Category Archives: J.S. Bach

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 … Continue reading

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A Bach Fugue is a neuron booster and soul searcher

In my tepid re-entry into the universe of piano repertoire for two hands, I chose what would be the antithesis of a comfort zone in my injury recovery phase. But just the same, my brain needed stimulation, building neurotransmitters, as … Continue reading

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J.S. Bach Prelude in Ab, BWV 862: A Fresh Start for Student and Teacher

In the course of teaching, a situation may arise where a particular favored piece is requested by a student that I’ve never studied–which means a deep-layered journey is ahead of two learning partners. And given that J.S. Bach’s Prelude and … Continue reading

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Getting immersed in LEARNING Bach’s F minor Fugue, BWV 881 (Well-Tempered Clavier, Book 2)

My journey through the Baroque master’s Fugue no. 12 has been a labor of love though the form enshrined by J.S. Bach can be intimidating by its structural nit-pickings. Wikipedia, for example, cites BWV 847 in C minor, (the Fugue) … Continue reading

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Stay LONGER with a piece for higher levels of learning and awareness

All too often piano students give up on a piece after so many weeks of exposure, thinking the fingering is settled, the beats are well-measured, and the notes have fallen into place. At this juncture, a Big STOP SIGN must … Continue reading

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Playing a Bach Invention: Say what you mean, and mean what HE said

My latest awakening occurred during a piano lesson last night with a student who loves Bach and nearly dotes upon his compositions exclusively. And that’s fine with me who’s a companion traveler sharing a comparable love for the composer and … Continue reading

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J.S. Bach Prelude No. 1 in C, Voicing and Harmonic Rhythm (my ideas and Seymour Bernstein’s)

A musician’s understanding of a masterwork is a composite of ideas derived from many sources. In the course of piano study, perceptions change and grow, enlarged by a combined theoretical and musical examination of a composition that invites mentors into … Continue reading

Posted in Bach Prelude in C from Well-Tempered Clavier, J.S. Bach, Journal of a Piano Teacher from New York to California, pianist, piano, piano blog, piano instruction, piano pedagogy, Shirley Kirsten, Shirley Smith Kirsten, Well-Tempered Clavier | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , | 2 Comments