Tag Archives: Johann Sebastian Bach

Teaching J.S. Bach Invention 1 in C (BWV 772)

With World Series updates shadowing last night’s lesson, three students checked their cell phones inning by inning, but managed a deep-layer connection to Bach and Beethoven. My newest student introduced himself by reading through Bach’s Invention 1 in C. As … Continue reading

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Baroque Ornaments, execution, style, context and taste: A Conversation with Elaine Comparone

One of the delights of my trip back to hometown New York City, was an encore visit with Elaine Comparone! Continue reading

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Sequences and Phrase contouring in J. S. Bach’s French Suite No. 5, BWV 816

An adult student and I explored sequences in the Allemande opener of Bach’s French Suite in G as we parceled out the treble and bass lines. (Still another voice that danced from the alto to tenor range, was separately identified … Continue reading

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J.S. Bach Invention No. 13 in A minor: A Continuing Journey

Students who embark upon learning the beautifully woven Invention 13, have new awakenings about the Subject and its thread of sequences and development through three pages. And as they explore two independent, though complementary voices in counterpoint, they discover that … Continue reading

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Shaping a J.S. Bach Two-Part Invention

Many students play J.S. Bach’s music with a typed out, articulated approach, forgetting to shape and contour phrases. In Bach’s F Major Invention, BWV 779, the tendency is to overemphasize every element of broken chord F, A, C, F, in … Continue reading

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“Hear it before you play it!”

Leon Fleisher, an icon in the universe of pianists, put it succinctly. He channeled the wisdom of Artur Schnabel that embodied the idea that a musician must have an internal sense of what he expects to hear before playing a … Continue reading

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J.S. Bach Invention No. 13 in A minor: Early learning phase Deep Key Connection

Many piano students tiptoe through a parceled voice reading of a new composition instead of choosing a relaxed, behind tempo approach that allows a deep, dead weight COMMITTED connection into the keys. Thinking that the notes are strange and unfamiliar … Continue reading

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