Fugue, Fugue Analysis, J.S. Bach, Johann Sebastian Bach, piano

Putting Slow Practicing to good use in a J.S. Bach Fugue Analysis

I’ve been my own mentor to the exponential these past intensified 48 hours as I immersed myself in a slow, deep-layered analysis of J.S.Bach’s Fugue in Ab, BWV 862 (Well-Tempered Clavier Book 1) The detailed exploration not only heightened my understanding of this ingenious composition, but it increased my love and reverence for it.

So without waxing poetic about the longing that’s expressed through a chain of emotion-gripping modulations, I will defer to my Two Part introspection of this Fugue that’s the beginning of my immersion. Awakenings and epiphanies ensue once the solid foundation of analysis with cognitive, affective and kinesthetic dimensions are integrated.

Finally, in a slow practicing frame, the Subject/Countersubject interaction that includes fragments of each and inversions therein in partnership with a divine set of harmonic progressions, affords a learning process that brings fulfillment with each incremental and parceled out discovery.

J.S. Bach Fugue in Ab analysis

J.S. Bach Fugue in Ab analysis p. 2

Part ONE:

Part Two:


Classical music piano blog, Fugue, Fugue in F minor, J.S. Bach, Johann Sebastian Bach, piano, Well Tempered Clavier

First Love Bach Fugue in F minor, BWV 881

What a divine pairing from J.S. Bach’s Well-Tempered Clavier, Book 2! The ethereal, “sighing” Prelude is joined by a somber, though monumental Fugue in three voices.

The Subject with its characteristic three-8th note repetitions followed by two-16ths, meanders in stepwise movement with small skip deviations while its borrowed melodic and rhythmic components weave through the composition as spin-offs. (That’s why a student should carefully analyze the Subject’s character and chemistry at the very outset of learning)

In the counter-subject realm, this FUGUE does not adhere to strict rules of FORM, but instead it reveals a host of ideas that should be recognized and mapped out as to occurrence and recurrence.

In this early learning experience, which is admittedly my falling in love PHASE, I still make sure to keep an analytical eye and ear open to what this masterpiece is about as I play through it in a slow, deliberate tempo discovering its architectural features.

Page ONE:
Fugue in F minor p. 1 revised

Later Play Through: