People that know me also know my infatuation for Bach's music. His standing in the musical world is comparable to that of Newton in the scientific world - or Shakespeare in the literary world.

Over the years I have dutifully practiced some of his keyboard works - and in order to keep a record of this endeavor I thought it appropriate to record 12 of my favourite Bach keyboard works (or sections thereof). These recordings were all made with a cheap webcam, which actually suits the purpose since we want to keep download bandwidth to a minimum.

I also made a DVD version of this performance which lasts about half an hour. The quality is slightly better and some text has been superimposed. This text is mostly aimed at the musician. As in the clips below, all of the video has been taken from a fixed location, showing the piano keyboard from above - this may be useful for piano players who want to try out certain fingerings. If you're interested in this DVD, contact me (details at bottom of the page).

I myself love watching Bach's work performed - there is something awesome about the brain's capacity to perform these very complex interwoven phrases - and as you get more accustomed to the music, you slowly start to distinguish the lines independently. Practicing Bach is very good for your technique and general 'presence of mind' which gives you a good foundation for performance in general.

Every one of the pieces has particular characteristics. I include some comments on these - mainly from a performer's point of view. I also include links to a page elsewhere on this website for analysis notes. These links will open up in a separate window so you don't lose the YouTube connection (to save space, all my videos are located on YouTube).

Click on the large arrow in the middle of the video image or the little image in the bottom left corner. If the throughput is slow, the video will continually stop and start. Just press the pause button and the video will continue downloading. Once the red bar has advanced sufficiently, press play. Clicking anywhere else on this video image will open up the video in the YouTube web site.

Bach's music is usually performed in a cantabile manner, i.e. each note has equally long duration and accentuation - which very much typifies the Baroque style.

In order to bring something new I perform some of these works using different meters (rhythmic pulse patterns), which I will specify in the comments that accompanies each work.

It is said from Bach that he played each note with certainty. That indeed is the spirit that Bach's work provokes - a certain confidence - you could call it 'faith in the universe'. His teaching on the clavier consisted in playing only finger exercises for months on end before you could even start playing anything musical.

To my mind, the pedal shouldn't be used under any circumstances - I actually don't even have a pedal connected to my piano - it helps you creating the sound by touch. As a matter of fact, there's no need for the sustain pedal in most styles (except maybe in some balads).

Some quotations I find helpful:

• On the piano, you've got to phrase incredibly. (Keith Jarrett in Keyboard magazine)
• We only have 12 notes - treat them carefully. (Hindemith)
• Always take your time, never hurry. (Andras Shiff)
• Don't move on to the next page until you know the current one.
• The sooner you can take your eyes of the sheet music, the better.
• Once you know the notes, experiment with different phrasings.
• To get mastery over a piece you should get into the habit of not touching it for several weeks (or months) and consequently relearn it. All good pieces should be rested, like good wine.

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This is the first proper Bach piece I learned. It stands out because it has a chromatic feel about it; the prelude is riddled with jazz-like circle of fifth patterns. The phrasing is a little unusual, using a reversed swing feel.

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Bach's pupil, Johann Theophilus Goldberg, a brilliant harpsichord virtuoso, was entrusted with performing this work over and over to Count Keyserlingk, who suffered of insomnia. The Goldberg variations consist of an aria and 30 variations, though the Aria may not have been written by Bach himself. The work presents 9 different types of canon, one in every third variation. The canons of the fourth and the fifth (12 and 15) are not in straight imitation, but in inversion; possibly to indicate the approach to the center of the composition.

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My favourite variation - It is a canon of the seventh. The middle voice is the leading melody, the top voice strictly plays the same melody a seventh higher while the bass line has its own independent melody. Note how, as is typically the case with 3 voice fugues, both hands are responsible for playing the middle voice - so special care needs to be taken that this middle voice sounds smooth.

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This is also a canon, but a rather unusual one, an inverted canon at the fourth. The top voice is the leading melody. The middle voice strictly starts each melody phrase a fourth lower, but from there on the melody is inverted, i.e when the melody phrase goes up, the counter melody goes down, etc. Meanwhile, the bass again has its own independent melody. The whole effect is very modern sounding, giving this variation a somewhat esoteric touch.

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A great piece that uses many arpeggios - this, together with the fact that it uses a major tonality (G), gives it an open, almost exuberant quality.

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To many, this variation is regarded as the central piece of the Goldberg Variations. To my mind it sounds best when performed slowly, each note carefully measured. Space is very important in this piece, especially the space between the individual notes. The variation is also a great study in melodic minor harmony and melodic invention.

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Another 'happy' arpeggiated style piece in G major. Sounds best when played fast and fluidly. The prelude has a 24/16 time signature - basically indicating that it should be performed in phrases of 24 notes, though at the beginning there seems to be a 12 note phrasing.

See also
WTC I - prel 15

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This video only shows the Allegro (last section of the prelude). It is a fast 3 voice fugue having a 3/8 time signature, which results in what can only be described as a very driven fugue . I think of it as the analogy of Chopin's 1 minute waltz: Bach's 1/2 minute fugue. When learning, this fugue is difficult to read since it is written in the key of C# which has 7 accidentals and features many double sharps. I actually re-wrote this in Db, which is the same key, but only has 5 accidentals and naturals instead of double sharps, which makes it much easier to read.
Following links also discusses the Tranquillo section of this prelude.

See also
Analysis 1: ... + WTC II-prel3
Analysis 2: ... + WTC II-prel 3
Ending WTC II-prel 3 in transposed to Cm
WTC II-prel 3

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As is the case in the last performance, this video only shows the last (allegro) part of the Sinfonia. It is in Cm, using a steady 3/4 time signature. This sinfonia is also a great example of the melodic minor harmony and melodic invention. It is the only piece I ever learned separately for each hand. At least at first - I still had to learn the 2 voices together eventually, but I think it helped me in the phrasing.
The following links also refer to other sections of the Partita.

See also
Partita II-Sinfonia-Adagio
Partita II-Sinfonia ending
Partita II-Andante

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This gigue in the key of D is a great work to learn. It uses very long melodic phrases and a driving 9/16 feel in fast tempo. It's best to phrase this like you would an Irish Jig, or even a Slip Jig. After all, the Jig stems from the French dance: the Gigue.

See also
... + some scales used in Partita IV-Gigue
Partita IV-Gigue + Jazzed up version.
Partita IV

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Great example of a 12/16 fugue. It is a 3 voice fugue in C# minor. This fugue has a driving force that, together with its fast tempo, gives it a very unique quality.

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The 'Kunst der Fuge' is Bach's testimony to the various types of counterpoint and canon, written at the end of his life (unfinished). Contrapunctus IX is a 4-voice double fugue at double counterpoint at the twelfth. Double in the sense that one tune is added to the main tune, and counterpoint at the twelfth indicating that the new tune can be placed a twelfth (octave and fifth) either below or above the main theme. This fugue is reminiscent of the Italian style Brandenburg Concertos. The speed in this performance is actually quite slow compared with many other performances I've heard - though I think the fast moving version is more effective when played with a violin chamber quartet.

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One of the best known pieces of Bach. Most interpretations of this piece are over-romanticised - to my mind it is far more effective to retain a Baroque feel and experiment with different accentuations. Avoid the sustain pedal like the plague, it just disguises the touch of the individual notes.

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