Abstract
Abstract: The present article discusses pedagogical aspects aiming to contribute to teaching and learning Bach's Preludes of the Well-Tempered Clavier. Section one presents a review of the prelude as a musical genre and the different styles that influenced the Well-Tempered Clavier Preludes. Then, there is an analysis of selected preludes that will exemplify the variety of styles found in this work of Bach.
Highlights
The present article discusses pedagogical aspects aiming to contribute to teaching and learning Bach’s Preludes of the Well‐Tempered Clavier
This research proposes a discussion of pedagogical aspects that could benefit students working on Johann Sebastian Bach’s Preludes of the Well‐Tempered Clavier
The Preludes of the Well‐Tempered Clavier are pieces that present a great variety of styles
Summary
This research proposes a discussion of pedagogical aspects that could benefit students working on Johann Sebastian Bach’s Preludes of the Well‐Tempered Clavier. The famous Prelude No 1 in C major, Book 1, is a good example of a free, improvisatory style, a literal “prelude.” This piece relates to the origin of the early prelude, working as a piece or “something” that you play to warm up your fingers, try out the instrument, its tone quality, and tuning. The rhythms Bach writes right in the opening, measures [1,2,3,4,5] of figure 7, not repeated in patterns, suggest an attempt to notate, with measures, a free and improvisatory piece of music This prelude is much more complex than the C major from Book 1, with contrapuntal writing that needs to be carefully addressed and practiced with each hand separately and with a clear idea of where the many overlapping phrases begin and end. A careful study of the voices separately is necessary since they float in between hands, as we can see in figure 12, being very important to know where exactly a certain voice ends or begins
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