (or musical) meaning required that
deviation.' Fourth, theorists such as Mattheson based their
ideas regarding rhetoric in music upon the rhythmic patterns

' Willi Apel, The Harvard Dictionary of Music, 2nd ed. (Cambridge:
Harvard University Press, 1972), 313.
^ See ibid., 313; Claude V. Palisca, Baroque Music, 2nd
ed.(Englewood Cliffs, NJ: Prentice-Hall, 1981), 107-112; Piero Weiss
and Richard Taruskin, Music in the Western World: A History in
Documents (New York: Schirmer Books, 1984), 187-189.
11
found in ancient Greek and Roman poetry.' j.N. Forkel
provides information about the attitude eighteenth-century
musicians held in regard to the importance of a rhetorical
understanding of musical material:
If we hear the same piece played by ten equally
skillful and practiced performers, it will produce,
under the hand of each, effect. Each will draw from
the instrument a different kind of tone, and also
give to these tones a greater or less degree of
distinctness. Whence can this difference arise, if
otherwise all ten performers have sufficient
readiness and practice? Merely from the mode of
touching the instrument, which, in playing on the
clavier, is the same thing as the pronunciation in
speech. In order to make the delivery perfect in
playing as well as in declaiming,the greatest
distinctness is required in the production of the
tones as in the pronunciation of the words. But this
distinctness is susceptible of very various degrees.
Even in the lowest degrees we can understand what is
played or said; but it excites no pleasure in the
hearer because this degree of distinctness compels
him to some exertion of his attention. But attention
to single notes or words ought to be rendered
unnecessary that the hearer may direct it to the
ideas and their connection, and for this we require
the highest degree of distinctness in the production
of single tones as in the pronunciation of single
words.'

The Baroque doctrine of figures, as applied to keyboard

performance, allowed the performer to hold the interest of
the listener through varied yet distinct articulation in the
manner of an orator, which highlighted the most important
musical material. Scholars recognize that the doctrine of
figures permeated the acts of composition and performance by
J.S. Bach and his circle, as the following statements
illustrate:

' George Houle, The Musical Measure as Discussed by Theorists from

1650 to 1800, unpublished diss. (Ann Arbor, MI: University Microfilms
Inc., 1960), 131-142.
' David, Mendel, and Wolff, 431.
12
 [T]he remarks of (e.g.) J.G. Walther are now
examined by musicologists not to suggest that in
their early years together in Weimar both Walther and
J.S. Bach were involved in figurae as compositional
elements per se, but to demonstrate that what older
theorists had said was still alive and that their
motif-lists (insofar as there was such a thing)
implied one or another Affekt in the rhetorical
palette of music...But the significance of figurae
lies... in the more down-to-earth details of
composing and playing.'

Bach's knowledge of rhetoric and its relation

to music is unequivocally recorded by the Leipzig
lecturer in rhetoric, Birnbaum, a great supporter of
Bach.... [H.H.JEggebrecht also cites the title-page
of the Inventions as a direct allusion to rhetorical
art.... Inventlo is the basic idea to be expressed...
Elaboratlo is the basic skeleton of the piece...
Decoratlo is the continuation of the same process,
adding details... Elocutio is the performance.... The
direct link between musical ideas, composition and
performance seems a crucial factor in any study of
Bach's performance practice."
This last sentence, in other words, states that performances
of a piece of music composed during the Baroque era were
linked in the minds of musicians to the compositional process
through a set of shared assumptions about "The hierarchies of
accent... [which] can be viewed as grammatical... oratorical
or logical... and pathetic.,.-"' These hierarchies of accent,
as has become apparent, were implied by slurs or by figures
which by custom received particular articulative treatments.
David Schulenberg claims that
...[M]odern harpsichordists follow the suggestions of
writers such as the flutist Quantz (1752), who
offered specific articulation patterns for a large
number of motivic gestures, the articulation
- Peter F. Williams, "Figurae in the Keyboard Works of Scarlatti,
Handel and Bach: An Introduction," in Bach, Handel, Scarlatti:
Tercentenary Essays, ed. Peter Williams (Cambridge: Cambridge
University Press, 1985), 328.
' Butt, 16.
' Ibid., 6.
13
 depending upon the rhythm and melodic intervals of
the line. The variety of figuration in most Bach
works inevitably leads to great variety in
articulation patterns. Hence, it is potentially
misleading to characterize melodic lines in Bach's
keyboard music simply as legato or non-legato."
Quantz's treatise proves to be quite instructive as
regards the normal manner for performing various figurae in
the first half of the eighteenth century. One entire chapter,
entitled Extempore Variations on Simple Intervals, consists
of hundreds of figures with articulations explicitly marked
which Quantz claims were the basic ways in which a performer
embroidered a melodic line. In other words, they also
represent the typical manner of articulating in places where
no slurs or dots are present (see Example 2.1). It should be
noted that Quantz's examples corroborate the principles of
articulation which will be discussed in Chapter III.
The groupings found in Example 2.1 may help the modern
student of this repertoire begin to develop a method for
articulating the music of Bach with something at least
approximating idiomatic "pronunciation" of the common
figures. The lack of articulative information present in most
musical scores of the era is an indication, according to
Butt, that
...performers were clearly educated in all
conventions of performance practice and, as
composition was so often taught in conjunction with
performance, their understanding of the music itself
might have been deeper than is usual today- This
latter point seems particularly relevant to keyboard
performance, for thoroughbasslearned at the
keyboardwas perhaps the most universal means of
compositional instruction.... Furthermore,

Schulenberg, 16.
14
Example 2.1: Examples of articulative patterns from Quantz's treati<
On Playing the Flute.

lH#t&=Ut^psil^^^^
i ^1"^ t.^m^^n-^
f^fa^^Wffiii ' i^Til^^i .
10
n
f-^ r^ n f^-F-

m^
13 14

3 3 3 3
r^tnxi

22 23 24 25
f:^ ~zz
^a
15
W^mW-

ffl
Example 2 . 1 . Continued.

27 28.

mm 3 3
^f.Mifl:^^r

34
i-P-T m-W_m^^m_^_^W m

P
3 3 ^ 3 3

^^^^,-j^^^6p
40

42
f
^
E wmm
i^fc^ g

48 49 50

iff ^ ^
?4
^

51

3 3
^ ; I ItacS^^j-^ffgf^^
ffi
3 3 16
Example 2 . 1 . Continued.

54

Cni^^t: h r\
56

r_i_ll^^^^
'fy-

57 ^ 58 59
m^^-mX 0-4t

g^-^-4ffla^- ^ " g ^ ^ ^
60

Chapter XIII: "Of Extempore Variations on Simple

Intervals." London: Faber, 1966, 136-161.

17
 improvisation was a considerable element of the
player's technique....'

Peter Williams makes a valuable observation in regard

to figurae and the discontinuities which can exist between
modern and Baroque understandings of their proper
performance:
Indeed, even when a line looks unbroken and
continuous, it will generally be found to be made up
of such figurae, and it may well have been understood
to be broken and discontinuous. A particularly good
example is the scale, for a scale is no more than a
pattern of adjacent notes, rising or falling, less or
more extensive. Before it became customary for all
performers to practise the gamut of scalesa topic
itself worth a major study--any line of adjacent
notes was likely to have a much more carefully
thought-out function and character.'"

These frequently unstated Baroque assumptions about the

performance of figures were not intended to limit the
player's expressivity, however. Butt comments on the fact
that the emotional character of a movement will impact the
performance of figures:
Writers constantly emphasize the importance of
interpreting correctly the Affekt of a piece, and
here the performer's choice of appropriate
articulation is vital. Conventional 'figures of
speech' in the music may well have been associated
with a particular articulation or delineation. Some
such 'figures' may further have received different
stresses or pronunciation according to their place in
the musical structure. In all, the performance
required the same clarity of pronunciation as would
have been necessary in a verbal delivery."

An entire volume could be devoted to the compositional

use of figures in the music of Bach, with focus upon
specifics of articulation and affect. For the purposes of the

' Butt, 51.

" Williams, Figurae, 338.
" Butt, 207.
1!
present study, however, some general observations will be
adequate. First, Bach (along with his colleagues Walther and
Birnbaum) was aware of the relationship between music and
rhetoric, and undoubtedly his students and his circle in
general were acquainted with the principles established by
seventeenth- and eighteenth-century theorists. Second,
various figurae were considered to portray specific affects,
and were likely to have been articulated in characteristic
ways. Quantz's treatise can serve as a practical guide for
many common figurae. Third, performers were taught
composition in conjunction with keyboard studies, and this
training would have included the whole spectrum of
performance issues which are the focus of the present study.
Finally, modern research has not exhaustively demonstrated
how the various figurae were performed in specific
circumstances, but what is certain is that clarity and
variety of articulation were highly prized, and the
articulative parameters which Bach and his contemporaries
worked within, in general, have been established. (See the
discussion of articulation and metrical placement in Chapter
III. )

Affect
A quotation from C.P.E. Bach's Essay serves as an
introduction to the topic of affect in Baroque music:
What comprises good performance? The ability
through singing or playing to make the ear conscious
of the true content and affect of a composition. Any
passage can be so radically changed by modifying its
performance that it will be scarcely recognizable....
Good performance, then, occurs when one hears all

19
 notes and their embellishments played in correct time
with fitting volume produced by a touch which is
related to the true content of a piece. Herein lies
the rounded, pure, flowing manner of playing which
makes for clarity and expressiveness."
Affect, passion, or sentiment, were terms used by
seventeenth- and eighteenth-century authors when they
discussed human emotion. The philosopher Descartes, in
Passions of the Soul^ attempted to classify the various
emotions. Thus:
There are only six simple and primitive
passions, i.e., wonder, love, hatred, desire, joy,
and sadness. All the others are composed of some of
these six, or are species of them. That is why, in
order that their multitude may not embarrass my
readers, I shall here treat the six primitive
passions separately; and afterwards I shall show in
what way all the others derive from them their
origin.'^
Descartes described the emotions as objective phenomena, and
this description was very influential in the rational
intellectual climate of the Enlightenment. Johann Mattheson,
a German musician (1681-17 64) applied Descartes' theory to
music, giving an intellectual base to the idea of unified
affect within a piece of music, and frequently identifying
emotional states with particular dance forms."
What the passions are, how many there are, how
they may be moved, whether they should be eliminated
or admitted and cultivated, appear to be questions
belonging to the field of the philosopher rather than
the musician. The latter must know, however, that the
sentiments are the true material of virtue, and that
virtue is nought but a well-ordered and wisely
moderate sentiment. Those affects, on the other hand,
which are our strongest ones, are not the best and
" C.P.E. Bach, Essay, 148.
" Descartes, Passions of the Soul, in Piero Weiss and Richard
Taruskin, Music in the Western World, 212-217.
" Johann Mattheson, Der volkommene Capellmeister, in Piero Weiss
and Richard Taruskin, Music in the Western World, 217.
20
 should be clipped or held by the reins.... For it is
the true purpose of music to be, above all else, a
moral lesson.
Those who are learned in the natural sciences
know how our emotions function physically, as it
were. It would be advantageous to the composer to
have a little knowledge of this subject. Since, for
example, joy is an expansion of our vital spirits, it
follows sensibly and naturally that this affect is
best expressed by large and expanded intervals.
Sadness, on the other hand, is a contraction of those
same subtle parts of our bodies. It is, therefore,
easy to see that the narrowest intervals are the most
suitable. Love is a diffusion of the spirits. Thus,
to express this passion in composing, it is best to
use intervals of that nature. Hope is an elevation of
the spirit; despair, on the other hand, a casting
down of the same. These are the subjects that can
well be represented by sound, especially when other
circumstances (tempo in particular) contribute their
share.
Pride, haughtiness, arrogance, etc., all have
their respective proper musical color as well. Here
the composer relies primarily on boldness and
pompousness... [with] bombastic movement.... and
always ascending [figures]. The opposite of this
sentiment lies in humility, patience, etc., treated
in music by abject-sounding passages without anything
that might be elevating. The latter passions,
however, agree with the former in that none of them
allow for humor and playfulness.
Music, although its main purpose is to please
and to be graceful, must sometimes provide
dissonances and harsh-sounding passages.... The
spirit occasionally derives some peculiar pleasure
even from these."
That Mattheson's views were accepted in Bach's circle can
readily be demonstrated by a perusal of treatises by J.G.
Walther, C.P.E. Bach, and Kirnberger (who was even more
explicit in identifying particular intervals and textures
with specific emotional states than Mattheson was). It is
generally understood, as well, that in the conventions of

Ibid., 218.
21
opera seria this type of codification of emotion in music was
spread throughout Europe."
What application does an understanding of what is known
as the "Doctrine of the Affections" have for Bach's
Inventions? Perhaps some very basic illustrations will begin
to answer this question: One who understands the expanding
and ascending intervals used in the opening of the F-major
Invention to be indicative of joy and hope will hardly be
able to play this piece in a subdued fashion. Conversely, the
recurring "sigh" motifs in the counter-subject of the C-minor
Invention signal a loss of hope which does not seem
particularly compatible with a fast, driving tempo. Prominent
motifs which exemplify the principles set down by Mattheson
and others (many of which, like the "sigh" motif, are still
part of an assumed musical language in cultures influenced by
the Western artistic tradition) can thus become clues which,
when combined with other clues, guide the performer toward a
deeper understanding of the true affect of this repertoire."

" Ibid., 217.

" A related concept for Baroque musicians was the idea that each
keyas a result of the inequality present in the tuning systems of the
daypossessed its own peculiar quality. Laurette Goldberg, in The
Well-Tempered Clavier of J.S. Bach: A Handbook for Teachers and
Performers (Berkeley, California: Center for Historically Informed
Performances, Inc. 1995) 91-92, includes a listing of key symbolism,
portions of which will be included in Chapter VIII of the present
study.
22
 CHAPTER III
ARTICULATION AND THE IMPACT OF METRICAL
PLACEMENT

Articulation
Before venturing into this topic it is necessary to
clarify a few of the terms which will be used. Rosalyn Tureck
states that "Only one kind of legato exists.... [But] there
are many kinds of staccato...."' She is right, of course.
Notes cannot be partially connected; they can only be
entirely connected or else they exhibit varying amounts of
disconnectedness. Nevertheless, the literature which deals
with the subject of articulation in Baroque music uses the
term "semi-detached" to denote the midpoint between pure
legato and sharp staccato with enough frequency that it would
be cumbersome to insist upon another term in the present
study (though non-legato, which seems less inaccurate, is
also found with some frequency in the literature). The reader
is therefore reminded that when the term "semi-detached" is
found in quotations in the following pages, the laws of
nature are not somehow intended to be broken so that two
sounds are separated from each other while, in some way,
remaining joined together!
Phrasing and articulation are two terms which must be
understood and differentiated, Robert Donington's remarks on
the subject are helpful here:
To inflect the line means to respond to its
implicit patterns. One way of making these patterns
audible is by phrasing and articulation. Phrasing
groups the notes into units of more or less
' Tureck, 6. See also Keller, 51, for a discussion of non-legato.
23
 substantial extent. Articulation distinguishes
individual notes, or groups them into units of brief
extent. Both [of] these are aspects of the same
musical resource, which consists in breaking the flow
of the sound by separating it into units (ranging
from single notes, through pairs of notes or threes
or fours or more, to complete phrases), which in turn
are compounded into sections and movements.'
In this study, articulation will be understood to mean small
groups of notes which are slurred or detached. The term
"phrase", on the other hand, will be understood to indicate a
musical gesture or "sentence" which most likely will include
more than one articulative group.
Many modern pianists, as a result of the instruction
they receive and the stylistic traits of the majority of the
repertoire which they study, frequently make a blanket
assumption regarding the primacy of pure legato, using other
articulations for variety. Others, attempting to enter what
they believe to be the spirit of Baroque keyboard performance
practice, play nearly everything staccato. Neither was
typical in the first part of the eighteenth century, however.
C.P.E. Bach states
There are many who play stickily, as if they
had glue between their fingers. Their touch is
lethargic; they hold notes too long. Others, in an
attempt to correct this, leave the keys too soon, as
if they burned. Both are wrong. Midway between these
extremes is best. Here I speak in general, for every
kind of touch has its use....'

Tiirk,' Mattheson,' and Marpurg," each of whom were familiar

' Donington, 29-30.

^ C.P.E. Bach, Essay, 149.
* Daniel Gottlob Tiirk, School of Clavier Playing, Raymond H.
Haggh, trans. (Lincoln: University of Nebraska Press, 1983), 345.
" Johann Mattheson, Kleine General Bass Schule, (Hamburg, 1735),
72. In Faulkner, 5.
' Friedrich Wilhelm Marpurg, Anleitung zum Clavierspielen, 2nd ed
(Berlin: Haude und Spener, 1765), 26. In Faulkner, 5.
24
with early eighteenth-century performance practice issues, in
their respective treatises corroborate C.P.E. Bach's
statement: Ordinary articulation is neither legato (in the
modern sense) nor clearly detached. Other types of
articulation, such as sharp staccato or pure legato, were
considered useful in order to create contrasts or in passages
where the tempo, affect, or genre of the piece demanded them:
varied articulation was the prime vehicle for expressivity in
this repertoire.
...[Bach scholar Ludger] Lohmann considers the
concepts of 'legato' and 'staccato- to be later
modifications of the standard metrical hierarchy,
legato slurring being derived from ornamental string
bowings. However, he is always at pains to point out
the accentual implications of slurs, the first note
of a slur being stressed and the last shortened; he
sees a fundamentally legato style as developing only
in the later eighteenth century, its earlier uses
being connected only with a specific Affekt.
Modification of the fundamental articulation dictated
by the 'grammatical' accents might depend on the
shape of the motifs, the Affekt and genre, the
acoustics and dynamics and the speed of the notes
concerned; for instance, the second smallest note
value is often articulated more sharply than the
smallest note value. The basic conventions of
metrical accentuation should never be obscured,
however....^

Zehnder correctly identifies variety and subtlety of

articulation as hallmarks of good performance of Baroque
music:
The most difficult aspect of this performance
style, it seems to me, is the subtle variation
necessary in touch. A uniform non-legato becomes just
as monotonous as a continuous legato. ... A performer
may employ legato and yet create music that is
totally unmelodic; conversely, one may experience an
intense musical continuity by using the markedly non-
legato fingerings of Buchner (c.1510). What is most

' Butt, 6.
25
 painful is to hear playing which is both non-legato
and unmelodic!"
C.P.E. Bach notes that

In general the briskness of allegros is

expressed by detached notes and the tenderness of
adagios by broad, slurred notes. The performer must
keep in mind that these characteristic features of
allegros and adagios are to be given consideration
even when a composition is not so marked, as well as
when the performer has not yet gained an adequate
understanding of the affect of a work [but] I am
aware that all kinds of execution may appear in any
tempo....' In general, detached notes appear mostly
in leaping passages and rapid tempos....'" Generally
speaking, slurred notes appear mostly in stepwise
passages and in the slower or more moderate tempos."

These remarks are corroborated by J.P- Kirnberger: music

intended to be performed in a slower tempo is most likely to
contain legato passages, while faster music will have a
tendency to be performed in a more detached manner.
Sandra Rosenblum's survey of performance practices in
classic piano music is of value to the present study because
she is careful to thoroughly trace the sources of the classic
style, of which the articulative practices of Bach's circle
are an essential component. Rosenblum provides a very useful
chart of articulative preferences in the eighteenth century
until 17 90." The information in this chart is gleaned
primarily from treatises by C.P.E. Bach, Tiirk, Quantz, and
Koch, all of whom were part of the "North German School" and
the first three of whom were part of J.S. Bach's circle. The
' Jean-Claude Zehnder, "Organ Articulation in the Seventeenth and
Eighteenth Centuries", Part II , in The American Organist, Vol. 17, No.
12: 45.
' C.P.E. Bach, Essay, 149.
" Ibid., 154.
" Ibid., 155.
" Rosenblum, 144-147.
26
salient points from this source are summarized here (see
Example 2.1 for musical examples taken from Quantz's treatise
which illustrate many of these practices): Faster tempos were
more likely to feature detached articulation; slower tempos
were more likely to include a predominantly legato texture,
but with short slurred groups rather than continuous legato.
Stepwise motion is conducive to a more legato interpretation,
while leaps larger than a third are more conducive to
detached articulation (but leaps in slower tempos are
somewhat likely to be legato). A dissonance usually entailed
a legato resolution." In a piece with two note values (e.g.,
eighth and sixteenth notes) the slower value is most likely
to be detached, while in a piece with three note values
(e.g., quarter, eighth and sixteenth notes) the middle value
is most likely to be detached.
Slurs did not go over the barline, especially if they
formed an upbeat to the next measure.'" Schulenberg's
statement, relevant to this aspect of Bach interpretation, is
worth noting here:
Motives or figures that cross the barline or
straddle more than one harmony need not be slurred in
order to retain their integrity; indeed many motives
are defined by a specific combination of slurred and
unslurred notes (e.g., groupings of sixteenths in
patterns of 1 + 3 or 3 + 1). In such a combination
the little articulations or silences preceding and
following the slur do not break up the gesture but
become part of It. By the same token, slurring into a
beat is not the only way to join upbeat to downbeat
in a single gesture: indeed, detached upbeats are

"Butt, 54. In a similar vein. Butt adds that appoggiaturas or

dissonant passing tones "require a legato resolution and these, most
common of occurrences, may or may not receive slurs...."
'"Rosenblum, 144-147.
27
 clearly the rule In the music of Bach and probably
all Baroque composers." [emphasis added]
Robert Donington adds

Normal accentuation results from a momentary

silence of articulation followed by a dynamic
emphasis. Organs and harpsichords, having little
control by touch over dynamic level, simulate
accentuation successfully by the silence of
articulation alone. The effect of accentuation can be
further increased by prolonging the note which
carries or simulates the accent: this is sometimes
called 'agogic accent'.'^

The summary of Rosenblum's chart continues: A note

could be emphasized by detaching (shortening) the note before
it. Recurring motives had the same articulation at each
appearance, unless otherwise noted by the composer, while
contrasting motives had contrasting articulations. These
conventions tended to be observed whether or not they were so
marked in the score."
Later, Rosenblum discusses slurs in more depth: Slurs
are given a "string-like" interpretation, with the beginning
receiving an accent or stress while the end contained an
explicit release.' Schulenberg concurs, adding that small
articulative units inform the "phraseology" of the music:
Each slur marks a small, indivisible motivic
unit usually consisting of the arpeggiation of a
single harmony or the embellishment of one note
(e.g., through an appoggiatura). This function of the
slur, recognized as early as 1925 by Schenker...,
should probably take precedence over "phrase marks"
that one might be inclined to add as a result of
motivic analysis.... ""

'^ Schulenberg, 15.

" Donington, 38.
"Rosenblum, 144-147.
" Ibid., 172.
" Schulenberg, 15. See also Butt's summary of Lohmann's remarks
dealing with the impact of metrical placement upon phrasing.
28
 When slurs are notated, as they are in Bach's
Inventions in C-minor, D major, F minor, A major, and B
minor, they indicate a string-like interpretation (see
Example 3.1): the first note is stressed, while the last note
is unstressed, as if the phrase were taken "all in one bow."'
This approach to legato phrasing, in which initial stress (on
a beat) is followed by relaxation, will later be seen to
impact semi-detached note groupings as well. Descriptions and
notation of string-like slurs in keyboard music appear as
early as 1624 in Samuel Scheldt's Tablatura Nova. Jean-Claude
Zehnder claims that "Virtually all slurs in German keyboard
music up to Bach can be interpreted in this string-like
manner."" C.P.E. Bach corroborates this practice:
Patterns of two and four slurred notes are
played with a slight, scarcely noticeable increase of
pressure on the first and third tones. The same
applies to the first tones of groups of three notes.
In other cases only the first of the slurred notes is
played in this manner."

J.S. Bach himself, in his introduction to the 1723

autograph of the Inventions, states that these pieces are
written "especially for those desirous of learning... above
all to arrive at a singing [or cantabile] style of playing.""
Bach's friend J.A. Birnbaum asserts that Bach's keyboard
performances were cantabile." In addition, E.L. Gerber
contrasts the continuity of Bach's method of playing with
that of the organist Schroter, who "played everything on the
organ staccato."" The combination of this evidence would
" zehnder. Part I: 29.
" Ibid., 29.
" C.P.E. Bach, Essay, 154.
" J.S. Bach, Two and Three Part Inventions, facsimile edition, v.
"David, Mendel, and Wolff, 341-3.
''Ibid., 243.
29
Example 3.1: "String-like" slurs in the Inventions in D major
and F minor.
Invention in D major, BWV 774

Invention in F minor, BWV 780

^^Hl^^^
^0^^^^^^m &

From the New Bach Edition, ed. by Georg Dadelsen. Kassel;

Barenreiter-Verlag, 1982.

30
point to a highly articulate keyboard technique which, in
performance, gave the impression of continuity, especially in
the acoustically "live" ecclesiastical environments which
were home to the organ, but also when other keyboard
instruments were used.
It should be noted that perception of smoothness varies
with the expectations of the hearer. An illustration of this
can be found in Beethoven's frequently quoted perception of
Mozart's style of performance at the piano: Mozart, in his
letters, emphasized the desirability of cantabile
performance, with phrases which "flow like oil." Yet, when
Beethoven heard Mozart play, he found the performance was
dry, choppy, and unsuited to the piano.'^ Beethoven's
expectations were shaped by the very legato piano playing
which became stylish at the end of the eighteenth century,
while Mozart's performance reflected his inheritance of pre-
Classic and Baroque practices. It is quite likely that, in
terms of articulation, Bach's mode of performance would be
closer to that of Mozart than that of Beethoven, with an
important difference: the perpetually flowing contrapuntal
texture, rhythmic structure, and unity of affect which were
typically present in the music of Bach would have lent an
atmosphere of continuity, while the very different aesthetic
ideals of Mozart's Classicist compositions would have
resulted in an aural effect which had become unfashionable by
the last years of the eighteenth century.
The Baroque approach to slurring is directly related
to the Baroque understanding of the word "cantabile," used by

Sandra Rosenblum, 22-24.

31
Bach in his preface to the 1723 copy of the Inventions and
Sinfonias. Cantabile (in a singing manner) to the Baroque
musician was speechlike rather than uniformly smooth, as the
following remarks show:

...be wary of assuming 'cantabile' in Bach's

music to refer to a continuous legato. The importance
of words and the 'grammatical' accentuation of the
music suggest that clarity is perhaps the major
component of the style."

...[A]bove all a singer knows that it is is

necessary to breathe and articulate (or declaim)
well. It is of the utmost importance for him to
discern the right breathing pauses in the music or
the text Far from being felt as obtrusive, such
pauses permit the music to 'breathe', and
impart to it an 'eloquent' kind of expression that
differs markedly from the monotonous way in which
music is often rattled off at the piano. Above all, a
good singer must take an interest in the relationship
between the words and the music. Often it is only the
text which 'explains' the affection...."

...Bach's notion of cantabile style was

evidently broad enough to include both the sighing
half-steps of Sinfonia No. 9 and the rapid arpeggios
of Invention No. 10 and Sinfonia No. 15. Hence, the
use of the word in Bach's title cannot imply the
predominance of legato articulation or "expressive"
dynamic nuances, though it may remind us that hardly
anything in the pieces goes beyond what was
considered suitable for the voice in the early
eighteenth century.''

Rosenblum, taking her cue from C.P.E. Bach's Essay (to a

certain extent), advises the performer of eighteenth-century
keyboard music to sing melodic lines "perhaps adding scat
syllables. The voice will find the groups of notes which feel
indivisible (legato), the natural separations between groups.

Butt, 15.
Badura-Skoda, 131
Schulenberg, 151.
32
and the notes that require individual articulation (non-
legato and staccato)."'"
As the eighteenth-century sources make clear, an
understanding of the issues related to articulation in this
repertoire is of the greatest importance. Yet this is not a
task without obstacles, since many of the Bach sources
contain a fair amount of articulative ambiguity:
[Georg von Dadelsen and Alfred Durr] readily
admit that considerable problems arise in
interpreting Bach's articulation markings and... no
edition can reflect the original merely by means of
diplomatic transcription, so incomplete and hastily
drawn are many of Bach's slurrings.... [Yet Dadelsen
has observed that] most instances of inconsistent
articulation are related to minor matters of
performance technique... [while] markings which
relate more to the principal character of the music
and its motifs show more sign of regularity and
order.^"^ [emphasis added]

This is pertinent to this study for a couple of reasons:

first, there are instances of articulative ambiguity in the
Inventions (e.g., D-major); second, Dadelsen's italicized
remark alludes to the idea that regularity of articulation
(i.e., according to the conventions of the era) is more
foundational to an understanding of this repertoire than
possible minor exceptions. Butt's summary of research by
Ludger Lohmann explicitly makes this point:
Although Lohmann generally considers
articulation marks to indicate exceptions to the
conventions of articulation, he sometimes accepts
that they may indicate or clarify a regular system of
accents. Indeed, he sees this as a primary function
of articulation marks in Bach's pedagogic works.'^
[emphasis added]

" Rosenblum, 147.

" Butt, 3-4. A comparison of printed editions with the autograph
facsimile of the D major Invention illustrates these points.
" Ibid., 6.
33
 The above conclusions notwithstanding, an element which
causes indecision in the performance of Baroque keyboard
music is found, as Quentin Faulkner admits, in the fact that
the effect which is created may contrast with the manner by
which it is made to occur:

In discussing articulation it is again

necessary to draw the distinction between, on the one
hand, the aurally perceived effect of phrasing...
and, on the other, the basic presuppositions
regarding proper articulation that may have been held
by performers in general in any given period or
school. The former must always remain in large
measure a matter of conjecture Concerning the
latter, however, there is extant evidence from
contemporary sources that we may examine in order to
form a general impression of opinion and practice."
The performer thus has both freedom and responsibility in the
interpretation of this music: freedom to create an aural
effect which is in accord with an informed aesthetic
sensibility; and responsibility to make appropriate decisions
about (among other things) the application of articulative
details. Zehnder reminds the reader of the rationale behind
highly developed articulative details:
From the point of view of the musical
structure, it is of relevance that slurs occur more
frequently in the treble than in the bass. Passages
with slurs contain a melodic-soloistic element; the
bass, on the other hand, principally had a
fundamental function in the era of figured bass
practicethat is, generally longer note values than
the upper parts, [so the bass notes] demand a clearer
articulation. "
From these remarks, it is possible to draw the conclusion
that increased attention to articulative detail through the
application of short slurs at a given point by a performer
" Faulkner, 39.
" Zehnder, Part I, 31. And, by extension, when slurs are present
in the bass, they tend to indicate that the bass material is of some
importance, and requires a more soloistic treatment.
34
will naturally draw the attention of the listener to that
same point, because the "melodic-soloistic" nature of the
material has been made explicit. What do long slurs indicate?
Butt's remarks, directly applicable to the Inventions, are as
follows:
Longer groups of semiquavers are also implied in [the
F- minor Invention], where continuous semiquavers up
to a bar's length are slurred together; this
contrasts quite strongly with the shorter slurs in
the Friedemann notebook, in which each beat is
articulated. There is no evidence that the earlier
marking is a shorthand for the later, implying a
'general legato' (as Fuch 1985 p. 112 affirms).
Indeed, Bach seems likely to have used longer slurs
as a shorthand for shorter slurs."

Schulenberg agrees:
Slurs pose editorial problems, and therefore
questions of interpretation, in Inventions Nos. 3 (D)
and 9 (F-minor). Bach added the slurs only when
making the fair copies.... But precisely because he
did not take care to place them over well-defined
groups of two or three notes, the slurs are likely
to have been meant to apply to long[er] groups
They do not, however signify a continuous or unbroken
legato, for articulations must still fall before and
after each slur. Even in these cases the notes
beneath each slur represent but a single harmony
(except in bar 4 of Invention No. 9). Each slurred
figure should presumably receive a single rhythmic
impetus or, to put it another way, be played as a
single graceful gesture. This will mean playing the
D-major Invention "in one," since the slurred groups
of six sixteenths fill the bars of 3/8 time and will
each constitute a single long beat.'' [emphasis added]

Much has been said in this study about slurs, note-

groupings, and varieties of detached articulation. While
detached articulation is certainly an aspect of performance

" Butt, 166. For example, a long slur of this type would not
obscure the regular pattern of metrical accentuation, even though it
would indicate a smoother-than-normal performance.
" Schulenberg, 155-56.
35
which needs to be considered in keyboard music of the Baroque
era.

Dots are less important to the structure and

quality of the music [than slurs]; far fewer
movements are marked with extensive passages of
dots.... [S]lurs relate to accentuation, voice-
leading and general colouring of the line; dots
suggest more the lightening of the pulse and
shortening of notes, and are far less likely to be
associated with the 'ornamentation' in the music.
Dots clarify rather than Interpret textures in the
iTiusic." [emphasis added]

Schulenberg, quoting Dadelsen, says that the dot found in m.5

of the 17 23 autograph of the D-major Invention (the only
instance of dotting in the sources) was a "chance ink
spot,"' and editions which have extrapolated this dot to
other measures are therefore incorrect. The use of detached
articulation, therefore, should be guided by the parameters
which have already been discussed.

The Impact of Metrical Placement

Upon Articulation
The challenge which the modern musician faces when
grappling with the issue of semi-detached articulation as the
normative Baroque mode of execution is small when compared to
the obstacle which must be eliminated when coming to terms
with Baroque ideas regarding the correlation between metric
placement, accents, and articulation. Throughout the late
Classic, Romantic, and Modern eras, notes have tended to be
grouped for performance in melodic phrases, whether or not
those phrases correspond with the commonly accepted regular
metric pattern of strong and weak beats. Phrasing has

Butt, 209-210.
Schulenberg, 407.
36
generally been made explicit by the use of slurs, crescendo
or diminuendo, and appropriate beaming. During the
seventeenth and eighteenth centuries, however, articulative
accentuation was primarily indicated by placement within the
meter, usually regardless of whether the beginning or end of
the melodic gesture was elsewhere. Houle states that
The use of the term 'accent' so simplified
explanations of the measure that it began to be
defined by accent...."

Musicians were agreed during this time that

articulations were supplied to music to clarify the
organization of the measure; the performer did not
create the measure by his articulations.... The
dependence of articulation on measure organization
was unusually pronounced.... It was not tyrannical,
as it seemed later, but intensified the aural
perception of musical flow.'"
The first beat of a measure, therefore, would receive the
greatest emphasis. Zehnder, commenting on a passage by
Kirnberger, notes that dances (allemandes, courantes,
gavottes, minuets) in this era were "the prototypes for the
different time signatures. Their respective rhythmic impulses
are of basic importance for an understanding of the
interpretation of early music.""' In addition, the fingering
practices of the day (e.g.,in an eighth-note scale in C major
with the right hand: 12343434 ascending, with 1 and 3
occurring on the beats see Example 3.2) would have reinforced
the slight separation of beats into discrete units."'

" Houle, 5.
" Ibid., 201.
"' Jean-Claude Zehnder,Part II, 17, No. 12: 42
" Faulkner, 43.
37
Example 3.2: Typical Baroque scale-fingering pattern.

^
1 2

4
3 4

3 2
3 4

3
um
3 4

2 3 2
5 4 3 2 3 2 3 2 1

^
1
1 2 3 4 3 4 3 4 5

It is instructive to use this fingering pattern in other keys,

especially in G major, D major, A major, E major, and F major.

38
One should note that this strong/weak alternation (or
good/bad, heavy/light, or tension/relaxation) was not the
most obvious feature of Baroque performance: rather, it was
the rhythmic subtext which propelled the musical material in
a particular manner, comparable to the rhythmic nuances
present in poetic speech. Notes on strong beats were
emphasized by three means: A tiny break in sound before the
beat, and especially before a downbeat;"' assigning a longer
duration to a stressed note, than was customary for normal
semi-detached articulation while remaining within its
rhythmic parameters (i.e., instead of sounding for one-half
or three-quarters of its allotted time, the note would be
allowed to sound for its full duration); and greater dynamic
emphasis on the stressed note in string-like fashion
(possible only on the clavichord and piano)."" The following
sources represent early eighteenth-century perspectives
regarding meter and phrasing which reflect the practices of
J.S. Bach in this regard. When the terms "light" and "heavy"
occur, they indicate the following:
Heavy performance requires that each note be
played firmly [emphatically] and held until its value
has completely elapsed. Light performance means that
in which every note is played with less strength
[emphasis], and the finger is removed from the key
somewhat earlier than indicated by the value of the
note."'
Zehnder quotes J.G. Walther's Musicalisches Lexicon of

1732, as follows:

"' Ibid., 43. See also Houle, 173 ff.

"" Zehnder, Part I, 29. Houle, 200, states that "The dynamic
accent became ascendant at the end of the eighteenth century and
largely replaced the variety of articulation used earlier."
"' Tiirk, 346.
39
 Quantitas Intrinseca Notarum (also termed
Quantitas Accentualis ) is that length which results
when all notes of otherwise equally notated value are
performed unequally, so that one note is longer, the
next shorter despite their outward appearance....
[A group of eight eighth] notes are equal according
to their external value... while, according to their
internal value, the first, third, fifth, and seventh
are long, while the second, fourth, sixth, and eighth
are short.... [A] note which, according to its
number, is long receives a strong accent, while one
that is short, according to its number, is expressed
somewhat shorter and softer."'

After cautioning that what is being described are subtle

nuances which, however, are not to be confused with French
notes Inegales, Zehnder then proceeds to quote J.S. Petri,
who
repeatedly stressed in his Anleitung (p.160)
"the need to correctly observe the good and bad
notes." Some musicians, he continued, also term this
"the long and short, although without reason, for the
duration is not altered at all." [i.e., though each
eighth note in a group may receive different stresses
and articulation, the group is played in even
rhythm.] In this respect, an organ's ability to
achieve these nuances is often underestimated."'
[emphasis added]
Perhaps a comparison with the spoken word will have an
illuminative effect at this point: metered music is
comparable to poetic speech (Kirnberger compared poetic
speech to dance), " while unmetered music (e.g., recitative)
is comparable to prosaic speech. Badura-Skoda quotes J.G.
Walther as follows:
This theory of accent length is peculiarly
useful both in vocal and instrumental music, for
hence derives the stylish restraint of the voice and
the fingers whereby, that is, one emphasizes a note
which is long, quantitatively speaking; whereas a

"' Zehnder, Part II: 41-42.

" Ibid., 42.
" Kirnberger, The Art of Strict Musical Composition, 382
40
 note that is short, quantitatively speaking, is
played slightly shorter and more softly."'

Badura-Skoda next proceeds to give an analysis of Walther's

remarks (which are in accord with the interpretation by
Zehnder, above, of similar comments):
Walther's 'long-short' terminology suggests
that he was thinking of notes inegales. Yet this is
unlikely. Rather, it is the case of the quantities of
spoken verse being applied to music. What may well
have been long and short in Ancient Greece became
stressed and unstressed (or strong and weak) in
European languages, as every poetry reading proves.
The same holds true of music. But as unstressed notes
cannot be produced on the harpsichord through finger-
pressure, the only means available is the
abbreviation of note values....'"

Houle concurs with this assessment, citing Rousseau's

Dictionnaire (1768) :
Rousseau saw the discrepancy between the
quantitative meters of Greek and Latin [e.g., long-
short] and accentual modern French [e.g., stressed-
unstressed, or heavy-light], but instead of seeking a
way to reconcile them... he was content to point out
the existence of the difference."

Schulenberg gives pertinent information as to how a

harpsichordist would go about creating a "poetic"
performance, in the process reiterating what others have
written on the subject of articulation:
Eighteenth-century keyboard articulation
tended more toward non-legato than did nineteenth-
and twentieth-century playing, and modern
harpsichordists have arrived at a consensus about
certain desirable aspects of articulation in Bach's
keyboard music. Chief among these is the placement of
minuscule articulations (silences) before accented
notes, creating in effect an agogic accent on the
latter; another is the use of short slurs on certain
frequently occurring figures--for example, between an
appoggiatura and the following note. By placing
Badura-Skoda, 21.
Ibid.
Houle, 153.
41
 articulations before most accented beats, the
metrical structure of each bar is clearly defined.
This does not mean that every beat receives equal
emphasis; on the contrary... it is clear that beats
within each bar [can] be distinguished by subtle
gradations in both duration and dynamic level."
In addition, metrical accentuation could be indicated on a
larger scale. For instance. Bach indicated "double measures"
in several autograph sources (including the A-minor Sinfonia,
the Prelude from the G-minor English Suite, and Passepied I
from the E-minor English Suite: see Example 3.3), in which
full barlines occur only after each pair of measures." Each

of these movements is in i, and Schulenberg remarks that

perhaps they were notated in pairs in order to avoid implying

a faster tempo (i.e., I would have possibly been performed

more rapidly than i ) . " Elsewhere, in the corrente of the B-

minor Partita (BWV 1002) for violin, this technique is used

in order to indicate double measures of s" None of the

Inventions is so notated, but this notational practice is

mentioned here because it shows how the pairing of measures
in an accentual hierarchy (whether for a whole piece or for a
section thereof), especially in meters with only one beat per
measure, could be used to highlight the tension and
relaxation implied by various melodic figures or harmonic
progressions. (Specifically, the first beat of the first of

^^ Schulenberg, 15.
" Ibid., 159, 244, 250.
" Ibid., 159. See also Newman, 59-71, for a discussion of
strong/weak pairs of notes, beats, and measures.
" Butt, 201-203.
42
Example 3 . 3 : "Double m e a s u r e s " i n t h e P a s s e p i e d from the
E-minor E n g l i s h S u i t e .

f
i ^

mM
M
Bach Gesellschaft Edition, 1853, 1863.

43
two paired measures would receive more emphasis than the
first beat in the second measure of the pair).
J.P- Kirnberger, one of Bach's pupils, in his
retrospective treatise entitled Die Kunst_de^ Reinen Satzes
in der Musik (The Art of Strict Musical Composition) allots
over thirty pages to a thorough discussion of tempo, meter,
and rhythm, including several examples from the keyboard
works of J.S. Bach. Excerpts from Kirnberger's opening
remarks regarding tempo and meter are included here:
If melody is to become similar to speech and
adapted to the expression of various emotions and
sentiments, individual notes must be turned into
meaningful words and several words into comprehensible
phrases. This transformation of a mere stream of notes
into a melody resembling speech is accomplished in part
by accents that are given to a few notes, and partly by
the differences of their durations. It is just the same
as with common speech, where we distinguish words and
sentences only by means of the accents and durations of
syllables.
Meter actually consists of the precise uniformity
of accents that are given to a few notes and of the
completely regular distribution of long and short
syllables. That is, when these heavier or lighter accents
recur at regular intervals, the melody acquires a meter
or a measure. If these accents were not distributed
regularly, so that no precise recurrence occurred, the
melody would be similar only to common prosaic speech;
but with this periodic return it is comparable to poetic
speech, which has its precise meter....
A regular walk has steps of equal length, each of
which represents a measure of the melody. However, the
steps can consist of more or fewer little movements or
beats, and these movements or beats, all of which are the
same duration, can have smaller divisions or parts; they
can also be distinguished by other modificationsby
gradations of heavy and light, flowing or leaping, etc.
If a precise uniformity is observed in the steps and
small movements, this results in the measured walk which
we call dance, and this is precisely analogous to
measured melody. In just the same way as dance expresses
or portrays various sentiments merely by motion, melody
does it merely by notes. Whoever considers this closely
will easily understand how much the character of a melody
44
 depends on tempo and meter...."

If one hears a succession of equal pulses that are

repeated at the same time interval... experience teaches
us that we immediately divide them metrically in our
minds by arranging them in groups containing an equal
number of pulses; and we do this in such a way that we
put an accent on the first pulse of each group This
division can occur in three ways That is, we divide
the pulses into groups of two, three, or four. We do not
arrive at any other division in a natural way. No one can
repeat groups of five and even less of seven equal pulses
in succession without wearisome strain. It can be done
more easily with six, especially when the pulses go
rather quickly; however, one will notice that groups of
six or more pulses are not easily comprehended without
thinking of a subdivision, in which case they once again
resemble the above-mentioned groups of two, three, and
four. "

[A] measure of two quarter notes and another of

two half notes... indicate a different tempo, even though
they have the same number of beats. In addition, [meters
whose signatures are comprised of] longer note values are
always performed with more weight and emphasis [i.e.,
less detached, and somewhat more slowly] than shorter
ones; consequently, a composition that is to be performed
with weight and emphasis can only be notated with long
note values, and another that is to be performed in a
light and playful manner can only be notated with short
values .'

On the violin, pieces in...light meters are to be

played just with the point of the bow; however weightier
meters require a longer stroke and more bow pressure...."
All principal notes must fall on the downbeat,
because the first beat of the measure has the greatest
weight and is accented. What I mean by principal notes
here are those at which even a crude peasant nods his
head or stamps his foot when expressing the feeling of
the meter.'"

" Kirnberger, The Art of Strict Musical Composition, 381-82.

" Ibid., 383.
" Ibid., 384-85. A good place to observe this is in Bach's
Goldberg Variations, where the meters and note values change with each
variation, and thus give the performer information regarding genre,
tempo, and "light" or "heavy" articulation.
" Ibid., 388.
" Ibid., 388.
45
 After this general introduction to the principal
characteristics of tempo and meter, Kirnberger discusses each

meter specifically. Since only I, I, \ , %, and ^l are used in

the Inventions, only Kirnberger's coimnents regarding these

time signatures will be suiimiarized here:

4 time, or common time, is generally lively in tempo

(unless it is marked Grave, to indicate that it is being used

in place of the unwieldy \ time signature), and articulation

is typically light (semi-detached). The first beat is

accented, with a lighter accent on the third beat, while the
second and fourth beats are unaccented (but if the first and
third beats receive equal stress, then according to

Kirnberger the proper meter would be | rather than common

time). *8 meter is also a quadruple meter, but each beat

divides into three parts, with an accent on beat one and a

lesser accent on beat three. This meter, due to the
likelihood of groups of running sixteenth notes, is generally
played in a lively tempo with light articulation, but it is
played more emphatically than a piece in Ji (such as the Fugue

in C- sharp minor (BWV 87 3) from Das Woltemperierte Klavier

II) would be performed (see Example 3.4).

In 1 meter the first beat receives an accent, while the

third beat is always unaccented. The most characteristic

tempo for | meter is moderate, like a minuet, though all

46
Example 3.4: Comparison between 12/8 and 12/16.

Invention in A major

fei^^di^^^ es
^mfff^^^^mm ^

Well-Tempered Clayler, Book II, Fugue 4

Bach Gesellschaft Edition, 1853, 1863,

47
tempos are possible, in the slower tempos (especially if 'i

meter is used for a sarabande), the second beat receives a

somewhat lesser accentuation than the first beat. | meter,

used for the passepied, is similar to I, but is performed

with more liveliness of tempo and more separation between the

notes. In i meter the second and third beats are unaccented.

8 meter also has three beats, but the eighth notes are

performed more lightly (more detached) than eighth notes in

4. Triplets in 4 are played lightly (more detached) with no

pressure on the last two notes, while the three eighth notes

in one beat of I are, in comparison, played more heavily

(more legato), with some emphasis on the third eighth note of

each beat. This method for performing eighth notes in

compound time would also be applicable to 'i meter (see

Example 3.5)."
The foregoing summary of portions of Kirnberger's
treatise shows how typical Baroque articulation coincided
with the characteristic alternation of strong and weak beats
within a given meter, rather than with the motivic
construction of the piece. Modern research has established
and clarified many aspects of this subject, as follows:
[Ludger Lohmann's] greatest contribution is to
outline the grammar of articulation, independent of
the concept of 'phrasing,' and derived both from the
Ibid., 390-400.
48
Example 3.5: Normal accentuation for the various
meters found in the Inventions.

Moderate or lively unless

marked Grave. In faster tempos

T r r -- - " - ^ r r
o In slower tempos Never

rTTr
5 "Lighter" than 3/4 Usually lively

t r l i f r rT~TT~f~Tr i^
Lively, usually incorporates
16th notes. Never

r LULL
Kirnberger, 390-400.

49
 compositional style and the desire for clarity and
expression in Baroque performance. The hierarchies of
accent lie behind the principles of articulation and,
paraphrasing Rousseau, these accents can be viewed as
grammatical (the system of metrical stress),
oratorical or logical (derived from the sense and
formal structure of the discourse) and pathetic (the
emphasis of particularly expressive notes).... The
grammatical accent rules before 1750 and an extensive
study of keyboard fingering shows how the performance
technique reflects the standard strong-weak accents
within pairs of even notes ('good' and 'bad' notes)."

This "grammatical" approach to articulation was not merely an

accommodation to the limitations imposed by the keyboard
fingering practices of the day (in fact, the reverse was
true: fingering was adapted to articulation), since other
earlier instrumental and vocal styles also exhibited these
traits:
Conventions in keyboard articulation have been
thoroughly studied in recent years.... Conclusions
seem much the same as those for other Instrumental
media: articulation according to the natural metrical
hierarchy ('good' and 'bad' notes) was reflected in
the systems of paired fingerings, modified by the
style of the piece, speed of notes and the distance
between them, a knowledge of harmonic accents and
spec if ic f igures.''

Clearly, this represents a contrast to modern phrasing

preferences, as Butt remarks:
In nineteenth-century music two levels of
slurring are often used: smaller slurs indicate the
details of articulation and larger slurs imply a
general 'phrasing'.... There are no authentic
instances of the simultaneous use of smaller and
larger slurs in the music of Bach examined in this
study. A study of slurs unrelated to articulation or
small-scale 'figural' and accentual grouping must be
based on circumstantial evidence " The existence
of long slurs in Bach's notation challenges the
assertion that consecutive shorter slurs or
inconsistent slurs imply a 'general legato,'
" Butt, 5-6.
" Ibid., p. 52.
'' Ibid. , p. 180.
50
 particularly in keyboard works So often do
articulation markings in keyboard music accord with
those of string and woodwind parts that it is not
likely that a continuous legato was ever intended....
Inconsistent or careless slurring surely does not
imply a general legato (which would often obscure the
basic tactus of the music) but demands that standard
slurring be applied (e.g., pairs or groups of four)
in accordance with metrical accents."
It is important to remember that while these guidelines
for articulation and metric emphasis gave performers a
coherent way to approach the repertoire of their day,
nevertheless, both composers and performers broke out of this
conceptual matrix when it became necessary for expressive
reasons. Some compositional instances of this in the keyboard
works of Bach include: slurs which are placed so as to cause
an attack at an otherwise unaccented spot in a particular
measure in the F-minor Invention, m.8, beat three, treble
staff (see Appendix A, see also Example 3.6, the Allemande
from the C-minor Partita, m.29, treble staff); leaps which
accentuate unstressed portions of a measure in the A-minor
Invention, m.5, beat 2, right hand f to d (see Appendix A,
see also Example 3.7, the opening measures of the Courante
from the A-minor Partita); syncopation in the E-major
Invention (see Appendix A, see also Example 3.8, the Courante
of the Partita in E minor), ties across a barline or a strong
beat in the A-minor Invention, mm.3-6, treble staff (see
Appendix A, see also Example 3.9, the Gigue of the F-major
English Suite, m.l); and thickened textures on weak beats
alternating with thinner textures on strong beats (see
Example 3.10, the Prelude of the G-minor English Suite, mm.8-
13).
" Ibid., p. 185.
51
Example 3.6: Allemande from the C-minor Partita, measures 2 9-3 0.

^^^^S
ss
r m
^ fe ==^ ^

Bach Gesellschaft Edition, 1853, 1863.

52
Example 3.7: Courante (Corrente) from the A-minor Partita,
measures 1-3 .

^ V ^ ^ ^ m ^-^ipSp^ - - ^ f ^ ^
^ i-1
^^m^
-~)-^ J^ 7 -fi-^=d

i^=^x^ r r^f^ ^ ^

^5Pf= i
iach G e s e l l s c h a f t Edition, 1853, 1863.

53
Example 3.8: Courante from the E-minor^^artita, measures 1-9,

Bach Gesellschaft Edition, 1853, 1863.

54
Example 3.9: Gique from the F-major English Suite, measures 1-3,

^ t m
^ r~^"^^^hTf=B
s ii^

r~r~t -\~r-^^^-
g?=^ ^m ^

Bach Gesellschaft Edition, 1853, 1863.

55
Example 3,10: Prelude from the G-minor English Suite, measures 8-13.

xu
i

I
r=f
i 7 7 wm r 7 7

^gg^
f=
^

i ^
^

f
s
s^ I i=5

Bach Gesellschaft Edition, 1853, 1863.

56
All but the last-named compositional device were utilized in
the Inventions.

The most frequent ways in which modern "authentic"

performances of Bach's keyboard music deviate from the normal
Baroque modes of accentuation and articulation include agogic
stresses which usually entail a minute lengthening of
downbeats or important subject entrances, brief and gentle
ritardandos to demarcate formal divisions, and notes
inegales. The latter term refers to the more or less
systematic application of a lilting long-short rhythmic
pattern, which is more gentle than a dotted rhythm, to the
fastest notes which regularly appear in a given piece. David
Schulenberg notes.

Whether or not Bach employed notes Inegales has

raised some controversy. No contemporary German writer
seems to have described the practice, but Bach must have
had opportunities to hear Frenchmen performing their own
music, and can hardly have been unaware of this or other
widely recognized rhythmic conventions.... [IJneguality
can be used in almost any French dance. .. .'" [emphasis
added]

Though many facets of this topic are murky, it is clear, at

least in reference to the Inventions, that the only possible
use of notes Inegales would be in movements which could be
clearly identified as belonging to a particular French dance
genre, and not always then. Notes inegales were commonly
applied to many French dances, but it is unlikely that this
practice is generally suitable for the Inventions. Slurred
paired notes were often performed unequally, yet, as J. Butt
remarks:
If paired slurs were ever to indicate notes
Inegales in Bach's music, the most likely instances
Schulenberg, 17.
57
 of their use would be where a player of the French
tradition might automatically apply the convention
(determined primarily by the meter [and dance form])
and the German player would be less sure and require
some indication."

Isolated pairs of slurred notes are found in the autograph of

the C-minor Invention, m.8, and in the F-minor Invention,
m.8., neither of which, after a consideration of other
stylistic elements (see Chapter V for analysis of dance
genres), is a likely candidate for in6galite. Otherwise,
slurred pairs do not occur in the autographs of the
Inventions. The D-major Invention, which might support
inegalite since it is like a passepied, contains recurrent
slurs that cover entire measures, thus ruling out this
practice. Likewise, the E-major Invention, which shares
several traits with the minuet, could be said to be a
potential candidate for inequality, but it contains frequent
syncopations which would be ruined by such a treatment.
Though the application of Inegalite is not appropriate
when performing the Inventions, certainly this does not mean
that the performer is to be constrained within a rhythmic
strait-jacket. Modern sources agree that tempo variation
within a movement occurred only on a small scale (within
beats), except at large formal divisions, where brief and
gentle ritards were possible. Schulenberg gives a concise
overview of this topic, rightly linking rhythm with
articulation:
Articulation cannot be discussed separately
from rhythm, since, as modern players of historical
instruments have shown, agogics and slurs function
together. To produce an accent, the little silence
preceding an accented note can be "stretched," as can
" Butt, 61.
58
 the note itself. For this to occur without doing
violence to the coherence of the larger gesture and
phrase requires that rhythmic freedom be applied
primarily to small note-values within the beat, the
latter remaining fairly steady- The result is a true
tempo rubato rather than the manipulation of the beat
or tempo itself, which is probably more
characteristic of nineteenth century practice. Of
course, relaxation of the tempo at cadences can be
heard in most good performances of eighteenth century
music. But the nature of the ritard differs from that
employed in Romantic practice. Bach usually maintains
a piece's prevalent rhythmic pattern right up to the
last bar-line, and thus ritards in his music are best
begun late. Even in the final bar of a piece one must
not lose track of the beat; otherwise the written-out
arpeggiations so common in final bars (especially in
dance movements) are likely to seem superfluous or
dragged out. . . .'^
The beat itselfthat is the note-value on
which the pulse should fallis nearly always
indicated in Bach's music by the time-signature;
theorists associated specific time-signatures with
given ranges of tempo, and while there is
considerable room for leeway in these prescriptions,
it is clear that, as a rule, one ought not subdivide
the notated beat.... [E]ven in embellished adagios
and sarabandes one should not count eighths or
sixteenths. In French-style pieces, including most
suite movements, one must assume that the rhythmic
patterns underlying the various dances were meant to
be heard clearly."
Badura-Skoda, in a more general yet also more descriptive
manner, concurs with Schulenberg's assessment:
...[I]t would be wrong to equate the
maintenance of a regular beat [in the performance of
Bach] with twentieth-century motoric rhythms. Between
the firm 'pillars' of the beats there was a large
degree of freedom.... there were all kinds of rubato,
'breathing pauses', breaks, and thematic dovetailing
running counter to the beat. Bach's music in
particular is 'long-winded', but even the strongest
lungs have to be able to breathe somewhere.'"

Schulenberg, 16.
Ibid., 16-17.
Badura-Skoda, 17.
59
 Finally, a subject which no eighteenth-century source
seems to deal with explicitly, yet which is implied in nearly
every source, is the fact that attention to articulative
detail can either cause rhythmic stasis or it can propel the
phrase forward. This is alluded to by Schulenberg (and was
quoted previously in a different context) as follows:
Motives or figures that cross the barline or
straddle more than one harmony need not be slurred in
order to retain their integrity; indeed many motives
are defined by a specific combination of slurred and
unslurred notes (e.g., groupings of sixteenths in
patterns of 1 + 3 or 3 + 1). In such a combination
the little articulations or silences preceding and
following the slur do not break up the gesture but
become part of i t . By the same token, slurring into a
beat is not the only way to join upbeat to downbeat
in a single gesture: indeed, detached upbeats are
clearly the rule in the music of Bach and probably
all Baroque composers." [emphasis added]
Several valuable pieces of information are presented here,
but the reader's attention is directed especially to the
italicized portions of the text. Material which uses a
mixture of detached and legato figures can be combined into a
single unit, but in order for musical subjects which are
composed of a variety of articulative groupings to avoid
stasis, it is necessary for the hand (and mind) of the
performer to use the minute accents and silences of this
style to "move ahead" or relax at appropriate points.
Movements such as the C-major Inventionwhich sounds rather
bland when performed with a continuous legatobecome
dancelike, joyous, and full of vigor when approached in this
fashion. This is surely much more in keeping with a Baroque
aesthetic than the aimlessly meandering or relentlessly
motoric interpretations of this piece one often hears. The
" Schulenberg, 15.
60
propulsion of the musical material in a varied and
interesting manner is, after all, the reason for paying
attention to the articulative details in the first place.

61
 CHAPTER IV
BAROQUE FINGERING PRACTICES, HAND
AND BODY POSITION

Baroque Fingering Practjj^p^

In J.S. Bach's day, keyboard players began to invent
new methods of fingering, the chief of which was the
increased use of the thumb. Bach's biographer J.N. Forkel
stated that before Bach's era
even the greatest performers... did not use
the thumb till it was absolutely necessary in
stretches. Now when Bach began to unite melody and
harmony so that even the middle parts did not merely
accompany, but had a melody of their own... he was...
obliged to contrive another mode of fingering, better
adapted to his new methods, and particularly to use
the thumb in a manner different than hitherto
employed.... in Bach's method the thumb was made a
principal finger, because it is absolutely impossible
to do without it in what are called the difficult
keys.'

C.P.E. Bach, in his Essay, concurred with Forkel:

My deceased father told me that in his youth
he used to hear great men who employed their thumbs
only when large stretches made it necessary. Because
he lived at a time when a gradual but striking change
in musical taste was taking place, he was obliged to
devise a far more comprehensive fingering and
especially to enlarge the role of the thumbs... for
among their other good services, they must be
employed chiefly in the difficult tonalities. Hereby,
they rose from their former uselessness to the rank
of principal finger. Because this new fingering is
such that everything can be played easily with it at
the proper time, I shall expound it here.'

Both C.P.E. Bach and Forkel recognize the fact that

musical style impacts choice of fingering. Specifically, the

'David, Mendel, and Wolff, 434.

' C.P.E. Bach, Essay, 42.
62
increased chromaticism and complexity of late-Baroque
contrapuntal music led to the more frequent use of the
'difficult' keys (i.e., the tonalities with many flats or
sharps). This increase in the use of sharps and flats
partially explains why J.S. Bach developed new ways to use
the fingers at the keyboard. Farther along in his exposition
on fingering, C.P.E. Bach turns to two elements which are of
great importance to this study:
Change of fingers is the most important element
of fingering. Our five fingers can strike only five
successive tones, but there are two principal means
whereby we can comfortably gain as many fingers as we
need. These are the turning of the thumb and the
crossing of the fingers. Since nature has endowed no
other finger with the skill to pass under the others,
the thumb uses its flexibility, together with its
advantageous shortness, to turn under at places and
times when there are not sufficient fingers to
execute a passage. Crossing over is a technique
limited to the remaining fingers, and is made easier
when a longer finger vaults a shorter, including the
thumb, when there are not enough fingers to execute a
passage. This crossing must be practiced until the
fingers are skillful enough not to interlock.'

That C.P.E. Bach's practice of vaulting a longer finger

over a shorter one was anachronistic in his own lifetime is
shown from comments found in Johann Carl Friedrich Rellstab's
1789 treatise entitled C.P.E. Bachs Anfangstiicke mit einer
Anleitlung den Gebrauch dieser Stiicke die Bachsche
Fingersetzung, die Manieren und den Vortage Betreffend, in
which Rellstab states that
Mr. C. Bach believes that the one [i.e., scale
fingering] for the right hand in which the third
finger strikes over the fourth, and the one for the
lower hand in which the second finger strikes over

the thumb, are the most common, but very few keyboard
Ibid., 45-46.
63
 players hold the same opinion as he does."
In his essay, C.P.E. Bach explains his father's method
of fingering in great detail. One element which differs
greatly from what others state about the keyboard technique
of his father is the idea of stretching the fingers, rather
than shifting the entire hand laterally.' One could hardly
maintain a quiet hand with almost no visible motion (see
discussion under Hand and Body Position), while
simultaneously stretching the fingers as far as possible.'
Also, the motivic, rather than scalar, nature of much of J.S.
Bach's keyboard music, coupled with what is known about
Baroque fingering practices, makes it unlikely that turning
the thumb under would be used with great frequency in the
Inventions. Crossing over (see Example 4.1), on the other
hand, would happen frequently. Modern pianists will be likely
to find that it is easier to think of this process in terms
of minute lateral shifts of the hand, rather than imagining a
"stretch," with its implied disruption of a quiet hand
position. When one "crosses" the third finger over the fourth
or second finger while maintaining Bach's well-known quiet
hand position, the natural result is a series of small
lateral motions up or down the keyboard. This type of
fingering (and the articulation with which it goes hand in
hand) can be used effectively at the piano, provided that the
player uses the rhythmic inequalities which naturally arise
in this style to propel the material forward, rather than

' In Faulkner, 37.

' C.P.E. Bach, Essay, 43-44.
' Ibid., 45-46.
64
Example 4.1: Fingering which
crosses over'

W 3 4 3 4 3
^..

4
:i

65
pausing after each tiny articulation. For some pianists it
may also take some effort to remember that the end of each
fingering/articulative grouping is unstressed; otherwise, it
is all too easy to have a "hiccup" at the end of each group.
Several pieces by Bach and his circle which have added
fingerings illustrate Bach's fingering practices. The first
of these is the Applicatio from the Clavier-Biichlein vor W.F.
Bach (BWV 994).' This is a purely didactic piece, designed to
give the student concrete examples of fingering and
ornamental procedures. In this source, the right hand uses
[12]3434 ascending and 543232 descending, while the left hand
uses 32121 ascending (see Example 4.2).' W.F. Bach (1710-
1784) is said by Daniel Gottlob Tiirk, his student, to have
used these patterns all his life.'
The second piece from the Clavier-Biichlein which Bach
fingered, the Preambulum (BWV 930), consists primarily of
arpeggiated chords. The fingerings are similar to modern
practice, except that the thumb is not generally used on the
black keys. As a result of its less contrapuntal texture,
this piece is less useful in terms of establishing fingerings
for the Inventions than the preceding one.
Third for consideration is the Prelude and Fugetta
(sic) (BWV 870a). Though this manuscript is not in J.S.
Bach's handwriting, it corroborates the principles found in
the Applicatio and the fingerings of Bach's student
Kirnberger. The Prelude and Fugetta are both thoroughly
' J.S. Bach, Clavier-Buchlein vor Wilhelm Friedemann Bach,
Facsimile ed., 9.
" In Faulkner, 22. Mattheson's Kleine General Bass Schule, p.72
uses the same patterns.
' Tiirk, 146.
66
Example 4.2: Applicatio from W.F. Bach's Clavier-buchlein.

.^ 4 /! I .^-+3 4 5 -^
3 4 3 4 ^ ^MK

i
5F=3=3=3= ^ '
^

^
fi
S
sW 3 2 12
2 1 2

5 4 -- 3
5 4 3 2 3 2 15 ^
: J- H^j

Tr
4 5
,'V*'
^
at:^ ^ 3 y at isEEEEEE^E^
r 4 3 2
B ^ ^^^t^trr
1 2 3 5 ^
2

a 3 ^

^
2 3 4 5 3 2 1 ' ^
J:
Transcribed from the facsimile.

67
contrapuntal works, in four and three voices respectively,
and therefore provide apt illustrations for the purposes of
this study, Quentin Faulkner, in whose useful manual entitled
J.S. Bach's Keyboard Technique :_A^iiisiori^a,LlntrMuction
these pieces can be found, gives an analysis of the fingering
principles found here:
1. The equal use of all fingers.... In
particular, there is a consistent use of the thumb of
both hands....

2. The remarkably frequent use of the same

finger on two notes in succession. A finger that is
depressing one key is released, and by means of a
tiny hop is transferred to another note which it
immediately depresses. The outer fingers of each
hand the thumb and fifth finger- undertake this
action far more frequently than the other fingers,
although all the fingers of both hands engage in it
at one point or another. Normally this action occurs
from note to adjacent note, but there are a number of
instances in which it spans a leap of a third, a
fourth, or even a fifth....'" The action is best
accomplished by a motion of the hand that is peculiar
to early modes of fingering. In order to follow the
finger in its course, the hand must execute sporadic,
minute, and rapid lateral shifts. These shifts are
accomplished with all fingers of the hand still
basically in contact with the keys, and often allow
the hand to retain the most natural position
possible. This shift is not described in any of the
sources from Bach's circleit arises naturally as
the most efficient way to accomplish any of the
earlier fingering patterns (including scales) in
which one finger vaults another.
3. The use of the thumb and fifth finger on
an accidental is avoided whenever possible, although
it does occur whenever it is the most convenient
solution to the problem at hand. This limitation is
in accord with C.P.E. Bach's instruction:
"[Accidentals] are seldom taken by the little finger
and only out of necessity by the thumb.. . . The
thumb avoids accidentals, as does the little

'"Faulkner's footnote: "It is instructive to note that these

larger leaps invariably occur before beats one and three, i.e., the
strong beats."
68
 finger. . . [except] when a contextual leap makes it
necessary." (Essay, pp. 45 & 60) [Faulkner's citation
of C.P.E. Bach]

4. Substitution of one finger for another on

the same key Is generally avoided. The only instance
of substitution occurs in measure 25 of the Fugetta,
on a pedal tone (this use of substitution is
customarily allowed in early fingering practice).
This principle C.P.E. Bach also records: "Because it
is not easy to employ this device skillfully it is
correctly restricted to relatively long notes and in
cases of necessity." (Essay, p. 72).

5. The passing of the fingers over the thumb

(i.e., the thumb's use as a pivot the cardinal
principle of modern fingering) is also found, though
with no great frequency ...; this alternation of
thumb and index finger is also evident in the
Applicatio.

6. When circumstances warrant, there appear

some strikingly unusual fingerings which, when
examined and tried, prove to be eminently sensible
solutions to otherwise thorny problems.... These
solutions are best executed by shifting the hand in a
rapid lateral motion as described above....
7. The early fingering practice of one
finger vaulting another (analogous to that in the
Applicatio) is also found, though it is not as
conspicuous as the use of the same finger on two
notes in succession.... In each case, of course, it
is the longer finger that crosses over or the shorter
that crosses under. Note that these crossings occur
in leaps as well as in stepwise motion....
8. The Fugetta shows at three points... the
exchange of the middle voice from one hand to the
other.... This division of labor between hands allows
the smoothest performance of the voices." [Emphasis
added to highlight those fingering practices which
differ from the usual modern practice.]

Finally, the fourth piece to be considered is one of

the Magnificat Fugues by Johann Pachelbel for organ, with
fingering supplied by J.P. Kirnberger which enables the fugue
to be played upon one manual without pedals. Kirnberger's
" Faulkner, 23-24.
69
express intention was to illustrate the Bach fingering
method. An analysis of the fingerings in this source yields a
picture consistent with the other pieces examined in this
section."

The fingering practices of Bach's circle can be

summarized as follows: equal use of all fingers, but
avoidance of the thumb and fifth finger on the black keys
except when the context warrants their use; lateral shifts of
the hand (e.g., using 3434 ascending or 3232 descending: see
Example 4.1), with strong fingers (i.e., the first, third,
and fifth fingers) employed at the more heavily accented
points in the measure; hopping from one note to the next with
the same finger, especially before a strong beat; using the
thumb as a pivot occasionally; avoiding finger substitution
on one pitch except when a very long pedal tone is
encountered; and when necessary, sharing responsibility for
the performance of middle voices between the hands.

Hand and Body Position

Contemporaries of J.S. Bach who witnessed his
performance at the keyboard paint a consistent picture of
what they experienced. Johann Adolph Scheibe, a student of
Bach, states
I have heard t h i s g r e a t man [Bach] play on
v a r i o u s o c c a s i o n s . One i s amazed a t h i s a g i l i t y and
one can hardly conceive how i t i s p o s s i b l e for him t o
achieve such a g i l i t y , with h i s f i n g e r s and h i s f e e t ,
i n t h e c r o s s i n g s , e x t e n s i o n s and extreme jumps t h a t
he manages, without mixing in a s i n g l e wrong t o n e , or
d i s p l a c i n g h i s body by any v i o l e n t movement."
" Johann Pachelbel/Johann P h i l i p p Kirnberger, Allabreve, from
Clavieriibungen mit der Bachischen A p p l i c a t u r , i n Faulkner, 24-25.
" David, Mendel, and Wolff, 238.
70
Paul Badura-Skoda writes regarding this statement, that "we
should not expect that [Bach] adhered wholly to the
'Classical harpsichord posture' with its steady and almost
motionless wrists. Even Bach must have raised his arm to
cross hands in certain passages "'" in his biography of
Bach, J.N. Forkel discusses Bach's hand and body position as
follows:
According to Sebastian Bach's manner of
placing the hand on the keys, the five fingers are
bent so that their points come in a straight line,
and so fit the keys, which lie in a plane surface
under them, that no single finger has to be drawn
nearer when it is wanted, but every one is ready over
the key which it may have to press down. What follows
from this manner of holding the hand is:
(1) That no finger must fall upon its key...
but only needs to be placed upon it....
(2) The impulse thus given to the keys, or the
quantity of the pressure, must be maintained in equal
strength, and that in such a manner that the finger
be not raised perpendicularly from the key, but that
it glide off the forepart of the key by gradually
drawing back [or, more accurately, drawing up] the
tip of the finger toward the palm of the hand.
(3) in the transition from one key to another,
this gliding off causes the quantity of force or
pressure with which which the first tone has been
kept up to be transferred with the greatest rapidity
to the next finger, so that the two tones are neither
disjoined from each other nor blended together....
[This] produces the highest degree of clearness in
the expression of single tones, so that every passage
performed in this manner sounds brilliant, rolling,
and round, as if each one were a pearl, it does not
cost the hearer the least exertion of attention to
understand a passage so performed."

Badura-Skoda states that

This style of playing is characteristic of the
harpsichord, but it can also be used on historical
and modern pianos. The 'sliding-off'(Abzug) technique
" Badura-Skoda, 180.
" David, Mendel, and Wolff, 432. C.P.E. Bach also used this hand
and finger technique. Indeed, one can scarcely play the clavichord with
any success unless one uses this technique. Any other method produces a
snarl from the instrument.
71
 was something of a revelation as far as I was
concerned, for it does in fact make possible clearly
articulated fingering in non-legato and legato, even
in fast passages."

In fact, there is some controversy over whether the technique

of drawing the fingers back after striking the keys is
appropriate for the piano, and the present writer has been
given information in contrary directions by well-respected
piano instructors in regard to this technique. Yet there can
be no doubt that it was used by Bach, and it may possibly be
effective for some pianists to use it.
J.J. Quantz, a colleague of C.P.E. Bach in Berlin, in
his treatise on the flute, also dealt with some issues
pertaining to keyboard technique. His remarks regarding his
observation of keyboard performances by J.S. Bach corroborate
Forkel's statement in section three above." To sum up, two
additional statements will clarify the emerging picture of
J.S. Bach's posture at the keyboard. Forkel writes:
In fact, Seb. Bach is said to have played with
so easy and small a motion of the fingers that it was
hardly perceptible.... [Bach] wrote for himself
particular pieces, in which all the fingers of both
hands must necessarily be employed in the most
various positions in order to perform them properly
and distinctly. By this exercise he rendered all his
fingers, of both hands, equally strong and
serviceable."

C.P.E. Bach states that "In playing, the fingers should be

arched and the muscles relaxed. The less these two conditions
are satisfied, the more attention must be given to them.""

" Badura-Skoda, 182.

" David and Mendel, Bach Reader (New York: W.W. Norton, 1966),
444.
" David, Mendel, and Wolff, 433.
" C.P.E. Bach, Essay, 42-43.
72
 The eighteenth-century sources paint a picture of a
relaxed, relatively motionless keyboard posture in which the
fingers are curved, keys are struck by the fingertips close
to the fingernail, and small lateral shifts of the hand,
"hopping" on one finger, and crossing of the thumb are
utilized for moving up and down the keyboard. When performing
Bach upon a modern piano it will most likely be necessary to
amplify these motions, however, due to the piano's more
heavily weighted keys and increased keydip. In addition, the
smoother, fuller tone of the piano will generally cause one
who plays this music on that instrument to use somewhat more
detached articulation, especially in the bass, than if the
harpsichord or clavichord (each of which features more
definite attack, thinner tone, and quicker decay than the
piano) is the instrument of choice.

73
 CHAPTER V
TEMPO CONSIDERATIONS AND APPLICABLE
DANCE FORMS

Tempo Considerations
We have little direct and unambiguous evidence of
Bach's intentions concerning tempos for the Inventions.' On
the other hand, this is an area in which modern musicologists
have constructed some guidelines, based upon scattered and
fragmentary evidence. In the obituary of J.S. Bach which
C.P.E. Bach and J.F. Agricola wrote in 1754, one finds the
following: "... of the tempo, which he generally took very
lively, he was uncommonly sure."' Bach scholar Robert Marshall
comments that "The suspicion... that an Allegro tempo
constituted Bach's norm receives virtually explicit
corroboration from the [Obituary]."' Considering this comment
and the remarks made by C.P.E. Bach, Kirnberger, and others
about rhythm, meter, and articulation, one concludes that
Marshall is correct with regard to the Inventions: only two
Inventions, the F-minor and B-flat-major, are somewhat slow,
while the B-flat Invention does not feel slow, due to the
persistent use of thirty-second notes and vigorous rhythmic
patterns. Though the other Inventions certainly vary in
tempo, they all fit into the "lively" category.

' i.e., we do not know without doubt that when Bach wrote a piece
in the style of a minuet he intended it to be performed at exactly M.M.
138 to the quarter note.
'David, Mendel, and Wolff, 306.
' Robert Marshall, The Music of J.S. Bach: The Sources, the Style,
the Significance (New York: Schirmer Books, 1989), 266.
74
 The information in the preceding paragraph is modified
somewhat by the fact that the evidence which exists regarding
articulation and metric accentuation indicates that a normal
"lively" tempo in Bach's day was almost surely slower than a
Classic or Romantic allegro. As Zehnder says: "As an almost
natural consequence of this strong-weak alternation, the
tempo becomes slower than that which we are accustomed to.""
Apparently, Baroque musicians wished to focus upon a wealth
of articulative details rather than extreme speed. A
performance which calls the attention of the listener to the
"words" and "sentences"'' present in the music through varied
and interesting articulation is surely at least as valid as a
flawlessly smooth legato performance at a faster tempo.
Schulenberg notes that "...[I]ndividual tones on the older
stringed keyboard instruments seem to take a bit longer to
achieve full resonance than on the modern piano, but they
fade much more quickly, a fact having important implications
for tempo, among other things."' Rosenblum, discussing the
shift which occurred toward faster tempos during the mid-
eighteenth century, quotes Tiirk, Quantz, and others in
support of the fact that fast movements were played more
slowly in the first half of the eighteenth century than in
the latter part.' In the nineteenth-century, more extreme
tempos were certainly normative for the performance of Bach's
music, as a perusal of Czerny's tempo indications for the
Inventions will show (see Table 5.1). Badura-Skoda uses a
considerable amount of space in an attempt to show that
" Zehnder, Part II, 44.
^ To borrow Kirnberger's terminology.
' Schulenberg, 10.
'' See Rosenblum, 305-353.
75
Table 5.1: Editorial metronome marks in Czerny's edition
of the Two-Part Inventions of J.S. Bach.
Invention Key Note Value Metronome
Marking
1 C major: quarter-note = 120
2 C minor: quarter-note = 108
3 D major: dotted-quarter note = 80
4 D minor: dotted-quarter note = 72
5 E-flat major: quarter-note = 108
6 E major: eighth-note = 144
7 E minor: auarter-note = 1 ^7

F major: quarter-note = 144

9 F minor: quarter-note = 116
10 G major: dotted-quarter note = 152
11 G minor: quarter-note = 108
12 A major: dotted-quarter note = 84
13 A minor: quarter-note = 104
14 B-flat major: quarter-note =
15 B minor: quarter-note = 104

76
Baroque tempos were faster than they are commonly performed
today, primarily using late eighteenth-century English
mechanical organs to support his views." Whether this is true
or not,' when Badura-Skoda quotes Quantz in support of faster
Baroque tempos, he fails to recognize that while Quantz's
tempo recommendations reflected the preferences of the mid-
to late-eighteenth century,'" Quantz was clearly aware that
his practice in 1752 differed from that of Bach's
generation." Whatever modern practice may be, the eighteenth-
century sources are clear that the somewhat slower "lively"
temposcompared to the latter half of the eighteenth
centurywhich are suitable for the performance of Bach ought
not to lose their sense of proportion, however. Schulenberg
remarks:
"theorists associated specific time-
signatures with given ranges of tempo, and while
there is considerable room for leeway in these
prescriptions, it is clear that, as a rule, one ought
not subdivide the notated beat.... [E]ven in
embellished adagios and sarabandes one should not
count eighths or sixteenths....""

The picture of tempo which emerges is one where both allegro

and adagio are slightly more moderate than in later eras,
enough time is taken to relish small articulative details, a
sense of the pulse characteristic to the meter is retained,
and accentual patterns proper to the various dance genres are
taken into account. A failure to observe somewhat moderated
tempos in faster movements from this repertoire would

' Badura-Skoda, 5-11.

' It depends in large part upon what one sees as "the current
practice" in regard to tempos in Baroque music.
" Rosenblum, 354.
'' Ibid., 319.
" Schulenberg, 16.
77
obliterate articulative detail and render Bach's known
fingering habits impractical. This error was frequently made
in nineteenth-century editions of this repertoire. For
example, Czerny's edition of the C-Major Invention contains a
metronome marking of 120 to the quarter-note." At that tempo
the piece turns into nothing more than a test of endurance
for the fingers with no possibility for expressivity- Slow
movements from this era in which the performer subdivided the
beat would lose the characteristic accentual pattern which is
clearly indicated by their meter and/or dance genre. This is
probably less of an issue for the performance of the
Inventions since most of them are lively in tempo and since
the two slower Inventions are relatively passionate in
character.

Applicable Dance Forms

Nearly every source from the eighteenth century to the
present which has ventured to make a statement upon the topic
attests to the fact that music which was composed primarily
for dancing had a profound impact upon most musical genres of
the era. The following excerpt from Kirnberger's treatise on
composition contains a useful introduction to the practical
necessity for a working knowledge of Baroque dance forms:
...[E]very passion, and every sentimentin
its intrinsic effect as well as in the words by which
it is expressed has its faster or slower, more
violent or more passive tempo. This tempo must be
correctly captured by the composer to conform with
the type of sentiment he has to express....
Furthermore, he must have acquired a correct feeling
for the natural tempo of every meter, or for what is
n .T..q. Bach, Fifteen Two-Part and Three-Part Inventions Carl
Czerny, ed. (New York: G. Schirmer, Inc., 1904), 2.
78
 called tempo glusto. This is attained by diligent
study of all kinds of dance pieces. Every dance piece
has its definite tempo, determined by the meter and
the note values that are employed in it Regarding
meter, those having larger values, like alia breve,
3/2, and 6/4 meter, have a heavier and slower tempo
than those of smaller values, like 2/4, 3/4, and 6/8
meter, and these in turn are less lively than 3/8 or
6/16 meter. Thus, for example, a loure in 3/2 meter
has a slower tempo than a minuet in 3/4 meter, and
the latter is in turn slower than a passepied in 3/8
meter. Regarding note values, dance pieces involving
sixteenth and thirty-second notes have a slower tempo
than those that tolerate only eighth and at most
sixteenth notes as the fastest note values in the
same meter. Thus, for example, a sarabande in 3/4
meter has a slower tempo than a minuet, even though
both are written in the same meter.'"

Dance genres, particularly the standardized dances of

the French suite served as models for the metric and
articulative aspects of instrumental composition throughout
Germany in the seventeenth and early eighteenth centuries."
Bach's interest in the keyboard suite is evidenced by the
Partitas, English Suites, and French Suites, but also by the
fact that many of his keyboard, choral, and chamber works
which are not so titled utilize these genres as well."
Reference will be made throughout this section to Dance and
the Music of J.S. Bach by Meredith Little and Natalie Jenne.
This is an extremely valuable resource in relation to this
subject," for it draws together an enormous amount of
" J.P. Kirnberger, Die Kunst des Reinen Satzes in der Musik, 376-
377.
'^ Little and Jenne, 3-5.
" Ibid., 33-34, 217-221.
" Other sources which mention dance genres are much less helpful.
For instance, Paul Badura-Skoda's Interpreting Bach at the Keyboard,
pp. 85-87, which otherwise contains some valuable insights, merely
quotes Griepenkerl's Preface to the old Peters Edition of the Partitas,
nearly without comment. This perpetuates some nineteenth-century
misconceptions and oversimplifications with regard to Baroque dance
genres. A concise overview of Baroque dance as it relates to the suite
for keyboard can be found in Newman, 139-151.
79
material from the musicians and choreographers of the Baroque
period and applies that information directly to the titled
and untitled dances of j.s. Bach.
An understanding of the characteristic rhythm and
structure of each dance is the key to the classification of
untitled works which may be written in particular dance
genres." Little and Jenne quote Forkel's biography in support
of this fact, as follows:
The composers of Bach's time had an admirable
opportunity to acquire the due and easy management of
the various kinds of rhythm, by the so-called suites,
which were then common instead of our sonatas. In
these suites there were, between the preludes and the
concluding jigs, many French characteristic pieces
and dance tunes, in which the rhythm was the most
important object. The composers were therefore
obliged to make use of a great variety of time,
measure, and rhythm (which are now for the most part
unknown), and to be very expert in them, if they
desired to give to every dance tune its precise
character and rhythm.
Bach carried this branch of the art also much
farther than any of his predecessors or
contemporaries. He tried and made use of every kind
of meter to diversify, as much as possible, the
character of his pieces. He eventually acquired such
a facility in this particular that he was able to
give even to his fugues, with all the interweaving of
their single parts, striking and characteristic
rhythmic proportions in a manner as easy and
uninterrupted from the beginning to the end as if
they were minuets."
Little and Jenne designate three primary levels of
rhythm, in order of descending metric significance: the jbeat,
which may be divided into two or three pulses, each of which
may be subdivided into two or three taps. In Baroque dance
music, beats are grouped in twos or threes to form measures,
and measures tend to be paired, with forward motion (arsis)
" Little and Jenne, 30.
" Ibid., 30-31. See also David and Mendel, 323-324.
80
typically alternating with repose (thesis). The pulse is the
lowest rhythmic level which can be syncopated. A tap is the
smallest unit which can participate in the rhythmic
hierarchyit is the smallest value which can be articulated.
All notes of smaller values than the tap are ornamental,
rather than structural, and therefore are not articulated
separately from the more structurally significant notes (see
Example 5.1) ."
Little and Jenne's order of classification of the
various dance forms will be followed in the present study,
but only those genres which have some bearing upon the
Inventions will be discussed. There is one respect in which
the identification of the Inventions with particular dance
forms is problematic: the tightly contrapuntal and formal
structure of the Inventions does not always lend itself to
precisely regular phrases, and thus, in genres such as the
minuet which tend to feature quite regular phrase patterns,
it is necessary to make some allowances for the intensified
textural considerations which animate the Invention style. A
less difficult factor, but one which should be taken into
account, is the fact that several dance forms (e.g., the
allemande, courante, gavotte, gigue) usually began with an
upbeat, yet only one of the fifteen Inventions (D-major)
begins this way. It has been decided that, for the purposes
of this study, the lack of an upbeat entrance will not be a
deterrent to the identification of Inventions with pertinent
dance genres, as long as a preponderance of the evidence
points in a specific direction.

" Ibid., 17.

Example 5.1: Excerpts from "Metric Levels in Baroque Dances."

French Gigue, Giga II, Passepied:

Tap

m. m tfL

Pulse

Beat

^ r
Giga I: Minuet:
Tap
Tap

^fnfufnfnup
Pulse Pulse
f~i*-^-
Beat ^Beat

^
r *T-^

Sarabande, Corrente:

Tap

11 1 1 i J i } i ^ i ^
Pulse

Beat

r r r
Little, Jenne, If

82
 Allemande. Little and Jenne's work excludes the
allemande because by Bach's era, this dance "no longer
reflected a particular dance form. In a study of allemandes
of this period we discovered neither clear choreographic
roots nor distinguishable recurring rhythmic patterns; nor
did we find any choreographies."" This source treats the
allemande as a "prelude-like form."" In Bach's suites, the
Allemande is in binary or rounded binary form," the tempo is

a moderate 4 meter, and each formal division typically begins

with an upbeat. While some of the Inventions could be

categorized as "prelude-like," there is simply not enough
evidence to characterize any of them as an allemande.
The Allemande is the only one of the standard dances of

the Baroque suite which is typically in \ meter. It is

interesting to note that while it is possible to categorize

the seven Inventions which are in a meter other than \ as

examples of various Baroque dances, none of the eight

Inventions in I meter have lent themselves to identification

with any dance form.

Bouree and Gavotte. These genres are not found in the
Inventions.

" Ibid., 34.

" Ibid.
"This fact, however, doesn't require that all allemandes, or
other genres, must adhere to the binary principle, since Little and
Jenne's study contains several specific examples of standard dances
which are not in binary form.
83
 Minuet. This is a genre of "moderate gaiety"'" in simple
triple meter, which is felt in one beat per measure." The
Bach minuet features four-bar phrases which are grouped in
pairs. Phrases with odd numbers of measures are rare, and
melodies have a tendency to feature stepwise motion within a
relatively small range. The second pulse in a measure usually
receives some stress, though this is felt to a lesser extent
than in the sarabande, and the fastest regularly occurring
note is the eighth note (or tap)." The minuet would formally
be rather bland, except that hemiola and syncopation are used
to enliven the phrase structure;" doubles (i.e., another
minuet) are used in alternation with the principal dance, in
order to accommodate the maneuvers of the dancers; the steps
of the minuet, as danced, overlap rather than correspond with
the phrases of the music;" and "notes Inegales on the eighth-
note level are characteristic of minuets in the French
style.""

A tempo faster than M.M. 42-46 [to the dotted

half note] will not permit clear projection of the
frequent harmonic changes (which reflect the counter-
rhythms of the harmonic changes and the steps) or of
hemiolas and syncopations in the music; the risk is
that of trivializing the dance.'"

The E-major Invention shares most of the

characteristics of a minuet notated in I metera "light"

minuet (see Appendix A ) . Francois Couperin's Menuets Croises

Mattheson's term.
Little and Jenne, 67-68.
Ibid., 70.
Ibid.
Ibid., 65.
Ibid., 71.
Ibid., 69.
84
from his twentieth Ordre are also written in I, providing

examples of minuets in this meter (see Example 5.2). Some

irregularities in the length of the phrases would make this
Invention undanceable, even though the presence of repeated
sections is in character for the dance. The minuet shares
some similarities with the passepied, which is discussed
below."

Passepied. This dance is generally in I meter, with an

upbeat for the opening entrance. It is generally played in

one beat per measure at a somewhat more lively tempo than the
minuet. Sixteenth-notes are usually the fastest note value in
a passepied. Though this genre shares with the minuet a
regular formal structure,
...passepieds are not only faster but contain
unusual rhythms offbeat accents which occur at
surprising times to delight (or possibly upset) the
listener. Passepieds also have longer phrases with fewer
points of arrival and may be accented in a more vigorous
manner than do minuets...." Among German writers, Walther
called it "playful" or "flirtatious," and Johann
Mattheson described it as frivolous, fickle, and less
passionate than the gigue.... Thus, though it is not as
passionate as the sarabande or as intense as the gigue,
it is also not "moderate," like the minuet and
gavotte...." [the authors recommend a tempo of about]
M.M. 46-48 per measure [for the passepied]...."
Passepied dance music is in 3/8, with phrases in a
length divisible by four measures in order to accompany
the units of four tiny steps set to each two measures of
music...."

Ibid., 83.
Ibid., 83.
Ibid., 85.
Ibid., 85.
Ibid., 86.
85
Example 5.2: (Premier) Menuet Croises from the Vingt-Deuxieme
Ordre by Francois Couperin

Grand Oavier '\^ c

p-iece-s de Clavecin, Vol. IV, Budapest: Editio Musica

Budapest, 1969.

86
 The dance rhythm consists of a rhythmic-harmonic
phrase four beats (measures) long with a thesis [point of
relative repose] on measure 4...."
[S]ixteenth notes are to be articulated with care
and may move with inequality, even as the eighth notes do
in a minuet."

The D-major Invention can be thought of as a passepied in

nearly all respects, but it does not have the exactly regular
formal divisions nor the repeated sections which would make
it suitable for dancing (see Appendix A ) .
Sarabande. The sarabande is a passionate yet noble
dance in slow triple time (e.g., M.M. 69 to the beat)," with
a stress very frequently placed on the second beat, and an
accentuated pulse often placed at the end of a measure (see
Example 5.3 for a typical sarabande rhythm)." Little and
Jenne note that a careful use of binary form is usual in the
sarabande and state that "Balance is an important sarabande
characteristic, and one seldom encounters phrases which are
not four or eight measures long...."""
Another prominent feature of the sarabande is the
double, an elaborately ornamented and varied repeat, which
may be written out by the composer or improvised by the
performer."' Bach frequently wrote out the doubles (e.g., in
the D-minor English Suite) and in two instances in his titled
dances he appears to have written out only the double: in the
C-minor Partita for keyboard"' and in the A-minor Partita for
solo flute." This fact is of particular importance for the
" Ibid.
" Ibid., 87.
" Ibid., 95.
" Ibid., 93-95.
" Ibid., 96.
" Ibid., 95, 102.
" Ibid., 110.
" Ibid., 108.
87
Example 5.3: Typical rhythmic patterns in the Sar
abande.

r r'r^- rT^r
%

r^r~r^nT~r^
Little, Jenne, 97,
present study. When one compares the F-Minor Invention (see
Appendix A) to the sarabande from the C-minor Partita (see
Example 5.4), one can immediately see that the two pieces
utilize nearly all of the same elements, including rhythmic
patterns and slurs. This Invention even approximates binary
form (which is unusual in the Inventions in general), with
the most important interior cadence occurring half way
through at measure sixteen and seventeen. Indeed, the
Invention could potentially have served as a "practice piece"
which prepared Bach for the composition of the sarabande in
the C-minor Partita.

Courante. This genre is not found in the Inventions.

Corrente. Little and Jenne identify the G-major
Invention as a corrente."" Earlier in the text, they describe
the corrente as follows:
The early eighteenth century Italian corrente is a
virtuoso piece for violin or keyboard soloist. It usually
consists of a continuous elaboration in eighth or
sixteenth notes over a bass line in fast triple meter,
with simple meter, slow harmonic rhythm, and phrases of
varying lengths. Metrically speaking, most correntes have
one beat to the measure... though some very ornate ones
with continual sixteenth notes actually move with three
beats to the measure.... Normally, the time signature is
3/4 and there is an upbeat. The tempo is moderate to
fast, depending on the level of the beat and the amount
of interest at the tap level.
Techniques of elaboration include arpeggiation,
sequential repetition, two melodic parts contained in a
single line, figures resembling an Alberti bass, and
passage-work covering several octaves.... Harmonic
change, which is usually on the... first and third pulses
[when each measure gets one beat], offers the performer
the most reliable guide to articulation. Ornamentation is
sparse, and French notes inegales are outside the style."'

Ibid., 219.
Ibid., 129.
89
Example 5 . 4 : Sarabande from t h e C-minor P a r t i t a .

Sarabande.

^ ^

^^mw^^w^^^
^E^%-'SSi

ii
n r^f^T
^
S ^5 mm^f^
s ^ ;^^<1- ^j^^^-V^rzg^g4^yJ-t:tfj
^s

^s:^

Bach Gesellschaft Edition, 1853, 1863

90
 This quotation certainly captures the essential
elements of the G-major Invention, with only minor deviation.
What is surprising is the fact that this movement is in

compound triple meter. No other example of the use of I meter

in a corrente is given by Little and Jenne, nor is one known

to this author. A casual glance at this Invention would have
tempted one to label it a gigue, but it really does not fit
comfortably into any of the gigue subdivisions, as will be
discovered below. On the other hand, the courantes from
Bach's Partita in B-flat major and the French Suite in E-Flat

Major are both written in 4 with the consistent use of

triplets and with dotted rhythms which are intended to be

accommodated to those triplets (see Examples 5.5 and 5.6).
The material from these two movements sounds and feels
similar to the G-Major Invention, even though they are
visually different.
The F-major Invention is another example of a piece
which quite neatly fits the above description of the
corrente, except that the typical upbeat entrance is not
present. Here, the courante from the G-Major French Suite
provides a model for the genre (see Example 5.7).
Gigue. Little and Jenne distinguish between three basic
types of this genre, based upon metric structures: the
(French) gigue, the (Italian) giga I, and giga II." The
French gigue is a lilting dance (e.g., dotted-eighth,

sixteenth, eighth: see Example 5.8) in I meter, which is

Ibid., 143.
91
Example 5.5: Courante (Corrente) from the
B-flat major Partita.

Courante.

^^fe
^^^M ^ ^ = ^

- i^r-^^^^

^ # ^ ' - ^

Bach Gesellschaft Edition, 1853, 1863,

92
Example 5 . 6 : Courante (Corrente) from t h e
E - f l a t major French S u i t e .

C our Mite.

fl 1 l 1,-f-f,
i"#r*
yVr'v ' Uairr~
- 1 ^ ^ j _ t [ ! 1

^
Ty-r--to r^pri
' '^^ B* J^ *' *_\_ '^^ - ^ ^ * ' m * ~f~I^^

Bach Gesellschaft Edition, 1853, 1863

93
Example 5 , 7 : Courante (Corrente) from t h e
G-major French S u i t e .

Courante

Bach Gesellschaft Edition, 1853, 1863,

94
Example 5.8: Excerpts from "Model for the [French] Gigue Dance Rhythm."

[f I cir cir' QTorta] r air or

r X-H' LZT'T'r

Little, Jenne, 14J

95
"lively and spritely," with phrases which are frequently
irregular in length."' None of the Inventions fit this
category.
"Giga I refers to Baroque pieces entitled 'gigue' or
'giga' (or related terms) in whose metric structure
tripleness appears on the lowest level of rhythm."" Most
Baroque dances feature a more or less regular phrase
structure which is punctuated cadentially, but in giga I,
cadences are either avoided or brushed past in a whirl of
forward motion which lasts until the end of the main formal
divisions. The phrase structure of giga I is irregular," and
uneven, "hopping" rhythms (e.g., repetitive quarter/eighth

patterns in % meter: see Example 5.9) are typical. Many

meters are used for this genre, but what is important is that
tripleness occurs at the tap level, with duple divisions at
the pulse and beat levels.'" Giga I gives the illusion of
being the fastest of the gigue subdivisions, but at the beat
level it is actually slower than the o t h e r s . " Though the giga
was originally an Italian imitation of an English dance, the
giga I was a purely instrumental, frequently quasi-fugal form
by Bach's e r a . "
Bach wrote in this style many times: the English Suites
in A major, G minor, F major, and D minor, the French Suite
in G major, and all of the Partitas except the G-major
Partita contain examples of the giga I (see Example 5.10).
" Ibid., 146.
" Ibid., 153.
"' Ibid. , 154.
" Ibid., 155.
' I b i d . , 145.
" Ibid., 157.
96
Example 5.9: Typical rhythmi
c patterns for Giga I.

~^^^m-i-[ir^M^rTr-pHr-pT-r^
Little, Jenne, 156.

97
Example 5.10: Gique from the F-major English Suite.

P^ m ^
^^^^s
m^^^ Tr^ i=^ ^pa

- i ( ^

^
p^^^^e
^^T-fin p^
Bach Gesellschaft Edition, 1853, 1863.

98
Initially, the A-major Invention appeared to be a giga I,
since it features continuous, rapidly flowing sixteenth notes
which subvert the effectiveness of cadences (see Appendix A ) .
This analysis proved to be unsatisfactory, however, because
in 'i meter the "level of tripleness" (and therefore the tap

level for the giga I) is at the eighth-note level. Such a

dance, which consistently uses running sixteenth notes, would
have to be diabolically fast in order to keep its character
as a giga I, and it is not likely that it would be focused
primarily on rhythmic entities of lower significance than the
tap.
It is likely that the giga II was derived from the
first two gigue subdivisions, since it shares all of its
stylistic traits with one or the other." Giga II is the most
complex version of this genre, because "there is another
metric level below the tripleness"'" (e.g., a sixteenth-note

texture in | or 'i meter, both of which contain triples at

the eighth-note level), but the tripled level is the pulse

level (and thus the dotted quarter note would receive the
beat in the above examples)." The giga II is lively, though
it sounds more moderate than the giga I. It contains some
ornamentation, features articulative variety through the use
of slurs in the sixteenth notes, and tends to have long,
irregular phrases. It, like the giga I, frequently contains
quasi-fugal textures. The dotted figure which is common in

" Ibid., 168.

=' Ibid., 164.
" Ibid., 168.
99
the French gigue is not found in giga II." Before Bach, most
examples of giga II were by French composersdespite the
Italianate title (see Examples 5.11 and 5,12)."
Examples of the giga II by Bach are found in the A-
major and E-minor English Suites, in the B-minor, E-flat-
major, and E-major French Suites, and in the G-major
Partita." Little and Jenne, in their partial listing of
untitled dance pieces by Bach, have identified the D-minor
Invention as a giga II (see Appendix A ) . " One notices an
affinity between the style of this Invention and that of the
gique from the E-minor English Suite (see Example 5.13). It
is also possible, after consulting the foregoing description
of the giga II and looking at other examples of this genre by
Bach, to identify the A-major Invention as a giga II. This
movement contains several similarities to the gique from the
A-major English Suite (see Example 5.14).
Loure, Forlana, Polonaise and Passacaglia. These genres
are not found in the Inventions.
Other Genres. Not all of the inventions fit neatly into
one of the above categories: some are simply preludes or
fughetta-like movements. Others contain a limited number of
elements from a particular genre, the identification of which
may be helpful in making tempo and and articulative choices,
although perhaps the principles discussed in other sections
of this study would do this more effectively.

" Ibid.
" Ibid., 164. Couperin's La Milordine from the Premier Ordre is
an example of a French Giga II.
'' Ibid., 169-174.
" Ibid., 220.
100
Example 5.11: Typical rhythmic patterns for Giga II,

^--rr-rr f T r-'i^rrr r

fr ^ - ^ - r - r r-r r i f p
Little, Jenne, 165.

101
Dan'S^Rhnhm.^ '^^^^^^^ ^ ^ ^ "Alternate Model for the Giga XI

102
Example 5.13: Gique from the E-minor French Suite.

Gique.

Bach Gesellschaft Edition, 1853, 1863

103
Example 5 . 1 4 : Gique from t h e A-major E n g l i s h S u i t e .

Gique.

1 cii-^ .A*
.>41* f # ^^-r tt<i "f'f"^
^ ^ ^ ^ = ^ : ^ t ^ , c ^ ^ jg ^LJLC-^-.
t' B
M-

1 1 rH-#~^ '**' ^* A V

9^. ->
^~
tf

* ^ AV

-^y
.^^^^01^91 /w
*^' itriff f*^^yr 1
I JI^J ^^I
L * *

Bach Gesellschaft Edition, 1853, 1863.

104
 CHAPTER VI
DYNAMICS AND ORNAMENTS

Introduction
The grouping of these two topics might initially seem
unusual. However, the practical function of any ornament in
this repertoire is the creation of a brief emphasis, a
gradual crescendo, or a "sigh" decrescendo. Ornaments are
valuable tools for the creation of dynamic nuances,
especially on the harpsichord or organ. The mechanics of
performing ornaments will not be discussed here since the
keyboard player can turn to any number of readily available
modern guides to ornamentation, including many modern Urtext
editions of the music. Thus there is no necessity for a
detailed, separate section to deal with ornaments in this
study.

Dynamics and Ornaments

This section will show that the evidence regarding
Baroque practices in reference to dynamic variety suggests
that forte was the normal dynamic and that variety was
"architecturally" built into the music on a small scale by
composers or added by performers. In other words, composers
indicated or implied the use of string-like phrasing;' they
included ornaments and other variations in rapidity (see
Example 6.1, the Allemande from the F-Major English Suite);
they increased or decreased the number of notes which were

' Increased pressure at the beginning of a slur, with a decrease

in pressure at the release.
105
Example 6 . 1 : Allemande from t h e F-maior English S u i t e ,

Allemande.

Bach Gesellschaft Edition, 1853, 1863,

106
p r e s e n t v e r t i c a l l y for a t h i c k e r or t h i n n e r t e x t u r e (see
Example 6.2, the Prelude from the G-minor English S u i t e ) ; and
they used o v e r - l e g a t o (or, t o use Czerny's l a t e r term,
"prolonged t o u c h " ) , ' which i s c l o s e l y r e l a t e d t o the use of
broken, or r a p i d l y arpeggiated chords known as style brise or
style luthe. Written out examples of style brise can r e a d i l y
be found in the works of Rameau and Couperin' (see Example
6.3).
In r e f e r e n c e t o the concept of forte as the normal
dynamic, Robert Marshall comments t h a t
The unambiguous, i f t a c i t , assumption of a
f o r t e dynamic a t t h e beginning of such movements [in
r i t o r n e l l o form] i s p a r t i c u l a r l y s i g n i f i c a n t , for i t
s t r o n g l y suggests t h a t Bach regarded t h e simple forte
as the normal dynamic l e v e l p r e v a i l i n g in a
composition in the absence of any i n d i c a t i o n to the
contrary."
With r e s p e c t t o ensemble works, Bach's normal
p r a c t i c e a t l e a s t in the case of movements in
r i t o r n e l l o form ( a r i a s , choruses, concerto
movements)was, as i s well known, t o have the t u t t i
ensemble play f o r t e during the r i t o r n e l l o s and piano
during the solo s e c t i o n s . . . . The unambiguous, i f
t a c i t , assumption of a f o r t e dynamic a t the opening
of such movements [in r i t o r n e l l o form] i s
p a r t i c u l a r l y s i g n i f i c a n t , for i t strongly suggests
t h a t Bach regarded the simple f o r t e as the normal
dynamic l e v e l p r e v a i l i n g in a composition in the
absence of any i n d i c a t i o n t o the c o n t r a r y . '

^ One of t h e most well-known Baroque examples of o v e r - l e g a t o i s

Couperin's rondeau Les Baricades Misterieuses from h i s s i x t h Ordre.
' Couperin's Allemande e n t i t l e d L'Augusta from the F i r s t Ordre
c o n t a i n s w r i t t e n - o u t examples of t h i s p r a c t i c e a t t h e two main
cadences, as do t h e Allemandes and t h e Courante from Rameau's Premier
Livre de Pieces de Clavecin.
" Marshall, 260.
' Ibid.
107
Example 6 . 2 : Prelude from the G-minor English S u i t e .

Prelude.

"J ^ ti^^~
^ ^ ,
'flw p "^^1 * -- ^ '"y^
7 r'/ F-:
gf\\' ., j - B s a ^
tT ^^'JJJ*' '
\--ff-f-fi0f
trr/fr 1^1 r, , feMBf*"""', 1

Bach Gesellschaft Edition, 1853, 1863,

108
Example 6.3: Style brise in the final measures of Allemande I from
the Premier Liy^e de Pieces de Clavecin by Jean Philippe Rameau.

mmm^k^=L ti^^T^^^-^
T e^

^ ^

W
Paris: Heugel et Cie., 197i
^M' r

109
Butt concurs:
In statistical terms there are far more
'forte' marks in Bach's keyboard works than any other
dynamic indications.... Unmarked works should
normally also begin forte.'

It seems unlikely that effects such as change of

registration within a movement (which is the harpsichord's
manner of creating larger dynamic contrasts), would be
appropriate in brief pieces such as the Inventions. On the
other hand, each movement could employ a somewhat different
prevailing dynamic: a vigorous movement such as the F-major
Invention would almost certainly be somewhat louder in
general than the more tender F-minor Invention, and the rise
and fall of the melodic line demand the kinds of fluctuations
in dynamics that a good string player would apply. Yet when
thinking in terms of string-like phrasing it is important to
determine which style of string performance is referred to:
Badura-Skoda quotes Wilfried Bruchhauser as stating that when
taking string players as an example, one should realize that
Baroque performers were not in the "habit of playing longer

string notes so that they start as it were from nothing

[T]he note is there, or it is not. Gradually creeping into a
note and other hypertrophic sensitization processes first
appeared in the late Romantic period."'
Marshall states that considerable freedom in the use of

dynamics was exercised by the solo performer:

[Except in special circumstances, such as the

Italian Concerto] it is clear that Bach considered
the prescription of dynamics to be necessary only in
ensemble compositions; in solo works the choice

' Badura-Skoda, 139.

' Ibid., 135.
110
 almost invariably could be left entirely to the
discretion of the autonomous performer.'
Marshall cautions his readers that Bach tended to increase
volume beyond forte "architecturally" rather than through
dynamic markings:
...Bach chose... to call for more volume
(power, brilliance) only by... compositional or
orchestrational means rather than by the introduction
of dynamic markings (piu forte, ff, fortissimo),
something he was quite willing to do in the case of
the softer dynamic levels. The practical consequences
of this for anyone concerned about historically
authentic Bach performance seem fairly clear.'

The significance of the preceding information for the

Inventions can be summarized as follows: Forte is the normal
dynamic, especially at the beginning of a piece, but a solo
performer is expected to use personal judgment about what
constitutes the "best" dynamic for any given passage. Bach
often increased or decreased dynamic levels through
compositional procedures, but only called for additional
softness with dynamic marks in ensemble works. The
implication of this fact is that though no such markings
(e.g., "piu piano") are present in the Inventions, the
performer is reminded that attention to compositional
elements such as figuration, rhythm, harmonic content,
ornaments, and the direction of the line can serve as a guide
to dynamic variety, which is, however, within a much smaller
range than is typical for nineteenth-century music.
Some of the typical Baroque techniques for varying
dynamics can be more readily observed in Bach's Inventions
than others. The use of ornaments, which are liberally
' Marshall, 260.
' Ibid.
Ill
sprinkled throughout these pieces (especially in the 1723
version), is remarked upon by C.P.E. Bach as follows:
The keyboard lacks the power to sustain long
notes and to decrease or increase the volume of a
[single] tone or, to borrow an apt expression from
painting, to shade.... Our most usual sustaining
devices... [are] the trill and the mordent.'"

Examples of "shading" include the long trills in the D-minor,

E- minor, and G-major Inventions, which are certainly
opportunities for creating at least the impression of an
extended crescendo through increasing rapidity- On the other
hand, execution of short ornaments such as those found in the
E-Flat-Major Invention naturally creates a brief "sighing"
decrescendo. Small decrescendos are also indicated by slurs
in the D-major, F-minor, A-major, and B-minor Inventions,
with emphasis upon the first note followed by one or more
unaccented notes (see Appendix A ) .
Badura-Skoda comments upon the fact that long-held
notes on a stringed keyboard instrument automatically contain
a decrescendo, which may or may not be appropriate for a
specific passage.
Bass notes tied over several bars do in fact die away
to a pianissimo on stringed keyboard instruments.
However, striking a pedal-note once and then holding
it applies only to performances on the organ. On
other keyboard instruments the bass note must
normally be restruck after two or three bars. [C.P.E.
Bach states that] "the performer may break a long
tied note by restriking the key... but this must not
be done 'against the beat', as the expression
goes...." Quantz was even more adamant about
restriking tied notes, "for without the fundamental
note the dissonances are transformed into
consonances, destroying the desired effect.""

C.P.E. Bach, Essay, 149-50.

Badura-Skoda, 141.
112
 Badura-Skoda next proceeds to quote C.P.E. Bach in an
attempt to negate the use of long trills on pedal tones. A
careful reading of Bach's Es^ay reveals that in this passage,
Bach was writing about particular legato melodic passages
(rather than pedal tones) in which the expressive character
of the melody is destroyed by over-burdening the texture with
ornamentation." This is a far cry from the use of a long
trill on a pedal tone in a vigorous movement, something which
J.S. Bach explicitly marks several times in the autographs of
the Inventions. The question remains, however, whether trills
are appropriate for the "treble pedal tones" in the D-major
Invention, mm.25-31 and also the bass tone in mm.28-29, where
they are not explicitly marked. In the opinion of this
writer, this is a place where the sustaining capabilities of
the instrument which is selected, along with the tempo that
is taken, may help to determine whether trills are desirable.
On a piano, the trills most likely are not needed, but on a
harpsichord their use may add vigor to this passage, which is
placed in the most harmonically restless section of the
Invention.
Longer and shorter note values alternate in the
Inventions in order to create a small measure of dynamic
variety, since a series of sixteenth notes will sound louder
than a series of quarter notes in the same tempo when played
on the harpsichord or organ. Perhaps the most striking
examples of this effect are found in the E-major and B-flat-
Major Inventions (which are quite different from one another
in terms of affect), where an intensification in rhythmic

" C.P.E. Bach, Essay, 106.

113
rapidity through increased use of thirty-second notes creates
the effect of a crescendo. The return to a texture composed
primarily of eighth or sixteenth notes after the greater
activity of the preceding passage sounds as if a decrescendo
has occurred. Since these are small changes, perhaps it would
be helpful to think of them not as crescendos or decrescendos
but as intensifications or relaxations of volume.
At first glance it would seem that dynamic variation
achieved through the addition of notes into the texture
vertically would not be a factor in the Inventions, since
(with the exception of the final chords of the C-major and F-
major Inventions) they are written in a strict two-voice
texture. Upon reflection, however, it can be observed that
six of the Inventions have subjects which are initially
unaccompanied, and of these six, four contain substantial
rests for one voice in the midst of the piece while the other
voice restates the subject. In addition, the bass staff of
the two opening measures of the B-minor Invention contains a
nearly gratuitous quasi-pizzicato accompaniment which is
never reused as a countersubject. This can be thought of as
an instance where Bach chose to thicken the texture to
increase dynamic and rhythmic intensity. Thus this effect,
while not pervasive, can be said to cause variation in
dynamics in at least eleven (and perhaps more) places in the
fifteen Inventions.
The style brise proper is not encountered frequently in
these pieces, though it is certainly part of Bach's musical
language." In a few spots, however, such as the final

For example, the Toccata from the E minor Partita.

114
cadences of the C-major, E-major, and A-minor Inventions,
variations of this technique allow for a graceful release
from the tension of the material which came immediately
before it. In the E-major Invention especially, the aural
result is a decrescendo, due to the rapidity of the thirty-
second notes of the penultimate measure.
Prolonged touch, according to Sandra Rosenblum, is an
effect which occurs where notes are held
...for considerably longer than their written
values. Composers sometimes embedded a melodic strand
or motivic element among other notes in passage-work
or an accompaniment. If all (or most of) the notes
are written in similar rhythmic values, melodic
elements may be concealed in what looks to the eye
like a single line. Applying the prolonged touch, or
"overholding," to such melodic lines creates a second
dimension of sound that Illuminates the polyphony.
Such "hidden" two-part texture occurs frequently in
Baroque music, especially in that of Johann Sebastian
Bach. Two written-out examples that illustrate this
practice are mm. 17-18 of the Allemande of Bach's
Partita No.l ...and the opening four beats of
Francois Couperin's Rondeau Les Bergeries, which Anna
Magdalena Bach copied into her notebook [1725],
presumably as Bach would have written the passage.
Couperin's left hand part was carefully notated in
two lines... one quasi-melodic, and one harmonic
filler, which Anna Magdalena compressed into one
line.'" [emphasis added]

Butt describes prolonged touch and general instances where it

is used as follows: "A... function of slurs, relevant only to
keyboard music, is the sustaining of slurred notes until the
end of the slur (see Example 6.4).""
Prolonged touch in the music of Bach is a technique
which grew out of the style brise, since both were originally
based upon lute technique, in which notes are allowed to ring
for indefinite periods of time, with a resultant increase in
" Rosenblum, 155.
" Butt, 54.
115
Example 6.4: Two versions of the opening of Couperin's "Les Bergeries.

'Les Bergeries" as it appeared in Couperin's original edition:

r P P r p r
'Les Bergeries" as it appeared when copied into the
'Anna Magdalena Notebook":

i
-P-
^

w^^^^mi ^
^ - = ^
M. M-
I- ^ ^

Rosenblum, 155.

116
richness of sonority. This technique was described by J.P.
Rameau in his Premier Livre de Pieces de Clavecin (1724) in a
table of ornaments, including a musical example featuring the
port de volx (see Example 6.5)." Zehnder describes the source
of these techniques:
In the Baroque instrumental style, a form exists in
which a two- or three-part texture is hidden behind a
single melodic line. Such cases were frequently
performed in Germany with a suspension (holding over)
of the respective notes.... This form of notation was
known in France as the style luth6 or style brise and
was derived from models in the contemporary lute
repertoire. The duration of the plucked note (as is
also the case in the lute tablature notation) is not
fixed precisely: the note sounds until the finger
leaves the respective fret and the string is used for
another note. This style was frequently employed in
France as a method of harpsichord playing.... This
holding over of notes is often written out in full,
but when so written gives the music a very complex
appearance.... There is, therefore, every reason to
believe that the single-line notational system was
preferred for ease of reading and that the
interpretation, with or without the over-legato, was
left up to the performer."

The reader will observe that Zehnder does not distinguish

between rapidly arpeggiated figures, the notes of which are
sustained (for which the present study has adopted the term
style brise) and over-legato (or prolonged touch), and of
course he is correct in observing that they spring from the
same source: the indeterminate note endings of Baroque lute
performance. For purposes of the present study, however, the
two practices will be differentiated by the use of two
discrete terms, since the former technique results primarily
in a thickening of sonority, while the latter produces a
perceived melodic addition to the polyphony.
" Rameau, 14.
" Zehnder, Part I, 29.(See also Rosenblum, 155.)
117
Example 6.5: Excerpt from Pieces de Clavecin (1724) by Rameau

The "port de voix": As performed according to Rameau:

P^ f ^
1

118
 Obviously, questions of tempo, articulation, and affect,
in addition to textural considerations, will have an impact
upon whether or not to use this technique. Pieces in fast
tempos or dance genres and in the "lighter" meters would be
less likely to use prolonged touch persistently, since
prolonged touch is in what Baroque musicians would term the
"emphatic" category. Zehnder, remarking upon Rameau's port de
voix says that it "creates an excellent effect with the
diminishing quality of harpsichord tone (the sound of the
held note covers as if it were the attack of the new note, so
that the second appears to be quieter)."" This fits quite
well with what C.P.E. Bach has to say about the tenderness of
adagios being "best expressed by broad, slurred notes,"
though not with what he says about the detached nature of
leaps, since many passages which could employ prolonged touch
(for more than two notes, at any rate) predominantly involve
leaps. It is likely that even the leaps in "tender" tempos
are more likely to be slurred, but the predominance of light
meters and lively tempos in the Inventions is one indication
that prolonged touch should be used somewhat sparingly in
this repertoire. The two primary criteria for the use of
prolonged touch are that the polyphonic nature of the passage
is elucidated and that the material so enhanced is important
enough to warrant the greater emphasis which the use of this
technique creates.
A possible use of prolonged touch in a lively piece
occurs in the F-major Invention, treble staff, mm.24-25 (see
Example 6.6). In this instance, what appears to be a string

Zehnder, Part I, 28.

119
T^^;Al^ f^l:^- - - toue.

120
of even eighth notes can be heard as a two-voice texture when
the first note of each measure is 'over-held' until the last
note of the measure is reached. Prolonged touch in this
passage allows the large-scale stepwise descending treble
line of mm.21-25 to be clearly heard. On the other hand, a
similar passage for the left hand, mm.21-23 of the F-major
Invention, would not be a such a good candidate for prolonged
touch, since "overholding" the first note of each measure
until the last note is reached produces no coherent
additional melodic line.

Perhaps these remarks on dynamic variety initially seem

applicable only to the earlier keyboard instruments, whose
capabilities for dynamic contrast were quite limited in
comparison to the piano. On the other hand, if a pianist
takes this information and applies it to this repertoire,
there is the distinct possibility that the effect, as a
result of the piano's enhanced dynamic capabilities, may be
comparable to the side-by-side perusal of a black and white
picture next to a color picture of the same subject: The
colorized version can potentially remain true to the outlines
of the black-and-white version, while simultaneously giving
the viewer an enhanced appreciation for subtle qualities of
the subject which may not be visible in the black-and-white
version.

121
 CHAPTER VII
EXPRESSIVE RESOURCES OF THE VARIOUS
KEYBOARD INSTRUMENTS

Introduction
To an extent, the expressive resources of the keyboard
instruments of Bach's day have been elucidated by the
preceding material, but perhaps some additional remarks are
appropriate. A question which frequently arises in reference
to the keyboard music of J. s. Bach is "Is there a 'best'
instrument for the performance of this repertoire?" In
response to this question, David Schulenberg writes
The sources for the keyboard music rarely give an
explicit indication of instrument, more often using
ambiguous terms such as Clavier or manualiter. Even
though Bach must have realized that certain pieces
would suit one instrument better than another, he
evidently accepted the custom of composing in a
manner that made most music readily transferable from
one keyboard to another.... Nevertheless, Bach's
suites... were certainly meant for harpsichord of one
sort or another.... All this merely proves that the
harpsichord is a suitable medium for the keyboard
pieces not necessarily [always] the optimal or the
intended one.'

This would indicate that while the harpsichord is perhaps the

most likely instrument for the performance of Bach's keyboard
music (other than pieces specifically designated for the
organ), nothing hinders this repertoire from being played
upon the modern piano. Schulenberg also notes some general
characteristics of eighteenth-century keyboard instruments,
contrasting them with modern instruments:
The keyboard instruments dating from Bach's time are
not standardized.... [Yet each shares] certain
' Schulenberg, 11-12.
122
 characteristics that distinguish them from their
"modern" counterparts. Besides their limited dynamic
capabilities and the absence of anything resembling a
damper pedal... [they are] characterized by the
distinct timbres of the different registers of the
keyboard. When properly regulated they possess light
but very efficient actions, and this together with
the well-defined attack and release on each note,
gives the practiced player precise control over
articulation and ornaments, in addition, individual
tones on the older stringed keyboard instruments seem
to take a bit longer to achieve full resonance than
on the modern piano, but they fade much more quickly,
a fact having important implications for tempo, among
other things. Most notes also seem richer in upper
overtones than on modern instruments, so that attacks
are clearer and inner voices can be heard even
through a complex contrapuntal texture.'

Since this information makes it obvious that performance

technique will be affected by instrument choice, it seems
appropriate to consider the differences between the various
instruments in somewhat more detail.

The Clavichord
The clavichord was Bach's favored instrument for
private practice and performance, as shown by this quotation
from the biography of Bach by J.N. Forkel:
[Bach] liked best to play upon the clavichord; the
harpsichord, though certainly susceptible of a very
great variety of expression, had not soul enough for
him.... He therefore considered the clavichord as the
best instrument for study, and in general, for
private musical entertainment.'
Marshall interprets Forkel's remarks, stating

...that Bach 'considered the clavichord as the best

instrument for study, and, in general, for private
musical expression [emphasis added by Marshall].' The
tacit implication of this remark is, at the least,
that Bach did not regard the clavichord as the 'best
Ibid., 10.
David, Mendel, and Wolff, 436.
123
 instrument' for his more ambitious keyboard
compositions, indeed, Johann Gottfried Walther, in
the entry 'clavicordo' in his Musikalisches Lexikon
(p.169) notes that the instrument "is, so to speak,
for all players the first grammar, that is, a
'primer'in effect, a practice instrument..." "

The clavichord has a very small tone which is not suitable

for performance in a large room, or for accompaniment of any
sort. On the other hand, within its limited capacity it can
produce quite sophisticated dynamic changes, subtle
articulative effects, and can produce vibrato at will. The
treble, middle, and bass registers of the clavichord (and
harpsichord) each have their own distinct timbre. The
clavichord has a very clear sound, but one who plays it must
take care to place the fingers near the ends of the keys, or
the resultant tone will "snarl." The amount of pressure
needed to make the notes sound, however, is slight in
comparison with every other keyboard instrument. It was
therefore desirable for young keyboard players in Bach's day
to build the strength in their fingers by spending some time
playing the harpsichord, which required more pressure, before
playing in public. Many clavichords were fitted with
pedalboards since organs, the premier public keyboard
instruments of the era, were not generally available for
practice purposes.' Most clavichords built before the mid-
eighteenth century were "fretted":' that is, most pairs of
strings served at least two adjacent notes. The clavichord is
the smallest, most expressive, and least costly of all early
keyboard instruments, and was therefore the favored
" Marshall, 282.
' Zehnder, Part II, 43.
' Ibid., 43.
124
instrument for the training of young musicians in Bach's
Germany.'

Several points can be inferred from this information

about the clavichord: First, the articulative and metric
practices typical of keyboard music in the seventeenth and
eighteenth centuries were not developed merely due to a lack
of sensitivity on the part of keyboard players or their
instruments. The clavichord, their "primer" in the study of
music, is a very expressive instrument, and it is not likely
that any sensitive keyboard player, when equipped with a
suitable instrument, would neglect to explore the potential
of that instrument in imitation of the voice or of string and
wind instruments. Second, an instrument which requires a
light yet firm touch on the ends of the keys is most
compatible with a relaxed, curved, quiet hand position. Any
other position tends to cause an uncontrolled and strident
noise, as the present writer knows from personal experience.
Third, on a fretted instrument (supposing that a particular
amount of chromatic passagework is required by the musical
text), it is necessary to articulate cleanly so that the
proper notes sound at the right time, without unintended
dissonances and jangles. Fourth, one who had studied the
clavichord for any length of time would naturally try to find
ways to play expressively on the harpsichord or organ, by
whatever means necessary-

' C.P.E. Bach, Essay, 36ff.

Marshall, 282.
125
 The Harpsichor_d
The harpsichord has much more power than the
clavichord, its tone features more brightness and clarity
than the piano, and it is capable of very carefully
controlled articulative effects. Harpsichords often have two
keyboards with several sets of strings, so that the performer
can change registration and thus vary the tone and volume,
but unfortunately the harpsichord is incapable of producing
the dynamic gradations which the clavichord, piano, and even
the organ (through use of the Venetian swell) can produce.
Yet this does not mean that the harpsichordist can afford to
neglect good tone production, since, as Eta Harich-Schneider
states
[N]othing can sound as ugly, thin, and inadequate as
a harpsichord played with bad touch.... In none of
the sources from the sixteenth to the eighteenth
century is there the slightest support for the view
that flat, uniform harpsichord playing with no
dynamic curves and no cantabile was felt to be the
particular charm of the instrument. On the contrary,
we find a unanimous acknowledgement of a certain,
albeit weak, capacity for modification, the
meagreness of which lends a certain fascination to
the task of 'infusing with soul' (as the early
masters call it) this inflexible instrument. The
treatises repeatedly state that one should improve
one's technique and ear by practising the clavichord,
in order to make the harpsichord sing as much as
possible, and not to play in a monochrome manner.'

The Piano
The modern piano combines much of the expressivity of
the clavichord with some of the brilliance of the
harpsichord, and is certainly capable of more power than
either, but the much heavier action, deeper keydip, and less

Quoted in Badura-Skoda, 185.

126
tightly focused timbre of the piano tend to cause the
articulative details of Baroque repertoire, which should
provide interest and variety, to be obscured in a web of
continuous sound. Thus, it can be observed that each of these
keyboard instruments involves a certain amount of compromise
for the performance of this literature (yet each has its
advantage, as well), and this is why a firm grasp of Baroque
stylistic parameters can be valuable to the keyboard player,
regardless of which medium is chosen.
Some mention of the modifications which performance of
this repertoire upon the piano necessitates may be useful at
this point:
On the harpsichord the speed at which a key is
depressed makes little or no difference to the
intensity of a note, whereas on the fortepiano it is
the variable speed at which the key is struck, and
nothing else, that makes possible the many gradations
in volume.... Because of the extremely light hammers
employed, this increase does not play a significant
role on eighteenth century fortepianos. On modern
pianos, however, it can amount to several
kilograms.... It is easy to understand that fingers
and wrists alone were no longer strong enough to
surmount resistance of this magnitude, and that in
the course of the nineteenth century a 'weight'
technique was developed which requires the performer
to play from the arm and even from the shoulders. The
modern weight technique is totally foreign to the
eighteenth century. When applied to harpsichords or
fortepianos it produces an unwelcome knocking sound
and an appalling tone.'

Harich-Schneider quotes Rameau to show that harpsichord

technique demands primarily motion of the fingers, as
follows:
First you need a soft (or softly quilled) instrument,
so that its resistance does not force the fingers
(which are still weak in their movements) to derive
" Badura-Skoda, 178.
127
 their strength from the whole hand. As the freedom of
movement increases, so does the acquired strength,
and correspondingly one can increase the resistance
of the keys by using harder quills to pluck the
strings."

Naturally, on the modern piano some use of the arms (and

possibly the shoulders) may be necessary regardless of the
repertoire, since injuries can be the result of tackling
complex textures when inadequate weight is brought to bear
upon the relatively stiff action of this instrument.
Even though it is useful to focus upon curved, active
fingers when playing the music of Bach and other Baroque
composers, some use of the arm in the facilitation of
articulative details and ornaments is still desirable, since
some aspects of this repertoire work less easily on the piano
than on the other stringed keyboard instruments. Schulenberg,
a harpsichordist, comments on the performance of this music
at the piano:
In this writer's judgment a good harpsichord or
other eighteenth century type of instrument will
always be preferable [for the performance of Bach],
other things being equal. But Bach's music will
continue to be played on the piano, and pianists will
continue to make contributions to its interpretation.
In principle the piano can do everything the
harpsichord (and clavichord) can do. Yet ornaments
that can be played crisply and with little effort on
a properly regulated harpsichord seem heavier and
require stronger fingers on the piano. Chords...
practically voice themselves on "original"
instruments, while pianists must carefully weigh
every note.
The greatest problems in playing Bach on the
piano, however, are probably not those arising from
the instrument per se, but from inappropriate habits
and mental conditioning carried over from other
repertories for example the horror vacui inculcated
in many players at an early age through the
insistence on legato pedaling in nineteenth and

' Ibid.
128
 twentieth century music. Such pedaling, and the
concomitant disregard of slurs in eighteenth century
music... discourages the pianist from using the
finely honed silences that are one of the
harpsichord's most valuable resources [L]egato
pedaling like the continuous vibrato of modern
string players is an innovation of the mid- or late
nineteenth century, and its appropriateness in
Mozart, Beethoven and even Chopin is open to
question, let alone in Bach. An articulate, unpedaled
approach to the modern piano need not be dry or
percussive, but it does require placing a certain
amount of weight on each note and paying the same
attention to each attack and each release as a good
organist or harpsichordist does.
Doing so makes good musical sense; it is not
simply to imitate the older, non-dynamic instruments.
Indeed, pianists certainly ought to use dynamic
accents on appoggiaturas and suspensions, and there
is no reason not to increase and decrease volume to
reflect the rise and fall of melodic lines."

Badura-Skoda, taking a more appreciative view of the

pianist's potential contribution to Bach performance,
remarks:
No matter which keyboard instrument we choose,
we must try to draw from it (or 'bring out') the
best, most beautiful, and indeed most magical sound
that we can. In this regard there is widespread
misunderstanding about playing Bach on the modern
piano, for many pianists attempt to 'play the
harpsichord', or at least to imitate the sound of the
latter. (This is understandable, for every musician
is aware that the rounded romantic piano sound
produced by a plenteous use of the pedal was unknown
to Bach.) However, this often leads to musically
unsatisfactory and indeed quite ugly results.... If
we are going to play Bach on the piano we must try to
bring out the positive qualities of this instrument
and produce a beautiful tone. And then the
intelligent application of the pedal also contributes
to beautiful piano playing.... Of course, the pedal
must be used sparingly and released frequently in
order not to endanger the clarity of the musical
lines.
Another way of imitating the harpsichord on the
piano, often intentional and usually unsuccessful, is
to play aggressively and far too loud.... The
rediscovery of authentic instruments and performance
Schulenberg, 12-13.
129
 styles has taught us that eighteenth century
performances were brighter, more lively, and clearer
than modern ones, and also a great deal quieter
It is perfectly possible to play quietly and yet
clearly and brightly on modern instruments."
Though Schulenberg and Badura-Skoda are not in
agreement regarding the use of the damper pedal in the
keyboard music of Bach (Schulenberg thinks it should be
avoided entirely, while Badura-Skoda thinks that it can
enhance the intended effect of this repertoire), in some
respects their views complement each other: clarity of
individual voices and of articulative groupings must not be
obscured, a singing tone quality is essential, and the more
limited palette of dynamics and sonorities which were usual
in Baroque performance must be respected, regardless of which
instrument is played. It seems clear, too, that the
performance of this music at the piano is a more complicated
task than playing it upon the harpsichord or clavichord,
since one generally has to overcome pianistic habits which
are counter-productive to an idiomatic interpretation of the
repertoire. Robert Donington provides a useful way to think
about the performance of this repertoire:
There are two basic characteristics of baroque sound
which, under whatever conditions of performance, it
is necessary to achieve: a transparent sonority, and
an incisive articulation.... By transparent sonority
I mean a tone which lets the details through
distinctly and does not fuse them into an atmospheric
impression.... By incisive articulation I mean using
crisp accents and sharp attacks rather than explosive
accents or massive attacks."
[emphasis added]

" Badura-Skoda, 184.

^" Donington, 167.
130
These two characteristics serve to sum up the bulk of both
Schulenberg's and Badura-Skoda's discourse upon this subject.
Though the foregoing might seem to mitigate against the
study of this body of work by students, it is profitable to
remember that the caliber of Bach's music is such that the
difficulties which are encountered are well worth the trouble
one must take in order to "translate" it for performance at
the piano. In addition, versatility and sensitivity are good
rewards for making the attempt to interpret music which in
some ways represents a different aesthetic than the one which
modern musicians have inherited. Most importantly, a good
performance of Bach's keyboard music requires simply paying
attention to some factors (e.g., the profusion of tiny
articulative groupings) which may be downplayed in the piano
music of the nineteenth century.

131
 CHAPTER VIII
RAMIFICATIONS OF THIS STUDY
FOR PERFORMANCE PRACTICE

A Review of the Information

Several guidelines for the interpretation of Bach's
Inventions can be extracted from the material presented in
the previous chapters of this study. The various meters with
their characteristic patterns of strong and weak beats are
the first place to look for clues to performance of this
repertoire (see Example 3.1). Performers and composers in the
early eighteenth century expected the conventional patterns
of accentuation to be followed unless an indication to the
contrary occurred within the text of the music. Furthermore,
characteristics of genres such as the movements of the
Baroque dance suite can also serve as guides for the
contemporary performer who wishes to achieve a stylistically
informed performance of these pieces (see Chapter V ) . A
keyboard player who understands that a particular Invention
is written in the style of a miniature passepied or gigue can
apply known phrasing and other elements of those genres to
the Invention he or she is studying. In this way, the
relatively bare pages of music from this era have the
potential to be expressive in a way which reflects at least
some of their original ambience.
Other conventions which impact the interpretation of
this repertoire are well known, and these are even more
specific than the factors which involve meter and genre.
Paramount among these considerations is the fact that phrases
132
stay within the barline (and/or do not go longer than one
beat) unless one of the following exceptions occurs. First, a
slur or tie may be marked by the composer which crosses a
beat or barline. when a recurring motive is once marked in
this way one can generally assume that it should be phrased
the same way each time it appears (see Appendix A, the F-
minor Invention, m.3, left hand). In fact, whenever one
establishes a particular articulation for a figure in this
repertoire it is usual to apply the same articulation to
subsequent repetitions of the figure. Second, an important
interior cadence or a final cadence will typically impact the
phrasing of a passage, since a cadence contains a moment of
tension followed by a moment of release. It is most effective
to accentuate the moment of tension and to lighten the
moment of release. For example, when encountering an
important interior cadence one could slur (emphasize) the
notes contained in the chord of tension and then detach the
notes of the resolution. This tension and release is usually
accompanied by a slight momentary relaxation of the tempo.
Third, ornaments will also impact phrasing. Ornaments are
accented parts of the fabric of the music which form the
beginning of a slur unless marked to the contrary. A trill
which begins on beat two of a piece which is written in
common-time will indicate an accent and the start of a
slurred group at a weak point in the measure in which it
occurs (see Appendix A, the E-flat Invention, m.3, right
hand). Fourth, hemiola and cross-rhythms are sometimes
encountered in this repertoire, and they too require an
adjustment in the grouping together of notes (See Appendix A,
133
the D-minor Invention, mm.11-13, right hand). Finally, in a
piece where other factors indicate that the tempo should be
in one beat per measure, slurs may cover the entire measure
(see Appendix A, the D-major Invention), but will probably be
varied to a greater or lesser extent, depending on the
material.
It is the nature of slurs to begin with pressure or
accentuation and to conclude with a release on the last note.
Slurswith some exceptionsrepresent an emphasis of the
musical material which they cover. In eighteenth-century
terms, slurred notes are "heavy" while detached notes are
"light." Slurs cause the player to take time for emphasis
while detached notes lighten the texture and push the music
forward. Obviously, detached notes in this repertoire are not
the same as the heavily accented staccatos which are
encountered so frequently in later eras.' Detaching a series
of notes typically indicates that the material receives a
lesser emphasis, but is also more lively than a series of
legato notes would be. Thus, a melodic figure is more likely
to be slurred, while an accompanying figure is more likely to
be detached. Since the top line of a piece of music is most
likely to be heard as the most important, one can deduce that
the right-hand part of the Inventions is somewhat more likely
to contain slurred passages than the left-hand part. A slower
movement is more likely to be slurred, since it is less
lively, while a fast movement is likely to contain more
detached figures. Slurs in an extremely fast movement such as
a corrente must be simple enough so that they don't cause the
' Hence, the use of the confusing term "semi-detached" for this
mode of articulation.
134
tempo to drag. On the other hand, in more moderate tempos
short slurs will cause the music to sound more lively than
will long slurs. Stepwise melodic motion often receives a
slur, while arpeggiations and intervals larger than a third
are frequently detached, depending upon the context.
Eighteenth-century members of Bach's circle such as Quantz
and Kirnberger wrote treatises which give solid guidelines
for common articulative and accentual patterns in this
repertoire. These are augmented by modern scholarship,
including, among others, Butt's study of Bach's articulative
practices, and Little and Jenne's study of tempo, rhythm,
accentuation, and phrasing for the various dance genres.
Metrical pattern, genre, and characteristic eighteenth-
century approaches to articulation are the framework within
which a fingering system must be implemented. One must be
mindful of several conventions of Baroque fingering, and also
bear in mind the fact that fingering practices were changing
during the 1720s when the Inventions were written (see
Chapter IV). In fact. Bach was at least partially responsible
for some novel fingering practices which have remained a
standard part of keyboard technique to this day. The most
basic principle for fingering the Inventions is the Baroque
concept of strong fingers on strong parts of the measure or
at the beginning of a slur. The short slurs which are common
in the music of the era promote this principle, which is
generally followed even though it causes the performer's hand
to execute minute hops as it moves up or down the keyboard
(e.g., right hand 3434 ascending stepwise, or 3232
descending: See Appendix A ) , and even though one must play
135
the same finger twice in a row with some frequency. The thumb
is not used on black keys unless doing so is the best way to
execute the phrasing which one has established. The technique
of turning the thumb underthe cardinal principle of modern
fingeringis used when it will cause longer phrases to be
performed effectively and when using the technique will not
force weaker fingers into repeatedly playing at strong points
in the metrical scheme. Because this fingering system
reinforces the articulative customs of the era it is a very
valuable tool for one who wishes to recapture the spirit in
which this music was originally conceived. The fingering
principles stated above are flexible enough to accommodate
more than one approach to the performance of this repertoire.
The meter, tempo, and rhythmic content of a movement
along with any explicit markings added to the music by the
composer--indicate which articulative patterns are
appropriate. These articulative patterns in turn, when
combined with the known fingering practices of Bach's circle,
give the performer a great deal of information regarding
which fingering to use in specific circumstances. This
process can become nearly instinctive for one who applies
these parameters on a regular basis.
Tempos in the Inventions are determined by the known
characteristics of the meter, pertinent genres, musical
content, and articulative choices. A tempo which is too fast
will cause both performer and listener to be unable to enjoy
the articulative details which are an integral part of this
repertoire. A tempo which is too slow may cause the beat to
be subdivided, thereby losing the proportions which are
136
proper to the meter. Bach is said to have preferred lively
tempos, but liveliness in performance should not be at the
expense of expressive details, as was the case in the
breakneck tempos indicated in nineteenth-century editions of
the Inventions. At extremely fast speeds the only
articulative possibility for sixteenth notes is a seamless
legato and detached eighth-notes are likely to be accented
sharp staccatos. In the Inventions, when thirty-second notes
in lively tempos are encountered, they are slurred together,
but this is typically because they function together as a
figural element (e.g., a trill, or an arpeggiation), not as
independent notes.
Dynamic choices will vary for the Inventions, depending
upon the instrument one chooses to perform upon. Whichever
instrument is chosen, however, several criteria can guide the
performer to good dynamic choices: first, the tempo of the
piecelight and lively, slow and heavy, or moderate; second,
the articulation of a specific passage, whether slurred or
detached; third, the speed, texture, and sheer number of
notes which sound at the same time; fourth, ornaments
especially long trillswhich naturally cause a crescendo;
and fifth, cadences or other structural points such as
sequences which require a crescendo or diminuendo. It hardly
needs to be said that playing with a round, full tone will
always be preferable to an ethereal approach to sound
production at the keyboard for this repertoire, especially
when one remembers Marshall's deduction that forte is the
normal dynamic for the music of Bach.

137
 Specific Application of the Collected
Evidence to the Inventions
The order followed here is that of the 172 3 autograph,
since that is the format which is most familiar to modern
keyboard players.
Invention No.l in C major. This familiar piece in
common time presents a couple of interpretive challenges:
first, what is the proper tempo; and second, how should the

principal motive be articulated? 4 is a lively meter unless

otherwise marked, according to Kirnberger. According to

Laurette Goldberg, C major is "Somewhat coarse and impudent,
but not unsuitable to rejoicing.... a clever composer can
rechristen it to something quite charming...."' Two possible
models present themselves for this meter and this piece: the
allemande and the Baroque concerto allegro.
Rameau's allemande (see Example 8.1) is characteristic
of the genre and contains some rhythmic and figurative
similarities to the C-Major Invention. Modern performances of
this allemande are typically taken at around 60-66 to the
quarter-note. When the Invention is played at this tempo the
sequential passages do not sound at all "lively."
The prelude from Bach's fourth English Suite is a
concerto allegro for solo keyboard, containing alternating
ritornello and solo passages in a predominantly two-part
texture (see Example 8.2). There are some rhythmic and
figurative similarities to the C-Major Invention. The
prelude sounds vigorous without being rushed at around 100 to
the quarter-note. The Invention can certainly be performed at

Goldberg, 91.
138
Example 8.1: Allemande from Nouvelles Suites de Pigce.q de
Clavecin by J.P. Rameau. '~

^
^m T
^
^ ^ ^

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s
. - ^
^

iw s^^ ^^^^S ^m
n SL^Bi
w M ^ ^ ^ i W'^

'^\ fr ^
Paris: Heugel et Cie., 197!

139
Example 8.2: Prelude from the F-major English Suite.

i^^^^S^^
I'reludc

Bach Gesellschaft Edition, 1853, 1863,

140
this pace, depending upon which articulation is chosen. When
thought of as a miniature concerto grosso, the Invention can
be divided into an opening "ritornello" (m.l through the
downbeat of m.7) followed by a "solo" section (mm.7-12), a
second "ritornello" in the relative minor (m.l3 to the
downbeat of m.l5), a second "solo"(mm.15-18) which leads back
to tonic and the closing "ritornello." The implications for
dynamic choices in this Invention should be clear from the
foregoing description.

The principle of the detached upbeat is the first clue

to the proper articulation of the main motive of the C-Major
Invention. The three rising sixteenth-notes which begin the
motive do not cross a barline, but since they begin after a
beat they naturally pull toward the next beat and are less
likely to receive a stress than the material which occurs on
the beat. It makes sense to detach them so that they move
lightly to the next beat. Following these three notes are
four sixteenth-notes in pairs of falling thirds. It is
typical to slur falling thirds in two-note pairs depending
upon the tempo and context. In this case, we have a second
clue: a copy of the C-Major Invention exists in which a third
note has been inserted between each falling third figure,
creating falling triplet pairs (see Example 8.3). It would be
nearly impossible to execute these falling triplet figures
without slurring them in groups of three. Furthermore, they
would be difficult to execute cleanly at a tempo much faster
than 84 to the quarter-note. At this tempo the piece as a
whole sounds vigorous, but it is still possible to execute

two-note sixteeenth-note slurs comfortably.

141
Example 8.3: Triplet version of the C-major Invention.

* s

C: * ^ 1 * -4t -u . m lf"" "^

From the New Bach Edition, ed. by Georg Dadelsen. Kassel;

Barenreiter-Verlag, 1982.

142
 The counter-motive of the C-Major Invention (m.l, beats
3-4 of the right hand) is comprised of four eighth-notes
which divide into two pairs. The first pair occurs on beat
threea strong beatand receives a slur in order to give
emphasis to the beat. The second pair could be detached since
it is on a weak beat, or it could be slurred since it
consists of stepwise motion. The first two times the counter-
motive appears, the first note of the second pair receives a
trill. In the Appendix of the present study, when the
counter-motive includes the trill, the second pair of eighth-
notes is slurred, but when no slur is present the eighth-
notes are detached so that the fourth beat will not receive
undue emphasis, and the end of the measure will move lightly
toward the next downbeat. The phrasing described for the
motive and counter-motive of this Invention is
characteristic, in that it does not go against the normal
accentual pattern of the meter and the shape of the phrase
builds toward the accented eighth-note on beat three.
The cadences in measures six and fourteen are classic
examples of how the normal metrical pattern can be altered
when the occasion arises. In both cases a cadential six/four
pattern which includes a trill in the melody occurs on beat
four. The fourth beat is normally unaccented but in these two
situations it receives both harmonic and ornamental stress,
and therefore it is sensible to slur both the left-hand and
right-hand parts, and to detach the chord of resolutionat
least in measure fifteen, since there is only one note to the
resolution in measure five.

143
 The fingering for this Invention is quite
straightforward, with care taken to ensure that the "strong"
fingers are placed on the strong beats. There are only a few
instances of Baroque "hopping" (e.g., 12343 descending in the
left hand part of mm.12 and 13) and the thumbs rarely play a
black key (e.g., m.l4, right hand).
Invention No.2 in C minor. This Invention was number
fifteen in W.F. Bach's notebook of 1720. It is canonic for
most of its length, and this fact causes some challenges for
the performer, notably independence of articulation for each
hand and one spot (m.l3) where the parts collide with each
other to the extent that they must either be played on
separate manuals or else the left-hand trill must be omitted
and other notes must be cut short. This Invention is another
example of a lively piece in common time, but the seriousness
of the material coupled with details such as the recurring
ornamented "sigh" figure (e.g., m.3, beat 3, right hand) will
lead the performer to take a somewhat slower tempo than that
which has been adopted for the previous Invention. Goldberg
calls C minor "Exceedingly lovely but also sorrowful."'
The canonic nature of this movement causes it to be
quite different from other Inventions in terms of a primary
motive. Here the opening motive does recur a few times, but
it is more appropriate to speak in terms of a rather lengthy
subject and counter-subject. Because of this, the
identification of the articulative pattern to be used for the
opening figure, while still necessary, assumes less
importance than it does in other Inventions such as the

Goldberg, 92.
144
Invention in E-Flat Major. Some points regarding the
articulation of this piece are worth noting at this point,
however. The first two notes are detached so that they move
gracefully into beat two, where the first three sixteenth-
notes are slurred together but the fourthwhich leaps down
the interval of a sixthis detached. Detaching this last
note provides a contrast to beat three, which is slurred
together with the fourth beat. After the barline the next two
beats are also slurred together. This phrasing allows the
performer to begin lightly and increase the intensity of the
subject until it is dissipated by the trill and resolution
which occurs between the end of measure two and the beginning
of measure three. In the right-hand part of measure five it
is appropriate to slur the leap of a sixth which occurs at
the beginning of the measure since it happens on a strong
beat, and since one can then detach the sixteenth-notes which
occur after beat twothey are less importantand move
lightly to the longer slur which takes place on beats three
and four. In measure eight the two-note slur in beat two is
Bach's own, and it indicates that this usually unaccented
beat should receive a little extra stress whenever this
figure occurs in this Invention.
The canonic nature of this Invention also impacts the
treatment of cadences. In each of the main interior cadences
one part comes to some sort of conclusion while the other
continues on its way without interruption. For this reason it
has not seemed appropriate to break from the established
articulative patterns at cadential points. Nevertheless, the
performer would be well advised to give some extra emphasis
145
to these cadences and to allow the tempo to relax slightly in
order that the form of the piece may be made clearer to one
who listens.
In fingering a piece with this many flats it proved
impossible to simultaneously employ strong fingers on strong
beats while avoiding thumbsand fifth fingerson black keys
and following the established articulative patterns. As a
result, though the thumb is not placed upon a black key
unless doing so is the best option, this is in fact the case
quite frequently.
The dynamic makeup of this movement should be strong,
in keeping with the bold nature of the subject. Cadences,
ornaments, and rising sequences will generally be occasions
for dynamic intensification, while the resolution of cadences
and falling sequential material will indicate a lessening of
dynamic intensity.
Invention No.3 in D major. This Invention was
identified as a passepied in Chapter V of the present study.
To summarize the findings from that chapter, this piece is

lively, in I meter, has an initial upbeat entrance in the

motive, is mostly in four-bar phrases but contains some

rhythmic and accentual surprises. Goldberg identifies D major
as "penetrating and obstinate. Best suited to joyous,
warlike, enlivening material, but may be used on a delicate
subject for agreeable and unusual effect "" For purposes
of comparison, a titled passepied by Bach which bears some
resemblance to this movement can be found in the fifth
English Suite in E Minor (see Example 3.3). Of the tempo and
" Goldberg, 91.
146
articulation for the D-Major Invention, Butt indicates that
Virtually every bar of [the D major Invention]
receives a slur, implying one accent per bar (most
slurs are of indeterminate length). This defines the
piece as a one-beat 3/8 rather than three-beat. It
may be that Bach feared that the player might accent
the second [pulse] of the first bar since this is an
appoggiatura.'

Some editions of this movement include staccato dots at

measure five and analogous passages. These are not exceptions
to the normal accentual patterns, but rather "The staccato
dots in some editions of the D-major Invention are all
erroneous, stemming from a "chance ink-spot" in bar 5
according to Dadelsen...."'
The principle of the detached upbeat is observed at
the beginning of the movement and at other times in the piece
where the primary motive is stated. Groups of six running
sixteenth-notes are slurred together, in accordance with
Bach's markings throughout the score.
Following the advice of Little and Jenne the tempo for
this Invention has been given as 48-52 to the dotted-quarter
note. This allows the piece to be felt in one beat per
measure, and yet it helps the performer avoid the temptation
to divide the articulative patterns of the running sixteenth-
notes into more than one group per measure. Cadences at
mm.11-12, 23-24, 37-38, and 53-54 place the accent on beat
two with the release of tension on the following downbeat.
One of these, in measure 24, contains a tie over the barline
which results in one of the rhythmic "surprises" which is a
characteristic of the passepied. Another surprise occurs in

Butt, 165.
Schulenberg, 407.
147
mm.39-40, where the turns in the right hand cause pairs of
eighth-notes to be slurred together, indicating a hemiola.
Finally, in mm.5-8 and mm.49-52 there are repeated two-bar
phrases. These would seem to lend themselves to an "echo"
interpretationat least on the pianosince doing otherwise
causes the repetition of each phrase to sound static.
The final cadential figure of this piece as it is
presented in the New Bach Edition does not include a trill.'
Robert Donington gives the justification for the addition of
a trill at this point:
[W]ith the development of the typical
cadential formulas of the baroque period, the trill
increasingly attached itself to those formulas,
until by about half way through the period it
became virtually impossible to arrive at an authentic
cadence(plagal cadences do not afford the same
invitation) without introducing an unwritten trill or
trills.... Cadential trills have mainly a harmonic
function, which they fulfill by behaving like
appoggiaturas, accented from the upper (i.e., the
auxiliary) note, on the beat, so that the harmony is
heard from the upper note, to which the main note
then serves like a resolution.^
Several other Inventions have a trill added by Bach or one of
his students at the corresponding position in the final
cadence, and in one other instancethe final cadence of the
D-Minor Inventiona trill has been inserted by the author of
this study.
Dynamic variety can be obtained in this movement by
observing the architectural elements which make up the
structure of the piece: one hand playing alone is not as loud
as two hands playing together, while one line of running

" J.S. Bach, Inventions and Symphonies Georg Dadelsen, ed.

(Kassel: Barenreiter-Verlag, 1982), 9.
' Donington, 125.
148
sixteenth-notes against a line of eighths is not as loud as
when both hands play a series of sixteenths. Cadences and
unusual articulative patterns receive emphasis, and rising
sequences naturally indicate a crescendo, while falling
sequences indicate a diminuendo.
The fingering for this movement is quite
straightforward. There are only a couple of instances where
one finger plays two notes in a row (e.g., mm. 44-45, right
hand), and the thumb generally avoids black keys (an
exception occurs in m.32). In this Invention the
preponderance of the five- or six-note phrases lie easily
under the hand.
Invention No. 4 in D minor. Little and Jenne have
identified this Invention as a Giga II. Another Giga IIfrom
the fifth English Suite in E Minor (see Example 5.10)which
has a similar rhythmic pattern when compared with the D-Minor
Invention is discussed by Little and Jenne. They suggest a
pattern of articulation which has been adopted for this
Invention (see Example 8.4). Little and Jenne note that this
pattern of articulation causes the Giga II to have "swing,"'
which is certainly in character for this lively piece. A
tempo of 60-63 to the dotted-quarter note allows the chosen
articulative pattern to occur while maintaining the vigor
which is an important facet of the giga II. According to
Goldberg, D minor is "Submissive and quiet, but also grand,
pleasant and satisfying Generally flowing when
pleasant. "'

' Little and Jenne, 171.

" Goldberg, 91.
149
Example 8.4: Giga II articulation.

-|XiJ_J..-.lJ.^^_j J ^
Little and Jenne, 171.

150
 Fingerings in this movement proved to be somewhat
elusive until a hierarchy of articulative factors was decided
upon. At the top of this hierarchy was the decision to follow
the normal accentuation of the meter, taking into account any
exceptions which occurred. Next in importance came the
characteristic phrasing for the giga II which had been
adopted. The third factor to be considered was the idea that
two-note slurred groups could most consistently be performed
at a lively tempo by using the Baroque scale fingering
advocated by Bach in the Applicatio of the Notebook for W.F.
Bach and elsewhere (i.e., right hand 123434 ascending)."
Once this hierarchy had been established a very
suitable fingering plan could be devised, with one caveat:
the thumb must be regularly employed on black keys. This
poses no difficulty for the modern pianist, of course, but is
it the best way to interpret this Invention? Other
articulative patterns could be adopted, but none of them
seemed to possess the grace and vigor of the pattern which
had been previously chosen. Likewise, other fingerings could
be devised which avoided the use of the thumb on the black
keys, but then weak fingers were regularly forced to play on
the strong beats, and furthermore, the chosen articulative
pattern was significantly more difficult to maintain. The
result, therefore, is that the chosen articulative pattern
has been kept and traditional fingering patterns have been
incorporatedwith the exception of the proscription of the
thumb on the black keys.

" Bach, Clavier-Buchlein, 9.

151
 This Invention includes the usual articulative
exceptions for cadential figures (mm.17, 37, 48), cross-
rhythm (mm.11, 13, 22, 24), notes tied over a barline (mm.l4-
15, 36-37), and trills placed so as to give prominence to
otherwise unaccented beats (m.l5). Though the Invention is
notated in 3/8, the entire pieceexcept at the main
cadences--falls into two-measure units, thus giving rise to
speculation that one could possibly accentuate this movement
as if it were in 6/8 (i.e., with a stronger emphasis on the
first beat of the first measure of each pair).
Invention No. 5 in E flat major. This lively Invention
in common time seems more relaxed than the C-Major and C-
Minor Inventions, probably because the principal subject
consists predominantly of eighth- and quarter-notes while the
counter-subject utilizes gently flowing sixteenths. According
to Goldberg, E-flat major is "Lofty and earnest, often
plaintive (but, to Bach, a grand key symbolic of the Holy
Trinity)."'^ A tempo no faster than 80 to the quarter-note
will allow this Invention to maintain its image as a lively
piece without sacrificing its character.
The subject of this Inventionwhich is accompanied
from the beginningstarts with two detached sixteenth-notes
which lead to two slurred and ornamented eights, which in
turn are followed by two slurred and ornamented quarter-
notes. This opening motive, when articulated this way,
increases in intensity to a high point on beat three followed
by a release on beat four. It is interesting to note that the
mordents in this movement, which really establish the shape

" Goldberg, 91.

152
of the motive, were added well after the composition of the
piece." Fewer ornaments were added in the left hand part,
inviting speculation that perhaps even the principal motive
does not have as much melodic clout when it is found in the
bass register. The larger subject is initiallyand
frequently thereafterstated in four-measure phrases which
build in intensity until a cadence occurs. When the phrase is
longer than four measures it is due to the addition of
sequential material comprised of the opening motive and
counter-motive, which move along in two-measure units.
At first glance it might seem that the two-beat slurs
attached to the sixteenth-notes which make up the counter-
subject give the counter-subject undue prominence. A detached
interpretation of the counter-subject, however, would endow
it with a liveliness which seems excessive for the character
of this movement. An articulative pattern which featured two-
or three-note slurs in the counter-subject would cause this
murmuring backdrop to compete for attention with the melodic
material in the other part. Two-beat slurs seem to strike the
right balance between "light" and "heavy" or "lively" and
"ponderous" for the counter-subject of this Invention.
Four interior cadences (mm.4, 8, 15, 19) and a
recapitulation (m.27) punctuate this Invention. Each involves
the establishment of a new tonal center. As is typical for
much of Bach's output, these cadences do not include a break
in the rhythmic activity of the movement, yet they must be
emphasized. As in the C-minor Invention, the established
articulative patterns have not been broken at the cadential

Bach, Inventions and Symphonies ed. Georg Dadelsen, VII.

153
points, so the performer will need to find a place for the
music to "breathe" at the resolution of each of these
phrases. Naturally, the final cadence also requires tension,
release, and a small slackening of the tempo in the last few
beats.
A short trill is placed above the third sixteenth note
of the first beat of the right hand part of measures five,
twelve and nineteen, indicating an emphasis at these points.
Why put an ornament in such an obscure spot? The answer seems
to be that Bach wished to call attention to the simultaneous
beginning of the subject in the left hand. An upper auxiliary
start for these trills would certainly be correct according
to the chart given for ornamentation by Bach himself," yet
this would require four 64th-notes to be played at this
point, which would be likely to cause the tempo to lag. A
principal-note start for this trill would be less "correct",
but could probably be performed without awkwardness. Robert
Donington says of the trill
Its behavior remained flexible whenever its
chief purpose was melodic decoration. In particular,
its manner of starting varied between the upper note
and the lower note, with consequent varieties of
accentuation and to some extent of placing. In this
melodic and decorative capacity, the trill is a
specific but nevertheless a fluid ornament, and no
dependable rules can be set up for its
interpretation."
The fingering chosen for this Invention has generally
been in accord with normal Baroque practice, except where a
large slurred leap (e.g., m. 30, right hand) requires the use

of the thumb on a black key-

" Ibid., 66.

'" Donington, 12 5.
154
 Invention No.6 in E major. This Invention was

identified as a minuet in Chapter V. It is in | meter, is

felt in one beat per measure with a small amount of stress on

the second pulse of some measures, divides for the most part
into regular phrases, and features a great deal of
syncopation. The motive and the counter-motive are
inseparable in this Invention. Little and Jenne's advice
regarding the tempo suitable for a minuet has been followed,
with the dotted-quarter note at 46. Goldberg says that for
Bach E major signifies "Despair or mortifying sadness; most
comfortable (sic) with subjects of helplessness... sometimes
so cutting, severe, sorrowful and mordant that one could
compare it to a fatal separation of body and soul.""
So far, so good. But how is one to apply Baroque
articulative principles to a piece in which such an extensive
amount of syncopation occurs? A portion of the answer is that
one articulates the "straight" rhythms according to their
typical metrical patterns (e.g., mm.1-4, left hand) and slurs
the syncopated groups until they come to a natural break
(e.g., the right-hand part, m.l up until the thirty-second
notes on the third pulse of m.3, or m.9 through the downbeat
of m.lO). If one articulates the right-hand part of measure
four and corresponding passages according to this wisdom (see
Example 8.5), however, one runs into two problems. First,
slurring this figure according to normal Baroque articulative
practice inevitably slows the tempo to the point where the
piece is no longer recognizable as a minuet. Second, the
piece sounds ungainly and dullcertainly not what Bach
" Goldberg, 91.
155
Example 8 . 5 : "Normal" s l v i r r i n g f o r t h e E-Major Invention

feft
P

156
intended! John Butt's invaluable study of Bach's articulative
practices comes to the rescue at this point. He cites an
example from the MS of Bach's Goldberg Variations, Variation
14 (see Example 8.6) which is identical in rhythm and quite
similar in terms of melodic content to the E-Major
Invention." Bach's dots on the sixteenth notes would give
virtually the same effect as the grouping which has
ultimately been chosen for this figure when it occurs in the
Invention.' Furthermore, when this figure is articulated in
this fashion one finds that the syncopated pulses of the
opening measures are being perpetuated (see Example 8.7). In
this Invention the exception becomes the rule as far as
phrasing is concerned.
Placing strong fingers at the beginning of slurred
groups and on strong beats is of great importance to the
performance of this movement. Since most of the fast-moving
figures are grouped in short phrases, it is not too hard to
achieve this. The thumb rarely has to be placed upon a black
key, but one must be careful to make rapid lateral shifts
with a rounded, relaxed hand when playing this Invention.
Dynamic shape for this piece can be linked to the
increasing tension inherent in a syncopated figure which
spans several bars. Also, rising and falling sequences and
the main cadences play their usual roles as indicators of
levels of dynamic emphasis.

" Butt, 176.

" At the speed which has been adopted for this piece it would be
impractical to slur only the two sixteenth-notes.
157
Example 8 . 6 : A r t i c u l a t i o n from ' V a r i a t i o n 14 of the
Goldberg V a r i a t i o n s .

Butt, 176.

158
Example 8.7: Comparison of the chosen articulation
with syncopated patterns.

Chosen articulation (m.4)

S ^

1 and (2) and (3) and

Syncopated pattern (m.1-2)

iste 1
1 and(2) and(3) and 1 and(2) and(3) and

159
 Invention No. 7 in E_ininor. This is another lively
movement in common time which is serious in tone like the c-
Minor Invention but somewhat more vigorous. Goldberg
identifies this key as "Pensive and profound Swift music
may be in this key, but merriment is not therefore implied.""
With the exception of measures seven and eight, where the
right hand has an extended trill, the treble melody dominates
this piece. The left hand regularly plays a fragment of the
principal motive, but it never succeeds in capturing the
listener's attention in the same way the right hand melody
does. This Invention contains many cadential figures, but
they are not all at the same level of significance to the
articulation of the form. Cadences in measures six, nine,
thirteen, and the deceptive cadence in measure 21-22 are the
most significant interior cadences. One who plays this
Invention must take care not to overemphasize the less
important cadences, though they can certainly guide one in
terms of the waxing or waning of the dynamic level.
The articulation of the primary motive of this
Invention begins with two detached sixteenth-notes which lead
into a series of slurred notes beginning on the next beat, as
is the case in several other Inventions. In this movement the
ornaments and the rhythmic content of the material propel the
motive to the downbeat of the next measure, where the motive
begins again. Sixteenth-notes in this movement are usually
arranged in groups of four or eight, and this fact combined
with the compactness of the motive causes the fingering for
the Invention to be quite straightforward.

Goldberg, 91.
160
 Invention No.8 in F major. This well-known and exciting
piece was identified as a corrente in Chapter V. To summarize

the information from that chapter, this piece is in a fast 4

(120 to the quarter-note), features slow harmonic rhythm,

arpeggiation, sequential repetition, has figures resembling
an Alberti bass, and includes no ornamentation (see Appendix
I). Goldberg states that pieces in F major are "Capable of
expressing the most beautiful and virtuous sentiments with a
perfect grace, whether magnanimosity, perseverance, or
whatever, with a natural moderation and incomparable
facility."'" This movement can be played using mostly
detached articulation, but it is helpful to slur the first
two notes of most measures togetherespecially the eighth-
notesso that one can clearly feel where the downbeat
occurs. The opening measure can be thought of as one big
detached upbeat to the downbeat of the second measure.
The fingering for this Invention is nearly identical
with modern fingering principles, which may partially explain
its popularity with piano teachers. Care must be taken to
keep strong fingers at the strong parts of the measure,
however, even when this entails a lateral shift (e.g., mm.4-
6). If this is not done the sixteenth-note sequential
passages will become difficult to control at a fast tempo.
The left hand part of measures nine through eleven and 31
through 33 involve frequent use of the fourth finger on the
beat. A fingering can be devised which avoids this, but it
involves too many hand-shifts and thumb-crossings to be

Ibid.
161
feasible at a fast tempo. The right hand somewhat alleviates
this situation by always placing the thumb at these points.
The dynamics for this Invention follow the range of the
primary motive and the sequences which spin off from it up
and down the keyboard (e.g., mm.1-6), intensify as more
intense harmonies are employed (e.g., m.l9), and relax at the
resolution of the one interior cadence (m.11-12). This
interior cadence and the final cadence prove to be the only
places in the Invention where accentuation anywhere but the
downbeat occurs.
It could be argued that since the crescendos and
diminuendos described here do not work on the harpsichord
they are not valid. On the clavichord, however, this dynamic
strategy works quite well, albeit on a small scale. Why then
should this strategy not be applied to a performance of this
work on the piano? Furthermore, what musically sensitive
harpsichordist would not wish to imitate the dynamic
gradations a string or wind player would instinctively apply
to material such as this, were his instrument capable of such
a thing? It might be that on the harpsichord one would
progressively "hold over" some of the notes as a means of
producing a small crescendo effect. Elsewhere, one might
increase the amount of detachment between notes in order to
make them "lighter." The fact that the pianist does not have
to resort to such tactics for dynamic variety does not negate
the appropriateness of making the attempt to play this piece
expressively, whichever instrument is chosen.
Invention No.9 in F minor. This Invention was
identified, somewhat surprisingly, as a sarabande in Chapter
162
V. A sarabande is a slow, passionate dance in simple triple
meter with a definite secondary accentuation on beat two, and
regular formal divisions. This identification of the genre of
this movement, along with the many slurs indicated by Bach in
the sources, guide the interpretive choices which will be
made in this study regarding this piece. Goldberg says that F
minor "Expresses beautifully a black, hopeless melancholy and
may cause fear and dread in the listener."" The primary
motive contains four slurred sixteenth-notes, two slurred
eighths, and a quarter-note tied over the barline to a
sixteenth-note. Bach himself fairly consistently slurred the
sixteenth-notes, and in one case (m.l3) slurred the eighth-
notes in beat two. Did he intend this slur to be an exception
or was it a reminder of the "rule"? The contention which is
made here is that the slur on beat two of measure thirteen
serves as a reminder of the rule for the following reasons:
if the eighth-notes which regularly occur on beat two were
detached they would be the least emphasized part of the
measure, and this is not characteristic of the sarabande. De-
emphasizing the second beat would also have the ungainly
effect of making beat three the most emphasized part of every
measure in which there was a tie across the barline. Finally,
slurring the eighth-notes in the second beat makes for a more
"emphatic" or "heavy" interpretation of the movement, which
is appropriate. Perhaps Bach marked the slur in measure
thirteen to keep the performer from breaking an established
habit at the approach to the climax of the first half of the
Invention.

" Ibid.
163
 There is some discussion regarding what Bach meant by
slurs covering an entire measure. Butt makes the following
statement:

Longer groups of semiquavers are also implied in

[the F minor Invention], where continuous semiquavers
up to a bar's length are slurred together; this
contrasts quite strongly with the shorter slurs in
the Friedemann notebook, in which each beat is
articulated. There is no evidence that the earlier
marking is a shorthand for the later, implying a
'general legato' (as Fuch 1985 p. 112 affirms).
Indeed, Bach seems likely to have used longer slurs
as a shorthand for shorter slurs."

In Appendix A of the present study, the differences between

the 1720 version and the 1723 version are noted and the
longer slurs are retained where Bach indicated them. On the
other hand, certainly no attempt is made here to state that
the longer slurs imply a seamless legato, especially in light
of the fact that Bach explicitly marked slurs as short as two
or three notes with some frequency in this Invention. A
"general legato" seems like the dullest way in which to
interpret this passionate movement.
This Invention combines three elements which give rise
to a fairly modern approach to fingering: relatively long
slurred note-groupings, a comparatively large number of flats
in the key signature, and frequent and extensive use of scale
passagework. Because of these factors the thumb is regularly
turned under in this piece. Typical Baroque fingerings are
frequently used as well, though, in order to facilitate the
execution of the established articulative patterns.
Dynamic variety in this Invention consists almost
entirely of a buildup of tension for three measures followed

" Butt, 166.

164
by a release of tension in the fourth measure. Some four-bar
phrases are comparatively more emphatic than others,
depending upon their harmonic and melodic content. The whole
Invention climaxes at the central cadential figure in
measures sixteen and seventeen, and this would certainly be
the dynamic climax as well. Since the passionate sarabande
belongs to what Baroque musicians would have thought of as
the "emphatic" category, a larger tone would seem to be
indicated. On the other hand, this movement is much more
tender and lyrical than the two correntes which stand on
either side of it. One can imagine a harpsichordist playing
the brilliant F-Major Invention using all the stops which are
available to the instrument, but though the F-minor Invention
is to be played in an emphatic manner, it is difficult to
imagine a harpsichordist using a brilliant four-foot stop for
a performance of this piece unless he or she was joking.
After all, one need not shout in order to be emphatic.
Rather, it is often the earnest whisper which is the most
emphatic speech of all.
Invention No.10 in G major. Little and Jenne, as noted
in Chapter V, identify this Invention as a corrente. Goldberg
states that G major "Has much of insinuating and expressive
in it. For all that, it is no less brilliant and is as well
adapted to serious as well as gay subjects."" Amid many
similarities, two differences stand out when this movement is
compared with the F-Major Invention. First, this movement is

in I as opposed to f. Second, this movement contains a fair

number of ornaments. As in the F-Major Invention, the first

" Goldberg, 92.
165
two notes of most measures are slurred together to encourage
an accent on the downbeat which is followed by a
predominantly detached texture. An exception to this state of
affairs might seem to occur on the third beat of several
measures (e.g., m.4) as the prevailing arpeggiated texture

gives way to stepwise motion for a beat. In I the third beat

is not accented, but stepwise motion is commonly slurred, and

in this case it initially seemed appropriate to apply a slur
to the third beat in order to make an acknowledgement that
something different happens at this point. In performance,
however, it proved to be nearly impossible to avoid giving
the third beat of these measures an emphasis which was out of
character for both the genre and the meter of the movement. A
detached interpretation has therefore been preferred in these
instances.
The tempo of this movement is slightly more moderate
than that of the F-major Invention, but the contrast between
three eighth-notes and four sixteenth-notes per beat causes
this piece to have a different flavor altogether. Though the
eighth-notes are performed without inequality, the movement
has a certain swinging quality about it which is simple,
bright, and happy sounding. Frequent short ornaments add to
the swinging character of this Invention, and the two long
trills create a buildup of intensity which culminates in the
deceptive cadence in measures 29 and 30.
The dynamics in this movement should be bright but
never ponderous, with marked crescendos occurring in the
sequential passages which lead up to the cadence in measures

166
thirteen and fourteen and in the trills and following
measures which lead up to the deceptive cadence in measures
29 and 30. The texture of measures fourteen through seventeen
would seem to indicate a quieter approach than that which is
necessary for the material on either side of these measures.
Invention No. 11 in G minor. Here one encounters
another serious yet vigorous piece in common time. According
to Goldberg, G minor is "Almost the most beautiful key.
Combines earnestness, amiability, grace and complaisance."'"
None of the ornaments were originally part of the piecethey
were added by Bach at a later date"yet each seems to be
"expected" in its context. As in the other lively common-time
Inventions, one initially encounters detached sixteenth-notes
which lead the ear lightly to the second beat. In this
instance the subject is lengthythree measuresand is
accompanied by the counter-subject. Three events stand out in
this movement: cadences in measures eleven and sixteen, and a
recapitulatory section which begins in measure eighteen.
This Invention is quite tightly organized, with the
hands trading the subject and the counter-subject back and
forth for most of its length. Unlike some of the other
Inventions this piece, with its serpentine subject, requires
short slurred groups most of the time. These factors cause
the older Baroque fingerings to work very easily. In fact,
this movement lends itself more naturally to the older
fingering patterns than any of the other Inventions.
As has been the case so often in these works, dynamic
intensity increases in the measures preceding the main
'' Goldberg, 92.
"Bach, Inventions and Symphonies, ed. Dadelsen, VII.
167
cadential figures, and increases or decreases along with the
rise and fall of the sequential material. Naturally, an
increase in dynamic intensity also coincides with an increase
in the number of ornaments which are applied to the texture.
A dramatic work such as this requires a full, round tone, but
it is perhaps not as brilliant as the F-Major, G-Major or
A-Minor Inventions.
Invention No. 12 in A major. This Invention, like the
D-Minor Invention, is a Giga II, and the two pieces can
easily be played at the same tempo (63 to the dotted-quarter
note). The two works are not similar in terms of musical
material, affect, or articulation, however. Goldberg
identifies A major as "Extremely exhausting in spite of some
brilliancy."" Both the subject and the counter-subject are
long and meandering, moving from stepwise motion to
arpeggiated figures in sixteenth notes, the subject
commencing with a series of ornamented repeated eighth- and
quarter-notes. Almost every second measure contains cadential
harmoniessince this is how frequently the subject and
counter-subject trade handsbut most of these cadential
harmonies are swept away in the continuous flow of sixteenth-
note motion. Only one cadence prior to the end of the
Invention, in measures eight and nine, seems to play a role
which serves to mark a relatively large section of the piece.
This cadence corresponds to the beginning of the second
section of a rounded-binary movement. Later, the return of
the first material in the tonic key occurs at measure
eighteen.

Goldberg, 92.
168
 The New Bach Edition includes varying ornaments for the
different statements of the subject of this Invention, which
could have been haphazardly applied. On the other hand, it is
possible that the more ornamented entrances were intended to
have more audibility than the sparsely ornamented entrances,
and that Bach was purposely varying the dynamic levels of the
various statements of the subject. The dynamics are
architecturally built into the texture of this piece in
several other ways.^'
Invention No.13 in A minor. This brilliant piece in
common time contains perhaps the fewest interpretive
challenges of all the Inventions. The articulation for this
movement is mostly detached, with slurs serving to clarify
the position of strong beats and to give emphasis to
cadential figures in the usual manner.' The form of the
piece is underscored by two interior cadences (mm. 6 and 13),
a return of the motive in the tonic (m.l8), and two climactic
moments (mm. 9 and 24). There is no added ornamentation in
this Invention. Its predominantly arpeggiated figuration is
easily fingered according to principles which are comfortable
for modern keyboard players while generally abiding by the
Baroque guidelines discussed elsewhere in this study- Dynamic
contrast in this piece is guided by the rise and fall of the
arpeggiations and sequences and by the tension and release of
the cadential figures. Goldberg says that A minor is

" See the discussion of this matter in the D-Major Invention

section.
" See the discussion of this matter in the C-Major Invention
section.
169
"Plaintive, decorous, composed and somewhat soporific (but
not therefore displeasing).""
Invention No.14 in B flat major. Here is a lively
common-time piece which is different from any of the other
Inventions which fit into this category, since thirty-second
notes make up a large part of the texture. A tempo which is
too fast (e.g., Czerny's marking of 88 to the quarter-note
for this Invention)" will turn the piece into just one more
finger exercise, A tempo which allows the beat to be
subdivided could potentially be quite lyrical, but the
accentual patterns characteristic of common time will most
likely lost, and furthermore, this piece seems to favor
liveliness and drama rather than lyricism. A tempo of 6 0 to
the quarter-note has been preferred for this Invention in
Appendix A. According to Goldberg, B-flat Major is "Very
entertaining and sumptuous. Something modest is contained in
it, enabling it to pass simultaneously as magnificent and
dainty.""
Two articulative patterns for this Invention were
established as follows. First, beats which primarily involve
thirty-second notes are slurred together, since they are
material worthy of emphasis which in any case consists of one
indivisible figure which is too fast to be detached
effectively. An exception to this principle occurs in beat
four of measure fourteen, beats two and four of measure
fifteen and beat two of measure sixteen. In these instances
detaching the sixteenth-notes at the beginning of the beat

" Goldberg, 92.

" See Table 5.1 .
" Goldberg, 92.
170
preserves the lighter character of the weak beats as opposed
to the more dominant character of the slurred strong beats.
Second, sixteenth-note arpeggiated figures are slurred in
two-note groups except at the very end of each measure, where
they are detached. At the end of the Invention (m. 16) the
subject is stated canonically between the hands, and there
this principle is altered somewhat in the name of preserving
the accentual pattern of the meter.
Dynamics in this Invention revolve around the rise and
fall of the melodic line, sequential repetition and cadential
punctuationas is the case for the other members of the
seriesbut they are especially impacted by the busyness of
the texture in this movement. The opening of this piece is
rather calm, but becomes increasingly dramatic in measure
nine and the following measures. The drama is not reduced
significantly in the recapitulatory section which begins in
measure sixteen, relaxing only at the final cadence.
The fingering for this Invention falls into place once
the articulation is decided upon. Strong fingers are placed
upon strong points in the measure, but the thumb somewhat
frequently ends up on black keys. Some lateral shifts are
necessary for the execution of the chosen fingering.
Invention No.15 in B minor. This final Invention is
another lively piece in common time. According to Goldberg, B
minor is "Bizarre, listless, melancholic and therefore rather
seldom encountered."" Performance of the ornaments and slurs
which are featured in the subject lead to a suggested tempo
of around 88 to the quarter-note. In this subject a series of

" Ibid.
171
detached sixteenths and eighths on unaccented parts of the
measure pull toward an ornamented "sigh" figure on beat
three. The pattern is repeated, this time with the sigh
landing on beat one. This articulative patternalong with
the generally slurred running sixteenth-notes of the counter-
subject which appears for the first time in measure three
forms the basis of nearly all of the articulative decisions
which are made in this movement, except for the usual
deviations at main cadences. The short trills on accented
beats in this subject cause the shape of the phrase to be
quite easily defined. Fingering and dynamic decisions are
made according to the parameters which have served as
reliable guides in other Inventions.
The only interpretive decision which proved to be
somewhat difficult in editing this Invention was the question
of whether or not to slur the two opening sixteenth-notes of
the subject. Initially it seemed that a slur gave more
emphasis to the beginning of the subject, and was therefore
favored. Later and more conclusively, the lively character of
the movement seemed impeded by an emphatic articulation of
the first two notes, and a detached interpretation was
adopted.

172
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Marshall, Robert. The Music of J.S. Bach; The Sources, the
Style, the Significance. New York; Schirmer Books,
1989.

Newman, Anthony. Bach and the Baroque. New York; Pendragon

Press, 1985.

Neumann, Frederick. Performance Practices of the Seventeenth

and Eighteenth Centuries. New York; Schirmer Books,
1993.

Ottenburg, Hans-Gunter. Carl Philipp Emanuel Bach. Trans, by

Philip J. Whitmore. Oxford; Oxford University Press,
1987.

Palisca, Claude V. Barogue Music. 3rd ed. Englewood Cliffs,

NJ; Prentice-Hall, 1991.
Quantz, Johann Joachim. An Essay on Playing the Flute.
Trans, by Edward J. Reilly. London; Faber, 1966.
Rameau, Jean-Philippe. Pieces de Clavecin. Ed. by Kenneth
Gilbert. Paris; Heugel et Cie., 1978.
Ratner, Leonard. Romantic Music. New York; Schirmer Books,
1992.
Rosenblum, Sandra. Performance Practices in Classic Piano
Music. Bloomington: Indiana University Press, 1989.

Sabourin, Carmen. A Schenkerian Study of J.S. Bach's Two-

Part Inventions Presented in their Original Ordering.
Doctoral diss., Yale University, 1989.
Schulenberg, David. The Keyboard Music of J.S. Bach. New
York: Schirmer Books, 1992.
Smend, Friedrich. Bach in Kothen. Trans, by John Page. St.
Louis; Concordia Publishing House, 1985.
Spitta, Philipp; Johann Sebastian Bach. English translation,
London; 1889. Reprinted, New York: Dover Publications,
1951.
Tureck, Rosalyn. An Introduction to the Performance of Bach.
London; Oxford University Press, 1960.

176
Tiirk, Daniel Gottlob. School of Clavier Playing. Trans, by
Raymond H. Haggh. Lincoln; University of Nebraska
Press, 1983.

Weiss,Piero and Richard Taruskin. Music in the Western

World; A History in Documents. New York; Schirmer
Books, 1984.

Williams, Peter. "Figurae in the Keyboard Works of

Scarlatti, Handel, and Bach; An Introduction," In Bach.
Handel. Scarlatti; Tercentenary Essays, p. 328 ff., ed.
by Peter Williams. Cambridge; Cambridge University
Press, 1985.
Wolff, Christoph. J.S. Bach; The Learned Musician. New
York; W.W. Norton, 2000.
Ellwood S. Derr, Walter Emery, Eugene Helm,
Richard Jones, and Ernest Warburton. The New Grove Bach
Family- New York: W.W. Norton, 1980, 1983.
Yumiko, Ide. A Structural and Stylistic Analysis of Selected
Inventions and Sinfonias of Johann Sebastian Bach.
Doctoral diss., Columbia University Teachers College,
1980.
Zehnder, Jean Claude. "Organ Articulation in the Seventeenth
and Eighteenth Centuries," The American Organist; Part I
Vol. 17, No. 7 (July, 1983); Part II, Vol. 17, No. 12
(December 1983).

177
 APPENDIX A
A PERFORMING EDITION OF FIFTEEN
TWO-PART INVENTIONS
BY J.S. BACH

178
 A PERFORMING EDITION OF FIFTEEN
TWO-PART INVENTIONS
BY J.S. BACH

The text of the Inventions used in this study is based

upon the Bach Gesellschaft Edition which was published in the
middle of the nineteenth century. The Bach Gesellschaft was
based upon the 1723 MS and is quite accurate, but
nevertheless contains a few errors and omissions. One such
error in the Bach Gesellschaft is the lack of a slur in the
treble staff (measure 13, beat two) of the F-minor Invention,
which is found in Bach's 172 3 copy. The Bach Gesellschaft
has therefore been compared with both the 1720 Clavier-
Biichlein vor Wilhelm Friedemann Bach and the 17 23 fair copy,
with preference given to the latter.
The Neue-Bach Ausgabe (New Bach Edition) was helpful
in terms of deciding which ornaments to include as part of
the basic text. Other ornamentsincluded in parentheses in
this studyare (1) later additions by Bach in the
manuscripts according to Georg Dadelsen (editor of the New
Bach Edition), are (2) from Wilhelm Friedemann's book, or are
(3) originally found in two copies of the Inventions (known
as "Gerber" and P219") which were copied by two of Bach's
students. "Expected" short trills have been added in
parentheses at the final cadences of the D-major and D-minor
Inventions. The rationale for this is given in Chapter VIII
of this study- The Henle edition of the Inventions was also
consulted, and Butt's text on articulation in the music of
Bach proved to be quite helpful, especially in the F-minor
and D-major Inventions.

179
 Though the New Bach Edition is beautifully done,
m a
couple of places where Bach's slurs are quite vague-notably
in the treble staff of m.l7 of the B-minor Invention-this
study does not follow the New Bach Edition, in this instance
preferring three-note slurs to four-note slurs. These seem
to make much more musical sense and they are certainly not
precluded by the manuscript sources.

The establishment of a good musical text of the

Inventions is essential, but the goal of this study is to add
interpretive details to that text. In order that the reader
may understand what is original to Bach's text and what is
editorial content in Appendix A, the following clarifications
are made: The primary manuscripts for the Inventions in C
major, D minor, E-flat major, E major, E minor, F major, G
major, G minor, A minor, and B-flat major contain no slurs.
All slurs in these ten Inventions are editorial. The
manuscripts for the Inventions in C minor, A major, and B
minor each contain a few slurs by Bach. These are indicated
as such in footnotes. The Inventions in D major and F minor
contain numerous slurs, and therefore a copy of the Bach
Gesellschaft edition is included after both of these
Inventions for purposes of comparison.
What follows is an interpretation of the Inventions
utilizing the known stylistic parameters of Bach's circle and
era. More than one general approach could potentially have
been used for some of these pieces, and there was more than
one path which could have been chosen for specific
articulative details of many of the Inventions based upon the
available evidence. The material presented in this Appendix
180
is therefore not to be thought of as the only possible
interpretation of this repertoire, but rather as a plausible
reconstruction which adheres to what is known of Baroque
performance parameters. Below are several guidelines which
have been adopted in the editing of these works.
When the thumb has been employed on a black key it is
almost always because its use enables the pattern of "strong
fingers on strong beats" to continue, or because other
solutions are simply uncomfortable, even for one who is used
to Baroque fingering patterns. In many instances a
parenthetical option has been given which does not place the
thumb on a black key,
--Notes which are not slurred are intended to be played
with some amount of detachment from surrounding notes. The
fact that a note is detached does not mean that it is to be
accented, however. In Baroque music detachment typically
indicates a "light" execution, while slurs indicate emphatic
execution.
Slurred groupings receive an emphasis on the first
note and a definite release on the final note of the group.
Bach's slurs as found in the established text have been
retained and extrapolated to corresponding places in the
music. Other slurs have been added in accordance with the
character of the meter, genre, tempo, figuration, and texture
of the piece.
A tenuto mark indicates that a note is to be held for
its full duration but not slurred into the next note. This
differentiation between a slurred group and a single note
which is held for its entire length has been deemed necessary
181
because the end of a slur indicates a release-a break in the
soundwhich in a couple of instances (notably, in the F-
major Invention) was undesirable.
A line which places a box around a few beats of music
indicates a major interior cadence. Usually the box includes
three elements: the chord of preparation, the chord of
tension, and the chord of resolution. Major interior
cadential figures usually involve increased emphasis, some
adjustment of the pattern of accentuation, and a slight
momentary relaxation of the tempo. Final cadences have not
been given boxes in this studythough they certainly deserve
attentionsince their presence and placement is so obvious.
Recapitulatory sections, when present, are indicated. These
usually require some special emphasis.
--A large asterisk is used to indicate a climactic
moment in the movement. Often this happens at the
culmination of a sequential pattern, but it also elsewhere.
In the G-major Invention the large asterisk in m. 27
indicates the beginning of the final "ritornello," since this
is a major structural point but cannot strictly be called a
recapitulation.
Dynamics per se were not added, but they can be
deduced from the foregoing elements and from the
"architectural" elements which are discussed in Chapters III,
VI, and VIII.
Metronome markings for the Inventions have been
supplied in this Appendix. Each is based upon known elements
of the meter and/or dance genre, and includes consideration
of the musical material, including ornaments and articulative
182
patterns. These metronome markings are not, however, to be
thought of as binding the performer to a specific rate of
speed. Rather, they represent an attempt to give the
performer a guide to an approximate tempo.
O n e who is encountering Baroque fingering patterns for
the first time would be well advised to first practice the
scale fingering found in Example 3.2 and try it in several
other keys as well before attempting to play the Inventions.
The skill of making small lateral shifts (or hops)necessary
for the performance of this repertoireis easily mastered by
practicing a few scales.
When performing the Inventions as they are interpreted
here it is important to remember that regular emphasis of the
strong/weak patterns found in each meter and the articulative
patterns which are presented in this study form a subtext
which supports, but does not dominate, the musical material.
If these elements are allowed to become dominant in
performance the result will be boorish and ungainly rather
than stylish and expressive. On the other hand, these pieces
will seem to meander aimlessly if the rhythmic and
articulative subtext does not support the musical material.
A comparison with poetry may be of value at this point:
A poetry reading in which the meter dominates the text in a
sing-song fashion quickly tires the ear, while a poetry
reading in which the meter is disregarded seems overly
mannered and artificial. What is neededboth in the reading
of a poetic text and the performance of musicis a balance
between arbitrary freedom and rigid, bombastic observance of
the metrical and articulative conventions.
183
 Invention 1 in C Major
liWV 772 J. S. Bach

4 1

5 4 3 1 2 3

1 4 3 4 3 2 3 2 1

5 3 32

') r r ^1
^ ^ ^
4 3

32
1 2 4 1
^w 1 2 1

^m i 1 2
7 ? ^" S[

s 3i~iE
i 4 13 2 4
i
3 2 1 -

184
 :^
w
*
m ^
3; * ^

JpFf^i^ T'-r^-vn*-
^ ^^|f^5S^ 5 4 3 4 3 5

10 5 2 3 4

f^^^^^^-^mm- jf r V

i fej
S y
S. ~ #

5 2

2 3 4
12 3 4 5 5 3 2 12

^ ^fei
^^f^^X^ OTgg
z):F^^gLfrfrj-if^

5 4 3

185
 [Retmn of the motive on liic tonic]

gi : L p P y f > ^ : C&
^ ^ ^

3 4 5

2 1
21

XSI
Eg

s S
1 4

186
 Invention 2 in C Minor
inVV 773 ,J. S Hacli

^ 76 80

187
 (2 4) 3 1 3 2 5

2 4 5 5 2 54 2 1

* Bach's slur in the 1723 MS.

** Omit the trill when playing this piece on a single-manual instmment.
 2 12 4 3 1 3 2 1

1 3
3 2

'^ r r r r
^
^m
s ^
rt
2 5
3 2 1 3
 kecapiUilatioi
1 3 I 3 13 2 5

A
m^F
^g
ESr:
2 3 4 1

3 I 2

12 3 1 3

31 1 3 1 3 2 3
32

# XE:
^
^

^ ^
P 4 3
S
5 1
T 1 7 3 1 2 3

190
 I Invention 3 in D Major
HWA' 774 S. Hacii

32
32

i^ P ^m
^ ^ ^

Echo^

i
4 7 ~4

m ^

mm !s:

3 1 4

i\- ft r"
i & i
:x:
f

191
 2 12 3 4 3

2 4
21 3 2 32 32 1

^^g f = ^ ^ p = ^ P^^^^
12 1 2 3 4
3 4 2 1 3 4

192
 0- ^'

) '
-^
I-
.f^,)
-if..
i
**
^"^^^^^^
^ T
F \f=f='T=^^P^=^
4 1 3 2
(4 5)
;s 3 1 2 3

^
i i
^
*M

ferf
g
^g^

32 5 3 1
f ^ *P^^^^i
^i~ ^ ^

k ':M.

2
^ ^ _: ^^ m ^ -

5 3
(1

193
 32
34

E
^ ^ ^

^ i ^ ^

3212
^4 1
(OO) 3212
[OO)

9ap^
1 3 1 4 1 3 1

(3) Recapitulation
41 2 1 4 3

^
^
3 ^ i
-'^' 'ii L E m j
3 4 &

194
 44 3 2 2
^

P^^
^ 7 r
^ s
Fxho?

fcJ
ST
5
:s3

a^^^^^ 1 1 2
tEE^E^
a
50

^ =
IS"

Wg ^
i
3 1

53
_31 2 1 2 3
ICVJ)

:^
^ ^

195
55 3 I

^S -d ^s=v

^
?EEE^EE^EE^feE^^
2 3

2 1

*i S
=^=3t
^
3^
^

196
 Invention 3 in D Major
B \ \ \ - 774 as il appears in Ihe H.icli (icscllscli.ill lulifion J. S Batli

g
m

f^ r ^ f . = 0 >' ^
\\-9 r r ^^ r r ^ > =
m

1 r r r-
srrr

T T f
-j--!.ij 0

197
 10 C\D
m
( N - "

1 ^
;: -p ^ : 7

1
I* _"
-p

^m
i\- H_ ^ _
1m

fe 1
^^m
-iir r f r^
"T:T~

19

S i
^ # ^ ^i
21
W

"i^ =F=^
P^

198
 "i*^^ 1

^^rr^
^H^^^ 1* ___^- .^^

==r^=^^^
- ^ ^

> ft

51

1 ^ ii 'r^^^ ^ = =-'i p- 7^ p '-jT > -

^ % = ' ^ ^ ^ -
r r > ^^^f rrT

33 -W

/: ^:i #^i 0 ^- Ii . . J
(rp ^ ^ ^ p ' i^ -^^

Wh^ '^^^ ^ r r b - \^ J J J J J
199
3S C\5

*F
i
^ = ^ = ^ = ^ H ^

40

i
CNJ

* ^
m
^ ^
&

43

s ^

s -^^

46

tijr JJ'
2

200
 oo

"isTi-r^^
^
S
^ -* -^<r^
m
^m ^ i
/0^

<J

201
 , Invention 4 in D Minor
J inVV775 J, ,S. Ha
^ 6(H>3
(2 5 4 3 2 I)

^
1 - 3 4 3 4

1^
Pi 1 4 3 2 3 2
i
5 4
i
3 2 3 2

3, . 1 4 3 3

ir=t b .-nTf
s
;^=J&
^ ^ ^
5 2 3 4 3 4

1 4 3 3

m
^
P I :z_
P
10 1 4 3 3

^ f^f^^ -/ /

Si ^
3 5 5 1 3 3

202
 3 5

lo -^
3 3 1 32

3 '0 '0 ~ * * -
,' : ^

0 ~"^^
rf-- 0
L^^w=z -J -J^ ^ ^ ^ ^ ^
1 1
) 5 3 3
5 1 3
i23)
19 32

^^=F^
^ P
m^^ 3 3
m1 3 3
1 3

4 3 2 2 5 3 3

^'-=::i IjJ ^_ f *=?

m i - 7 ^
--. ^ ^
4 4
(3, (3)

203
:^ 3 3 1 3 3 4 3 3 3 3

int^i^ S
tJS

P P ?
(2 1

4 3 3 1 3 3 4 3 3

^Y^ I m
3 ^
i
4 32 2 3
37

3
S 3
^
2 3 3
4 3

204
 4 3
40

P^
WMp:
^ ^
4 3 5 3 3

Recapilulalion
43 1 3^_^ 3 4 3 3

^
1
J ^
3
m 3
S
^

32

m
50 5 2 3 3

5 2 3
PI
3 3
=SI

205
 Invention 5 in B-Flat Major
inVV 776 J.S. Bach

21
1 4
14 3 ^

I '' E w c m g B i ^ et>* ^

* According to the New Bach Edition, all ornaments except those in the final measure of tlus ln\ enlion
aie later additions by Bach.
** This mordent could be omitted, in accordance with similar passages
in the right hand (e.g., mm. 16, 23, 27).

206
 3 3
10

pe^Epg i wm
f ,f

4 1 2 1
1 5 5 1 2 13 2

^^m
14 1 4 24 1 4
15

^
kteiii= g
^g
mv^ 5 3 1 2
L Iifmt
5 1

207
 3
17 ^

^L f ^g- r f-
5 1 3 1
5 1

4 31
18

m^

1^ 1 4 3 T

i gEEg^ SS w:.' 0
Sii i
m^ 3 2 1 3 4
B Si
E.I^^,-1t3"^
4^

12 1'
5 2 123 5 13 2 3 14
21 2 14 3 3

BE
^ te
\m^ssm
S^ 4 J4
S
12 2 1-^3 t3

208
'> bv
' Liz-U
Recapitulation 2
27 2^^ ^

SE 3 ^
P
^
i 0 r ^ 0
rissss
5 1 5 1 5 1

32 53
29 1 3 1 1 1 3

S i^S ^^m Qi

5 1
4 2 1
(3)
13 2
mmm

209
 4 1 4 3 2
31 2 1 2
1*I~^^ ^ ^

3S=Tc^^fei5 *&J
"1 *j "f # V0 ^r ^
\ . p 1, m ,
^'-' 0 -^ 1 -\-
^^^rf ^

210
 Invention 6 in E Major
B\\'\ 777 .1. S. Bach

^ 3 5 .^ 12

3 1 3 2 1 3

^m
t -^'
^

V- g/tt J r ' V ^
i ^
2 1
"ttatil
2
S
3 4 3 3 i

*iff 1 ^ 1
if 0-^^

^ P S
5
1^ ^ ~i
3
r^
i
3 2 1
3 12 1 3

J 0 1 :- =
/ ^
rm
^ # ^
't ^
f^\-r-py-^y- W^

M^^ ^K- ?T"^

1 -

--T#

4
0
gVi^
M-4^ ^
^

211
Iis^te*
3 I
M
m
^

^m ^-Mr^E 3
S
2 3 2
2
^
1

3 1

^A ' r ^/Tr

3 13 3 2 1 3__ 3 13 5
3 2 ^ 2 2 _ ++.r:^ 2 2
* fff=^
t <*U^ tlr^r -.

^ ^
x tfp

212
 M*^ -K
1 2 3^11 3 3 2

* ,
gg^S
^

1 3 4 2 1 32
1 3 _

m
1 2 2 2 4,
=

i s
%

'>,''r r f - wt zzl

5 2 3 12
39 1 3

^ F^l *
^ 5 ^
== *J.^ ^y ^
F
O: i l # V B3
^
?
3 3
43 , 1

13 i = ^ 1 ^

^ 'jf^ r r r ^ * - 1 0 -^ 0
1 2 1 1 \ 1 3 4 3 1 1 - - 3

213
 ^ 5 3 12

1^ -0BT-

Ef I
'^^^rzT-

3^
1 2

1 2 1 1
^"^ 0 '
^tt^ l' 1 -] ^ * 0
=^=^ ^^
0 - 0 ^

h-^^^^-^ I-,. .
0--=
^0-^ rw= rf-r-.
- ^ TT"

214
 Invention 7 in E Minor
S. Bach
BWV 778

J^ 88-92
32 32

^5
M
^m
^S csrat

1 3

s
3 -1 1 2 3

t
S ^ i ^

3SEE^3E ^ ^ ^
^
1 2 1
3 4 12
(23)
32 3 32 32

l^i^ Si i^^

g-^r-Ji^
3 2 1
m ^EEEEEE

215
 .<2
H^ '.'0-.
m~i 10-0

m
^
i3 4 3 1 -^4 3 5
i
-^4 I .^ 1 ."> ^

3 3 1 3 4

m^^
32

7
ii^

^ ^^m^
32
14 1 2
zzz

^
>1<
S^pg3 V^JT^ -iS^

12 3 12 12 = ^ ^ 1 \/^)..

* This toll is not in the 1723 version, but is in the 1720 MS. If it is omitted in perfonnance it ma} be
necessary to re-stnke the b, preferably on beats one and/or three.

216
 2 1 2

2 5
18 2 5

mm^=m is

3 3 2
m
3
^

2 12
B^^
3 2 12 3

32

^ i^^ ^

^s 3 1
^
3
S i
g^^ljJ-J^^a
13 4 2

217
 32

mi f

218
 Invention 8 in F Major
B\\'\'77V . I S . Bach

J 120
3 3 1 4
3 4
^ ^ ^

^ ^
i ^^m
3 2

3 2 1

1 3 1 3

3 1
3 1

1 4

^ ^

^^^m 3 1
^ ^
219
 ' 3 14 I 4
^ ^ ^ 1^
llSS :^^ eit*
4 1 4 1 3
4 I

"^^TT^J
16
2 3 2 13 4

^mm-
fl
m^S 3 g
1 2 3 1 3 13 1
1 2 3
1 3 12

220
 . ^ 3 4 2
1 1

^ ? r f P: 0
^ . * <
K W 1*
3 4 ^

4 1 1 2 3 1 2 5 1 2 2

i ^
=,
^ 3 if
i
S ^ ^ ^
^
^ ^ ^

3 1 -^ 5 1 4

^m 1 *

"^i^O H f ^ S ^
3
5 4 3
5

25 3 1 3

f f r r - ^ S
S S ^^3 ^^^7^
5 4 3

221
 12 4)
1 .^
1 3

ZZl
S^g#
Pi^ .1 1
3
J-J-TI-^^ 4*3-^5
1
F^^

3 1 4 1 4

iElJ '^; "^

-^=-^

^ 1 ^^^^P^^^
31 1 4

3 1

33

^ ^ ^

^ ^ ^ ^
4 1 2 3

222
 Invention 9 in F Minor
B\\\'78() J S. Bach

J^ 69-72

S m
B 1 4

1 3 2 1 4

St *
S
^S mt^
1 2
2 3

^
fey=F yr r r r r p y g ^ f r'~'^JJjM^
iSt^

1*
5 2 1 2 3~^-
?'1
^

-^
m 3 2 1 3 1 3
*Shorter slurs from the Notebook for W. F. Bach
223
 a^
ii
^ i^j:^^^
WW^. ^ rjv| ^ ^=3
1 1

11 4 3
t ^
^
^
5
S=^=-^
i
S^i> . W V^ ^i g- jH
1 2 12
' j ^^^ g p ^
3
m^ E L g r ^ ^ -

224
1(1 1 4

ski: p C^B
\^--
^ S
2 1,^ 1 .^

i*
P .'HJiH, j

.v^|'i>rr^
3 2 1 2 3 13 4 iJ 2 4

22
J 3
s i
V
i ^

')\\>n
^r=>^ r\ ^
i
2 3 3

225
 (5 5;
24 _4 3

Sk^^ g
r^^ f E E E ^ ^

^ ^
W.-MMi ^

I> 5-
\4 3 4 1 3
kt=^
^ ^

>^ A' [_f

3 1
^ m i 1 1
i
Recapitulation
28 4 1

1*
S a ^

s
'^- j'i> J m 3 2

2 1

a
30

a>> ^i
=^)-i.ii.i'.m, - T O ^ FjhXn ^ ^, ^, j^g
3 2 12
3 1 2 1 ^

226
 1 2 1
^- '.M 2 1 3 / 32 1 2 32
Uv"
M ^ oo

I ^ ^ ^ ^ ^
3
^ ^
3 4 2 3 4
1 ff 1g_

227
 Invention 9 in F Minor
BW \' 780 as i( appears m (he Bach (leseMschali lidilioii J S Bach

ite^i^^ ^ m^
^ i:fe=g
S=:^
B

te^ ^ ^
. ^

^m^Tftft ^r^rttff-
m
s1 *
* *
te
S
S ^

^
i ii^

228
 s' ^ = ^
^ ^

-'b''i>]iJJ-Vi'W^
E3^ jst^ S 'rSclrr?^_j

13

s1 *
Ji
^ ^

229
lo OO
i^w

m ^
PS

^ g ^

IS

s1 * s ^
jF^^^ jirrr^TT^rV
f-fif^ p ^Q^
ygrfrrr:j

S1^ ^
1^ ^

y^"i,b f p t . . r |- ff^ji^
E S
^^m i* i
B
yft^^
i

230
26

g ^

3 5 g ^ ^ ^
B feSi
28

i in ^
^
^ ^
^i^
T-#

';-bi'i,i-J- - >p

231
232
 In\ention 10 in G Major
inV\' 781 I S . P,ach

' = 112^116
1 4 5 ^
I
1 ^
i
^

5 1

F=^
^

^ fe^ ^ ^

3
^Si
2 3

5 1 5 3 1

hi J r r 1=J=^ 3^*~ff ^

3 2 3 1 3 5

2 1

(^1 ( ^

^
2 1 2 1 3 2 1 3 4

233
 ^
1
32

m
13 3 2 1
(^)

i i ^ i -t

^
s 2 1

15 -v%:-

3 1 = ^

mM 1=^
12

17

r^=
^ 3EE^ ^
w
(-WJ
12 2 1 3
234
 23)
,9
32

n.

\ -^ 0- _^_ #
ra*
12 2 3 3 ? r

21 5 4 3 J

P P f ^

^ I ^

3 2 3 2 1

23 .S 3 3

1 ^ ^ >- . r r r 1# i *
l^-f * *

^r r . r ^J ^ J -A
' ^ L LJ - ' ' L U j lo). 0-

3 2 12
(21)
32
25 3
^ ) 1 ^ )

g ^ ^ = ^

^ ^
^
1 2 1 2 4 3

27

*.
S * y *
235
 m m
29 4 5
0 r
^ ^
m=m^-
:=at

S mmM ? ^
3 3

32 -"^

S ^ ^ ^

236
 Invention 11 in G Minor
inVV 782 J. S. Bach

J^ 88
34 5 4 3 2 (1:
14

^"rj^gM ^^^B
I ^^m 1 3 1 3
w^ ^
^ ^

4 3 2 5 3 1 5 2

3 2 12 1IJ 2 3 2 3 4 3^^ ^ - ^ 3 1 1

1 ^^g i? ^ ^
^

)M>ri^cn:rrj
^
f-^^
^ s ^

32 32
3 ^ 2

^s
2 1 3 3 2

gg P
^

3 2 1 ' ^ ^
1 51
^S 31 ~i -I

5 5 1 3
* Ail ornaments in this Invention except the short trill on Ijeat 3 of m. 17 were
added by Bach at a later dale, according to the New Bach Edition
237
*This is the one ornament which Bach
included in the 1723 MS. 238
 Rocapitulation

3 1 2 32
22 3 5 3 2 1 5 : ^ ' ^ 3 1 2 3 1^ 3 ^ ^

^
^^fffrriij?^ PH f f i ^ ^ ^
^

m
^
^
^
^
o

239
 Invention 12 in A Major
HW\'78.1 S. Bach

5
i^t^ ^
BS
iB
^r^^
tJ-4r'rM, 14 3 21 T^'^ 3 131 21
1 2132

*Dashed slurs are used in this movement to indicate that two notes of the same pitch aie to be grouped together but are
not intended to be lied.
**Slurs have not for the most part, been included for sixteenth^notes in this Invention. One who plays this piece should
bear m mind the fact that this is a light piece which would favor det;rched articulation, but notes in stepwise patterns are
more likely to be slurred and arpeggiated figures are more likely to be detached. In fingering this movement the goal
has been to allow each beat to be played as a unit whether the notes are sluned or detached.

240
 ^ 1 5 1232

i y=??^ i
5
S 3 5
iffliS 2 12 31
312 1
4 1 13

10

^J.\ f* J J J S^X^^f^^
r .r^ nm

11
^m 4
^ ^ F "^ *:
X^^-^-
1 3

I
pr r r J-^-^yTJ 3
J i^'^^g 1 ^
->tfj i j^^^

12
*t i 0 ^ 0~ 0 ^ 0~

tfO
i
g
igi#
^ ^ ^ ^ ^
m ^

^
i
# ^ #

1 5 3
241
 4 2 o 4 32

t=s
I Jl*^ J J .^J J ^ J , m

16 J ^ 1
M
Ji' ^ ?- P
^Ei
^
=^ I
17 1
M: ;. i y-^ ^
\ l U 'f
.-)^tf,vrrrrp I .^rf^f^p^
242
 Recapilul.ition

18 -'

i i i
1 5

i
^- (\^

g^^^

4 '1

21 (w)
O
AM ^

') *i rni 3 iSE

2 1 2 1 2 1 O

*Bach's slms from the 1723 MS.

243
 Invention 13 in A Minor
BWV 784 J. S. Bach

^= 96 100

m m
4 3 2

^
Q
S
^ ^
I
2 1 1 3
i 2

5 2 1 1 4 4 ^ 1 4 1 3 1 1 5

jmM^. H
ItolTr^^ ^tftEf^ 3 -> 5
^
5 ff
=
^ ^
2 4
2 4 5

m ? 3^ 4
1 4

^
3 3
* .

g 3 i^Fi* f^

t 2 1 2 15 1 2
^
3
^
2

1 2 1
3 2 3 _ 5 J ^
=Zt=j^ rrf.r .r^^r^fe^
*
M B
1 5 5

244
 3 : 1 2 . ^ 4 5 142 3 2 4 5
2 1 2

'-. ' 4 , s 14 3 2 3 13 1

1 ^^^^^^^^^^^^^?^^S r^rrttrT^fl s
^-^?
>

f^f^fVv
1 5 12 4 1 4
5 1 3 1

^m m
2 3 -1 2 4 1 5 2 5
\ '\>0 ' -'
^
i e^ *
iffi
:^
i|3E

1 Pe
a IF^^^ ^ & t f ? ^
1 3
1 3

16^ 2 1 5 12 4 1 5 2 2 1 5 23 5

^ i^ ^fefiirrrr.^^

^ P=^^^ ^

1 3 Lf ^'"'
L-J r
4 m 1 3
1 2 3 1
5 25 4 3)
Return of the motive in the tonic key.
IS

1 4 3 2 3 1

-jf^=A
^^E^
2 1 1 4 1 5 2 3

^^m
5 2 3 13

m 245
5 1 3 1 4
4 1 4 2
20 3 4 14 1 4
15 12 3 5 2 5

^=1 3^7Jr^^j^4^'

4 3 5 5 3 2 5 3 1 4 2 5
2 1
r\
w.t^
^ i ^^^9
^^^JigM^
*
s Ov

3 1 2 3 3
^
wt './ a

246
 Invention 14 in B-flat Major
H\VV785 J. S. Bach

J^ 60
3 5

3
Elg=ff^
i ^

W^ -^

5l
2 3
3 5

m
3 2 1

s
3 5

0 JJ0
yv
4-J-4 s *-^
0 ' ^ V.*l' sa
"n^^-^ ^ ^

-' 13

^ mp' m ^
i iy=i 1 ^ ^

^ ^
i t^ i 4 ffi ffl
13

247
S^^^^^:
i 5
1 3 J1J 9
2 I1 4d 2
4 1
3 1

i^ ft
^
^5^tl"
3 12 1 3 1 --> 1 3
1 5 3 1 5 2 4
2 3

^ ^^ fu m m
-^;=;^ 0-

S3

10

0 V I* Pff
0 m 0
^ -^. J 0 ' 0
3 12 1 2

2 3 i 3
5 1

I
^
m :5 P ^
1 '

^ ^
1 2
i
^ ^
m
248
14 2 4 1 3

2 4 1 2
249
250
 Invention 15 in B Minor
J^ 88 5 2 32
HWV 78(1

32
J. S, Bach

32

mm^^^
-w 1
=^^F^=^m=i

:5
^ ^ ^ ^ ^ ^ ^
^ ^=W^ J' ^ J g
^ ^ ^

3 2 1 3 3 2 2 3
^

U'^ yJa^JJ^.'^i^^
^ M^m^^^
s ra ^ ^
'W

^ ^
-J 12
I
1 3 2
12 12

2 12 2 1 4 4

251
 mmm
32 1 2 3 3 4
3 3 4 3
If:
ffl^
I 4Y~!

^^^^s 4 1 4
3 2

^P^ i 3 . 3

^-^-W
*

WH~m 3
L ^ *

-\ 3 12 ' ' ^ 5 1 4
1 1 2 3 3
I. I
I ^e ^

w^4mm0 m i i
3 12 4 3 3 1 12

3 1 2 3 32
13 1 2 2 1 4^ ^

^ ' ^^* I ^

^ ^ ^ ^ ^ ^
12 3 2 1 2 4 2

252
 15 ^ iv"^ ' 2 3 1 2 5 2 2 5 2 2

Wm MS

3 1 2

^ 5''M^iH''^

m M^n
-w

S ^r^i r L^ ^i^ 0 M0* 0

2 1 4 3 2 3 1 3
12 3 2 (4 )
'W

-o^

^ ^m 4 3
^

2
(i:

Slurs found in the 1720 and 1723 MSS.

253
 APPENDIX B
FORMAL CONSIDERATIONS, LEVEL OF DIFFICULTY
AND CONSEQUENT PLACEMENT IN THE
1720 AUTOGRAPH

254
 FORMAL CONSIDERATIONS, LEVEL OF DIFFICULTY
AND CONSEQUENT PLACEMENT IN THE
1720 AUTOGRAPH

The following quotations were useful in understanding

formal elements in the Inventions, though none of them were
quoted in the text of the study.

Level of Difficulty and Consequent

Placement in the 1720 Autograph
The significance of the pieces' original order
has been noted by Derr (1981), who even discerned a
grouping of the original praeambula into "triptychs"
--that is, groups of three that are distinguished by
various details of form and compositional technique.
The basis of some of Derr's groupings, such as the
supposed need for two manuals in performing pieces of
the third "triptych" (starting with the one in B
minor), is debatable. But inasmuch as the order of
the works in CB may well correspond with their
apparent order of composition, it is not surprising
to find certain common features in adjacent members
of the set: conjunct motion in the themes of
Praeambula 1-3, disjunct motion in 4-6, longer
subjects, possessing distinct countersubjects, in 7-
9.'

Formal Considerations
...[I]t was characteristic of Bach that, while
in principle retaining the conventions of each genre
(such as the use of binary-form movements with dance
titles to form a suite), he transformed most of the
genres in which he worked by expanding the
traditional formal structures and admitting technical
and stylistic features borrowed from other genres.
Thus... few pieces follow any one model.'

[M]any of these pieces [i.e., the Inventions]

Schulenberg, 150. See also Ellwood Derr, "The Two-Part
Inventions: Bach's Composer's Vademecum", Music Theory Spectrum (1981)
3:26-48.
' Ibid., 20-21.
255
 seem to reflect Bach's acceptance of galant elements-
- "sigh" figures, expressive "singing melodies"
into his keyboard polyphony. This is not to say that
the pieces are easy to play.... But the combination
of learned and popular elements has certainly helped
these pieces win their place in the canon of
pedagogic works still taught to keyboard players.'

[In the Inventions and Sinfonias, Bach] had

created two essentially new genres of keyboard music.
Unlike most earlier preludes, the Inventions are true
keyboard duettos, somewhat resembling older fughetti,
but differing in their technical preoccupations. Here
invertible counterpoint is of greater importance than
imitation per se, and thus the opening passages
usually involve imitation at the octave (or voice
exchange) rather than at the fifth. Instructional
two-part imitative pieces by earlier composers rarely
contain real modulations; most of the Inventions,
however, fall into sophisticated yet compact
modulating schemes comparable to Bach's larger fugal
works. The thematic material is generally lively, the
subjects very concise; thus, the Inventions have a
modern, galant character, although only the one in B
minor (BWV 7 86) has a texture clearly imitating that
of a solo sonata for, say, violin and continue."
The basic structural principles [of the
Inventions] are similar to those of Bach's larger
works but realized on a smaller scale; a single
phrase here may correspond to an entire section in a
larger... movement. For example, an opening phrase
generally leads to a cadence in the dominant (or
relative major) [This is] analogous to the first
half that is, the portion preceding the double bar-
- of a dance movement or sonata form. The next phrase
corresponds to the beginning of the middle
("development") section, and after a third formal
articulation [which includes a return to tonic] the
piece has delineated a miniature three-part (or an
expanded three-phrase) form. Not every piece follows
precisely this plan; in Invention No. 9 (F-minor) the
first decisive cadence is delayed until the midpoint
(bar 17), giving it a binary design [which is
entirely appropriate for the formal requirements of a
sarabande], while No.2 (C-minor) is, for the most
part a strict canon. But the canonic pattern is
broken in order to articulate two crucial moments: an
arrival on the dominant (bar 11) and the return to
tonic (bar 23), the latter coinciding with a

Ibid., 149.
Ibid., 152.
256
 restatement of the theme in its original form. While
this return comes very near the end (as it also does
in No. 9), in other inventions the final section more
closely resembles a true sonata-form recapitulation,
inasmuch as the return marks the beginning of a
section long enough to balance the first ones (Nos.3
in D, 6 in E, 13 in A minor).'

The Inventions in C, d, e, a, and D are

dominated by their themes. In each of these themes a
perfect fifth is generated Each theme is a
forceful articulation of a basic idea Each theme
cadences on either the dominant or the mediant
The first imitation in each of the theme-dominated
Inventions is at the lower octave. Each of these
Inventions clearly divides into three sections which
are demarcated by strong cadences generally with the
characteristic anticipation [Each Invention
contains a modulation, but] The D-major Invention is
highly atypical of the set in that a second
modulation occurs in the middle section.... In each
of these final sections. Bach reviews the material
and provides further interesting manipulations of the
theme.'

[The F-major, B-flat-major and C-minor

Inventions include extensive use of canonic
procedures.] Whereas the bass enters in imitation at
the octave in the F-major and C- minor, the bass
accompanies the theme of the B-flat and initiates the
two canonic passages which occur in the second half
of the composition; since these canonic passages seem
most important in the composition, the B-flat is
included in the category of canonic Inventions. The
theme of the C-minor is one of the more extended
themes in the Inventions.... [T]he tonal organization
of these... [Inventions] is basically the same as in
the theme-dominated Inventions. The F-major is
atypical in that Bach does not recall the opening
material in the final section.... The final section
of the C-minor is interesting in that Bach recalls
the theme and its counterpoint and then presents
these two ideas in stimmtausch [voice exchange] to
complete the work thus demonstrating in the final
Invention [in the 1720 autograph] the affinity of
canonic and stimmtausch procedure.'
The Inventions in G, b, A and E-flat are
characterized by imitation at the fifth and are thus
' Ibid., 153.
' Walter William Hawthorne, J.S. Bach's Inventions and Sinfonias:
An Analysis, diss. (Ann Arbor, MI: UMI, 1980), 83-85.
' Ibid., 85.
257
 considered to be in fugal procedure. The subject of
the G-major is the shortest of the four; the bass
entry in the second bar on the dominant is the only
instance in the Inventions of the first bass pitch
not being the tonic [The subject of the B-minor
Invention is given] an accompaniment which clarifies
the meter and the Phrygian cadence; this counterpoint
IS not used further in the work. In accordance with
usual fugal procedure. Bach presents the
countersubject against the dominant answer and then
uses it with all succeeding statements of the
subject. The A- major and E-flat-major subjects lack
the consistent motion of the G-major and the B-minor;
Bach thus presents the countersubject with the
initial statements of those subjects. The A-major
subject... is exceptional in that it is heavily
ornamented. The E-flat subject seems the most
artfully composed if these subjects; it is the only
subject which spans three full bars, contains
sequential repetition and retrograde summation....The
countersubject is clearly derived from the subject
and occurs with every statement of the subject....
The fugal inventions can be considered as in the
usual three primary sections. Bach provides variety
in the tonal organization.
The G-minor, F-minor and E-major Inventions
are characterized by the repetition of the initial
model in [voice exchange]. The procedure is somewhat
tentative and obscure in the G-minor since Bach
inverts and delays the countertheme in the
repetition.... The E-major theme is the only one in
the Inventions to originate in the bass.... The
countertheme moves in contrary motion to the theme
creating a consistent example of fourth species
writing. The [voice exchange] Inventions are in
binary form; the first principle section of each
effects the modulation to the dominant and
emphatically cadences in the dominant.... [The E-
major Invention is in rounded binary form.] The use
of [voice exchange] is most obvious and consistent in
the E-major.. . .'
The syncopations in the A-minor, G-minor, and
E-major counter-themes are atypical.... The
Inventions display the motoric rhythm characteristic
of late Baroque music."
The harmonic materials used in the Inventions
Ibid., 85-86.
Ibid., 87-88.
Ibid., 88.
258
 dn^Hn^n^- H ^^''.^''^^'^^ ^"^ seventh chords, secondary
tZn^ I "^ If^ding tone chords, and Neapolitans (A-
minor, E-ma]or). Progression is usually by fifth-
Bach provides examples of progression around the
circle of fifths (B-flat major. A- major)."

According to the Bach Reader, Bach "avoided

using 'species' in teaching counterpoint." The
Inventions generally consist of second species
writing with first and third species introduced
periodically for emphasis and variety. Fourth species
IS introduced in the G-minor Invention and is
exploited in the E-major. The Inventions are
contrapuntal-harmonic works.''

As one follows the progression in Wilhelm's

Clavier-Buchlein, he sees that Bach systematically
develops certain types of Inventions: first, three
theme-dominated works [C-major, D-minor, E-minor],
then a jolly fugue [F- major] followed by a more
substantial theme-dominated work [G-major] and then a
more introspective fugal treatment [A-minor]; then
the atypical B-flat with its canonic passages
followed by a serene, flowing fugal work with its
contrasting section in the relative minor [B-minor
Hawthorne also classifies the A-major Invention as
fugal]; then Bach presents his most severe works in
the old [voice exchange] technique [G-minor, F-
minor]; and finally, he presents a review of the
types of Inventions: the E-major is the last of the
[voice exchange] works, the E-flat is fugal, the D-
major is theme-dominated, and the C-minor is
canonic."

[Carmen Sabourin's Schenkerian study of the

Inventions demonstrates the validity of Ellwood
Derr's grouping of the Inventions, in their original
order, into five triptychs which are in ascending
order of complexity, both in terms of keyboard
technique and compositional procedures. Sabourin's
condensation of Derr's hypothesis regarding Bach's
compositional procedure are as follows:] Each piece
within the first triptych of the series [C-
major, D-minor, E-minor] is built on a scalar theme,
which is presented in concatenation with itself in
sequence, and subjected to the technique of
invertible counterpoint and to melodic inversion.
Concatenation here is understood as the linking
Ibid., 89.
Ibid.
Ibid., 90.
259
 a fraa^L^ ? It^'^^t '' ^^^^^ ^ ^^e theme itself or
nf TnlTT' r ^^^ ^^^"^^ <^^^ f^ example, mm. 3 and 4
of I/iventio I, p.49). In the second triptych [F-
major, G-ma^or, A-minor], all three themes are
constructed from arpeggio figurations and are
developed through extensive motivic transformations;
the central triptych [B-minor B-flat major, A-major
introduces a quasi-systematic fugue-like type of
alternation between subject-countersubject pairs and
episodes; the following one [triptych four; G-minor,
F-minor, E-major], while retaining the fugue-like
format of triptych III, is characterized by the
extensive use of chromaticism and syncopation;
finally triptych V [E-flat major, D-major, C-
minor] summarizes the technical devices exploited in
the preceding four groups and concludes with inventlo
2, an almost continuous strict canon.''

Certain of the Two-Part Inventions are based

on very broad melodic ideas, termed motives, and
others, on broader ideas termed subjects. Numbers
One, Four, Seven, Eight, Ten, and Thirteen were the
first composed, and these inventions (in C-major and
all its closely related keys) generally employ short
generating ideas, whereas the remainder employ longer
ones (although Numbers Three and Four have ideas of
approximately the same length). A contrapuntal
accompaniment to the opening idea is found in nine of
the fifteen Inventions. "

Most of the Inventions are sectional in nature

with sections defined either by conclusive-sounding
cadences or by recurrence of material which has been
modified through transposition and other means;
however, continuity is consistently maintained
through elision or rhythmic activity which persists
from the end of one section into the beginning of
another. All are characterized by motivic or thematic
unity in conjunction with tonal and contrapuntal
variety, and change of tonality is one of the
principal means by which contrast is achieved....'"

" Carmen Sabourin, A Schenkerian Study of J.S. Bach's "Two-Part

Inventions" Presented in their Original Ordering, diss.,(Ann Arbor,
MIrUMI, 1989), 7-10.
" Theodore 0. Johnson, An Analytical Survey of the Fifteen Two-
Part Inventions by J.S. Bach, (Lanham, MD: University Press of America,
Inc., 1982), viii.
" Ibid., viii-ix.
260