Professional Documents
Culture Documents
J 6 Z S E F E O T V O S
HOW TO PLAY
Privately published by J6zsef Eotvos, 2013
© Copyright J6zsef Eotvos
Cover Design by Daniel Csongar
Transleted by Anita Urgyan
Proof-readers Bruce Ammons, Felix Seuntjcns
Contents
BIOGRAPHY .......................................... 8
1. PREFACE ......................................... 10
2. PRELUDE......................................... 14
3. THE MANUSCRIPTS................ . .............. 23
4. ARTICULATION .................................. 32
5. BAROQUE ARTICULATION ON THE GUITAR ....... 37
6. MELODIC AND HARMONIC MOVEMENT .......... 44
7. LAYERS OF BACH'S MUSIC
- IMPLIED POLYPHONY........................... 52
8. APPOGGIATURAS ................................ 57
9. FINGERINGS ................................. . ... 61
10. EXAMPLES FROM COMPOSITIONS,
EXPLANATIONS OF SCORES....................... 64
His arrangements are musical curiosities, and that they are played
on guitar, is unique in the world. His arrangement of Bach's
Goldberg Variations is regarded by critics as the arrangement
of the century. Following this success, he produced other
BlOGRAl'IIY 9
His compositions, which are written -on both the guitar and other
instruments, are also published, su<;:h as the Willow Variations
(Editions Orphee, Columbus Ohio 1991), the Five Aphorisms
(Trekel Verlag, Hamburg 1997) and the Featherlets (Trekel Verlag,
Hamburg 2000). His book titled ,,Thoughts On J. S. Bach's Music
And The Performance Of His Lute Works" was published by the
University of Pees in 2006.
In 2002 and 2010 he was given the Artisjus Award for the
introduction and popularization of hungarian contemporary
music. He was also awarded with the Franz Liszt Award in 2004
in recognition of his work.
1.
Preface
The story behind this book goes back to 1999. At that time,
I had just finished arranging and publishing the sheet music for
J. S. Bach's Goldberg variations, and the previous year the CD
recorded in 1997 had been named best Classical music recording
of the year in Japan, subsequently remaining on the Bach
bestseller list for years to come. Michael Macmeeken, the owner
of Chanterelle Publications, contacted me one day, asking me to
arrange some of Bach's lute works for the guitar, to commemorate
the forthcoming anniversary of this legendary German composer.
I did not want to take on the job. As these works belong to the basic
guitar repertoire, there were already enough arrangements on the
market, why produce yet another? What could I add to these much
revised guitar versions and interpretations of Bach's compositions
that were literally being played by millions of people? I did not see
the point. I thought for a long time about accepting the invitation,
until one day I took a peek at the well-known Bach - complete
edition. Almost immediately I noticed in amazement the obvious
notation and interpretation errors that this universally used and
trusted edition was full of. Arrangers had used this edition as a
benchmark for many years, almost without exception. I myself,
just as I discovered the notation and interpretation errors that
1. PREFACE 11
All music played and listened to during this period was built upon
the of the time, which was known to all. The use of improvised
ornaments was vital in vocal and instrumental music. In the
language of music, the notion of "Singet dem Herrn ein neues
Lied!" signified that 'old' tunes always had to be reformulated.
New music and new musical settings were always considered
more beautiful and more interesting than old ones.2
1
The attitude of the Catholic Church towards religious music was far from open.
The music policy of the counter-reformation (the Council of Trent) distanced
itseli from this new, protestant music, from new musical trends, and called for
a return of music to its Gregorian roots.
2 This was to take a different turn in the 19'h century.
16 JQZSEF E0TV0S: IIOW TO PLAY .$.d;....
this the fact that in the majority of cases the composer himself was
also the performer, or at the very least, the leader of an ensemble,
we can gain further insight into this style of musical annotation.
3 In England some time earlier, in the 18th century, a new kind of artist appeared
who dedicated himself purely to performance.
2. PRELUDH 17
To say that Bach notated his music with more precision than his
contemporaries would be only partly true. By considering Bach's
hand-written copies of music composed by his contemporaries
we may gain some insight into the musical thinking behind his
scores. By way of example, let us take Frescobaldi's work, the Fiori
Musicali. Bach had a high opinion of Frescobaldi, who always
provided precise instructions in his part-writing. In Bach's
manuscripts, the parts present in Frescobaldi's work reappear,
yet in a 'simplified' form. The complementary movement of
the parts is 'compressed' into one single part, resulting in the
implied polyphony that we find in many of his other works. Bach
probably did not play Frescobaldi' s music any differently to
how the great Italian composer had intended it to be performed.
Rather, it is more likely that whilst taking notes from this piece,
Bach applied his own unique musical-score-writing system. This
technique of implied polyphony, that is the hidden layers in music,
will be discussed later in greater detail. It is so characteristic of
Bach that if we failed to recognise it we would lose an essential
dimension of Bach's music.
Therefore, during the Romantic Period (i.e. the beginning of the 19th
century), improvisation broke away from the original composition,
developing into a separate entity, and its musical valu�s, in the
strictest sense, disappeared. To summarise, we could say that in
Baroque improvisation the core values of the music remained the
focus, whereas in the Romantic Period this was replaced by the
performer's technical brilliance and v.irtuosity.
everyday life. At that time, even if a person was not familiar with
the intricacies of counterpoint, at a basic level he would �ave been
able to recognise well-known songs (or musical references to those
songs) or their melodies, which would have been familiar to all.
A characteristic tune or a harmonic modulation would have been
sufficient for the listener to recognise a musical reference. (Today's
pop songs and their musical remixes are similar in many ways.)
The table below contains a list of Bach's lute works that I know of, together with details of how to access them and other
data that I consider important. The versions written/ arranged by Bach for other musical instruments are also listed.
Catalogue Written
Title Manuscript Library Original Title Versions for other instrument(s)
Number in
Pieces pour
Seal: II.4085
J. S. Bach' Bibliotheque Royale la Luth I a Suite in C minor BWV 1001 for cello -
(Fetis-
original Brussels / Monsieur 1718-23, Copy: Anna Magdalena Bach
Katalog: No.:
manuscript Schouster/ Ms.P. 269
Suite in 2910) t
par/ J. S. Bach 1727-
Gminor
1731
BWV995 JohannPeter Kellner
Anonymous GmolPieces (1705-1772) Ms. P. 804
Musikbibliothek, Becker
French pour le lut par
Leipzig III,II.3 Anonymous (2"d half of 18th century)
Tablature Sre J. S. Bach
Ms.P. 289
Catalogue Written
Title Manuscript Library Original Title Versions for other instrument(s)
Number in
Praeludio -
con la Suite/
Copy: Johann Deutsche da/ Gio: Bast.
Mus. Ms.
Gottfried Staatsbibliothek, Bach (Under
Bach P. 801
Suite in Walther (1684- Berlin with diiferent
E minor 1748) handwriting:) 1708-
BWV 996 aufs 1717
Lautenwerck)
Heinrich
The basis of the 1888 Published in
Nikolaus
publication.The 1888 by Hans
Gerber (1702- Bischoff
original is lost.
1775)
Sammlung/
von/
7Toccaten/
3 Capriccio's/
3 Partiten 3
Preludien mit
Fugen 1 Aria
Anonymous A Ms.II.4093 mit 10 Variat:
2nd half Bibliotheque Royale (Fetis- und/
of 181h century Brussels Katalog: No.: 1 Fuga fur das
(Collection) 1960 Clavier und
dieOrgel/
von / Johann
Sebastian Bach
/ ..... No. 15.
From the
collection:
Preludio con
la Suite
Catalogue Written
Title Manuscript library ' Original Title Versions for other instrument(s)
Number in
Sonata (Suite) in C minor BWV 997 Fiir
Cembalo 1738-1741
Copy: Johann Friedrich Agricola
Staatsbibliothek Preussischer Kulturbesitz,
Berlin, Stempel: Mus. Ms. Bach P 650,
Title: (C. Ph. E. Bach manuscript) C moll
Praeludium, fuge, Saraband, und Gigue/
furs/ Clavier,/ Von J. S. Bach
Anonymous (1836), Hessische Landes,-
und Hochschulbibliothek, Darmstadt Mus.
Ms. 1322 (Fugue incomplete)
French Anton Werner (19th century) StPreuK -
tablature: MMs. Bach P 308
Johann Seal: Anonymous (19th century) StPreuK - MMs.
Partita in Partita/
Christian Musikbibliothek, Sarnmlung Bach P 552 (movements: 1,2,3 )
C minor al/ Liuto After
Weyrauch Leipzig Becker
BWV 997 Composta dal 1740 Anonymoµs (end of 19'h century)
Only lll.11.5.
/ Sig.re Bach Deutsche Staatsbibl. Berlin Mus Ms. 30169
movements 1,
(movements: 4, 5)
3, 4.!
G. H. Moering? (18th-19'h century.) StPreuK
- MMs. Bach P 513 (movements: 4, 5)
Anonymous (Early 19'h century Musikbibl.
Leipzig Ms. 2a (movements: 2, 3)
Anonymous (early 19'h century)
Konegliche Bibi. Kopenhagen C,I, 105
Weyses Sarnling (rhovement 2.)
Anonymous (end of 18th century) StPreuK
MMs. Bach P 7, P 286 (2 different Fugue
version)
Anonymous (18th century) Hochschule der
Kiinste, Berlin (2 different Fugue versions)
Catalogue Written
Title Manuscript Library Original Title Versions for other instrument(s)
Number in
Johann Philipp Kimberger (1721-1783)
StPreuK, MMs P 218 Title: Klavier = Sonata
/ von/ Joh. Sebastian Bach Anonymous
(18th century.) Private collection
Anonymous (181h century Deutsche
Staatsbibl. Berlin Am. B. 549-550
Friedrich AugustGrasnick (19'h century
StPreuK - MMs. Bach P 413
J. S. Bach
Original
manuscript,
end
UenoGakuen
of Allegro (tact
College, Tokyo
76.- 96.) written
Address: 24-12,
inGerman none
Prelude, organ tablature Higashi Ueno Prelude pour
Fugue, 4-chome, Taito-ku, la Luth o 1740-
in the margin
Allegro Tokyo 110, Japan Cembal. Par J. 45
of previous
BWV998 pages. S. Bach
C.P.E.Bach's
version is Jost
Osterreischische
Nationalbibliothek,
microfilm copy (PhA 22-P)
Musiksamrnlung,
Wien
Prelude Praelude in
Staatsb. Preuss.
Copy: Johann C mol / pour
inC Kulturbesitz, Seal: M. Ms. Circa
Peter Kellner La Lute/
minor Berlin or: Deutsche Bach P 804 1720
(1705-1772) di/ Johann
BWV999 Staatsbibl. Berlin?
Sebastian Bach
Catalogue Written
Title Manuscript library Original Title \' ersions for other instrument(s)
:'I.umber in
French Fugue in D minor BWV 539 For organ -
Seal:
tablature: Musikbibliothek 1724-25, copy StPreuK - MMs. Bach P 213
Sammlung Fugue/ del
Johann Leipzig Fugue in G minor(Measure 2, BWV
Becker Signore Bach
Christian 1001 From Sonata for Solo Violin) Circa
III.11.4
Fugue in Weyrauch 1718-23 J. S. Bach original manuscript,
G minor Carl Ferdinand Deutsche Staatsbibl. Berlin, Mus.
Circa Ms. Bach P. 297 or StPreuK - MMs.Bach
BWV Becker(1804- 1725 P 967?
1000 1877)
copy: Anna Magdalena Bach Urn 1725-34
StPreuK - MMs. Bach P 268
Anonymous Musikbibliothek Poel. Mus. Anonymous StPreuK - MMs. Bach P 267
19th century. Leipzig Ms. 30, 2 Johann Peter Kellner -1726 StPreuK -
MMs. Bach P 804
Title added
n the 19th
century:
J.S. Bach Musashino-
Seal: Littera Suite pour
Original Musikakadernie
rara vol. 2-14 la Clavecin
manuscript Nerirna-ku, Tokyo
Suite in compose par J. S.Bach Original manuscript Partita
E major Jean Sebast. Circa in E major BWV 1006 - 1718-23(violin)
BWV Bach. original. 1740 The Prelude is the introductory Sinfonia
1006a in cantatas BWV 29 and BWV 120
Anonymous Mus.Ms.
StPreuK
(1800) Bach P 641
I
Deutsche
Anonymous Mus.Ms.
Staatsbibliothek
19th century. Bach P. 1158
Berlin
28 J6ZSEF E0TV0S: IIOW TO PLAY i&zcb-
As the table clearly indicates, only three of Bach's original
manuscripts have survived, out of all the pieces listed here.
The manuscripts for the other pieces have been obtained from
different sources.
Let us examine the above data from the following two points of view:
1. Whether the pieces exist in the form of an original Bach
manuscript or not; 2. Which instruments these pieces may
originally have been written for.
Only BWV 995,998 and 1006a remain in the form of the original
score, written by Bach. It is possible that Suite in G minor BWV
995 was originally written for lute, as the front page of the
3. THE MANUSCRIPTS 29
Bach wrote the last lines of Prelude, Fugue, Allegro BWV 998 on
the margin of the previous pages. What is more, he wrote these
lines in German organ tablature! What is the significance of this
choice of notation, we may ask? First of all, he most probably had
run out of paper. More importantly, it is possible that the piece
was originally written for a keyboard instrument, such as the lute,
the harpsichord or the lute-harpsichord, as the title of the piece is
"Prelude pour la Luth o Cembal. Par J. S. Bach".
5 Johann Gottfried Walther, related to Bach on his mother's side, was an organist
in Weimar. He is known for compiling the first German musical lexicon.
6 The base of the Hans Bischof publication (1888). The original is lost. Heinrich
Nikolaus Gerber was the organ student(!) of Bach.
7
On the manuscript it says: ... grande collection de musique de Breitkopf et Hartel
/ faite a Leipsick au mois de Juin 1836.
8 Praeludio - con la Suite / da / Gio: Bast. Bach - underneath with different
handwriting Oohann Tobias Krebs? (1690-1762) - more probable that not from
him.): aufs Lautenwerck.
9
French tablature: Johann Christian Weyrauch.
3. THE MANUSCRIPTS 31
10
Copy: Johann Peter Kellner (1705-1772) cantor, organist, a contemporary adrn.irer
of Bach.He made copies of numerous Bach pieces between 1725 and 1726.
11 French lute tablature: Johann Christian Weyrauch, Becker's Bach collection,
Leipzig.
Modern keyboard sheet music: Carl Ferdinand Becker (1804-1877), violinist,
pianist, organist, music collector. He propagated the old music, mainly Bach's
musical pieces.
4.
Articulation
"The note heads in music indicate the exact value of notes; however,
their real values and the value of pauses which belong to them and serve
to separate the notes are not indicated.
(.. .) Nevertheless, they [the notes] are not all sustained in the same way
when played; even notes with the same rhythmic value can be played
quite differently.
12
,,Es darf nicht scheinen, als wenn die Nolen zus11111111en klebeten" - Johann Joachim
Quantz 1752.
4. ARTICULA rlON 33
We can also distinguish held and struck notes; in the case of held notes, the
majority ofthe note value is audible, and the articulation pause is shortened
accordingly, whereas struck notes have a very short value, which indicates
only the beginning of the note value, followed by a longer pause.
(.. .) Even trills are separated by short intervals, between the pressing
and lifting motion of our fingers. All of these short or long separations
are what I call articulation pauses, which belong to each note. "13
13
(Die Noten in der Musik zeigen priizise den vollstiindigen Wert jeder Note an; ihre
tatsiichliche Haltedauer jedoch und die Dauer der Pausen, die zu ihnen gehoren und
die dazu dienen, die einzelnen Noten voneinander zu trennen, sind allerdings durch
kein Symbol gekennzeichnet. (. . .) Trotzdem werden sie beim Spielen nicht a/le in der
gleichen Weise ausgehalten; sogar Noten von gLeichem Wert konnen ganz verschieden
gespielt werden. (. . . In der Ausftihrung bestehen a/le Noten, seien sie getrillert,
gestoflen oder auch nicht, teils aus dem gehaltenen Ton, teils aus Pause; d.h. daft sie a/le
einen bestimmten TeiL Schweigen enthalten, was zusammen dann den vollstiindigen
Wert der Note ergibt. Der TeiL, den ich das Aushalten oder den Ton nenne, steht immer
am Anfang der Note; der Tei/, den ich das Schweigen nenne, am Ende. Das Aushalten
kann, je nach Art der Note, verschieden Lang sein: die Dauer des Schweigens hiingt
von der Dauer des AushaLtens ab. (. .. ) Diese Pause am Ende jeder Note besti111111t
sozusagen die ArtikuLation und ist genauso wichtig wie das Aushalten; hiitte man sie
nicht, konnte man die Noten nicht voneinander trennen; und das schonste Musikstiick
ware ohne diese Artikulationspausen nicht schoner anzuhoren als Volkslieder aus der
Gegend von Poitiers auf LiicherLichen Dudelsiicken, die nur Laute und unartikuLierte
Tone erzeugen. Man unterscheidet weiterhin die Noten in gehaltene und angestoflene
Noten: die gehalterten sind diejenigen, die man wlihrend des groflten TeiLs ihres Wertes
hart, deren Artikulationspause de111entsprec/1end sehr kurz ist; die angestoflenen sind
im Gegensatz hierzu diejenigen, deren Haltedauer sehr kurz ist, sodafl sie nur den
Schlag der Note 111arkieren, und deren Ende de,nentsprechend aus einer liingeren Pause
besteht. (. . .) Selbst Trillerschllige werden immer durch sehr kurze Interval/e zwische11
Aufsetzen und Abheben der Finger auf der Tastatur voneinander getrennt: all diese
mehr oder minder Langen Abstiinde nenne ich in der Musik die Artikulationspausen,
die zu jeder Note dazugehoren. - Joseph Pere Engramelle 1775.
34 J6ZSEF E0TV0S: HOW TO l'LA Y .t&zcb-
These two quotations reveal much about the significance of
Baroque articulation. In summary:
the music is actually to be found between the slurs. The same can
be true of vocal articulation, where several syllables are sung on
the same note, and are divided by consonants, creating longer or
shorter 'silences', depending on the words.
'
Example taken from BWV 997 Sarabande.
=:u:
� � � ,-..
; �w
,...--:,
J�
g
IM j J J � j
,......._
[!J
� � � �_J_ �� 5
,......._
:;;!
I
F r
F r
.,
This free choice and momentary rebellion against the strict
rules governing fugal structures, in favour of adjusting to the
instrument's characteristics, reveals a lot about how musical
instruments influenced Bach's way of thinking.
mentality does not fit with that of Bach or the Baroque era as a
whole.
-�
1 Jp 1. r
J
�-
r r r r
6.
Melodic and Harmonic
Movement
First let us take stress. We have all come across single-stress time
signatures such as 4/ 4. The main stress is placed on the first beat
of the bar, then a lighter stress on the third beat, whereas the
second and fourth are comparatively unstressed.
Take a look at example (a). The second and fourth beats are
unstressed, as mentioned above. But only in comparison with
the first and the third quarters!
ln example (b), the second beat (2) is stressed compared to the
preceding quaver (la).
In example (c), the unaccented quaver (la) becomes stressed
compared to the preceding semiquaver (lb), which is unstressed here.
w I 2 3 4 llil1 la 2
�tJ J J J 11 t ) J £==-tl
[e" I
= Jla
lb 2
uB
[di) le lb la
*
2
�7 J
46 J6ZSEF E0TV0S: IIOW 10 PLAY aeb--
In the following example we can see that, in exactly the same
time-signature, the stresses can be redefined. The arrows show
where the stresses fall: upwards arrow = unstressed; downwards
arrow = stressed.
t i t
f r
i t i t i t
f r
The following example would not be a good solution of the piece
(the closing chord is unstressed):
t +
'51--
J I .J
work in the same way between two notes of the smallest value,
as they do between two full beats, or between longer sections
of the piece. The other important issue that needs to be clarified
is that time signatures were not placed in a score to �ark the
individuality or unity of the different movements within a piece,
but rather to make it easier to work out the note values within a
bar. Here I am referring to quavers and smaller values.
F F r r cr E3
'
The following musical interpretation would be completely
incorrect:
r r r E3 I r
r----1 r,
¥ F F f
I think that I have made my point. However, let me conclude that
when analysing a piece and looking for where the stresses fall, we
should not forget that neither the beginning of motifs, nor time
signatures, or crochets or smaller note values, will provide any
indication of where the notes exactly belong to.
�f1J�1fnpw11�NJF1;
L.---1 L.---JL.---1 L______l L.---1 L.---JL.---1 c___ _J
They are connected to each other like the links in a chain or the
pieces in a game of dominoes.
Baroque scores differ in many ways from the scores we know and
use today. This does not mean that Bach and his contemporaries
would have written down their compositions less perfectly than
the composers of our time, but suffice it to say that they only
wrote down essential instructions required by the performer
to interpret the intentions of the composer. Often the composer
himself was the performer, in which case the score contained
only the most crucial information. The music of the Baroque
period was standardized and did not mix with the musical styles
of previous eras, which was scarcely played. Composers could
not have imagined that they were writing their compositions for
future generations as well: Who would want to play these pieces
after the unique conditions they were created for had died out?
Therefore, they did not write more in the score than contemporary
requirements dictated.
how necessary it was to write in the score and how precisely one
needed to comment on the performance style at the tirne. 15
As we can see, during the period after Bach's death and in the
later Romantic period, audiences were not interested in hearing
old music as it had been intended to be played. Baroque music
was composed for church congregations, small groups of nobles
in courtyards or as chamber music to be played at home, not
for large, formal concert halls with hundreds of spectators. The
inner delicacy of Baroque music could not compete with the
compositions of romanticism and the audience's taste for new
"It is interesting- see the dates at the beginning of the chapter about articulation
- that most of the remained writings were born at the end of, or after, the
Baroque age (around 1740 and 1780). The reason is quite simple: it is needless
to write down what everybody knows. This becomes necessary only when this
knowledge is beginning to fade away ...
54 J6ZSEF E0TV0S: HOW TO PLAY a@-
colours and virtuosity. The gradual rediscovery of old music,
including that of Bach, entailed the rearrangement of these
compositions in accordance with the tastes of the 19th century.
Bousoni' s Bach Chaconne or Gounod's Ave Maria for Bach's
prelude are just a couple of the numerous examples.
Original:
t
tt:=::i:=: j
�·
Example:
� L: H
.,r t,J 11
1� 1 1\ l \
b. If the appoggiatura comes before a dotted note, it will receive 2/3 of
the main note's value, thus decreasing the value of the main note to 1/3.
Example:
c. If the dotted main note is followed by another note of the same pitch,
the appoggiatura receives 1/3 of the main note's value, while the main
note itself retains 2/3.
Example:
Example:
60 J6ZSEF EOTVOS: HOW TO PLAY t8zd-
Of course the above rules are just general truths, which can vary
according to the period, the composer and the characteristics of
the composition. However, it is true for music of all periods that a
good general understanding of the relationship of tension between
notes will help us to ascertain how to play an appoggiatura, even
if we do not know a great deal about the background of the piece
we are playing.
So, let us have a go! I hope that the following selection of examples
and my reflections on them will prove useful and inspire you to
develop your own thoughts about Bach's music!
10. EXAMPLES FROM COMPOSITIONS, EXPLANATIONS OF SCORES 65
Prelude
In the first section of the piece, dotted rhythms -a typical feature
of French overtures - should be double-dotted. (Double-dotting
is a particularly pronounced type of uneven playing)
At the beginning of the first bar the music opens with an octave
on the tonic, A, which leads to a chord in the second bar, which is
both subdominant and dominant, due to the combination of notes
used. It then returns to the tonic, again played as an octave, at the
beginning of the third bar. The opening bars of this Bach prelude
thus ends with the key strengthened, allowing the movement
proper to begin.
66 J6ZSEF E0TV0S: HOW TO PLAY i&zcb-
Let us examine the harmony in a bit more detail, by looking at the
subdominant and dominant notes:
r r 8
Played as follows:
r r 8
10. EXAMPLES FROM COMPOSITIONS, EXPLANATIONS OF SCORES 67
Or even:
r F
Or, we could even play it as follows, if we want to produce a
calmer end to the phrase:
Look back at the figure which follows the chord in the second bar.
[f we examine this section on the basis that Bach often applied
ornaments in such places, we begin to see what appoggiaturas
might have been used:
Original, as written:
&&r }t�-s r f i
�
r r 8
'·* •
>�
qj:Je E i I�r
�
,.,
And with double-dotting:
>,,.--.._
r F r I@f
�
)§�� f
Original movement:
10. EXAMPLES FROM COMPOSITIONS, EX PIA NA I JONS OF SCORES 69
The first two Ds in the 151h bar are octave leaps in the bass part
which bring the phrase to an end. This is a movement which is
also present in the first section of the piece and reoccurs several
Limes throughout the remainder. The next melody begins on the
E on an unstressed beat.
Original:
Interpreted:
Original:
,J IJw 1 1 5
r , , J 1 r1 , a w, a 1 ,1 J LJ tt
J J 3 iJ a e, J ; • 1.� #j j i
r
J J .J J J I J J J J j J IJ J 3 J ' ] I; n
'J
r , , ' �'L..J r , , c: E IP
J:>
2l£i I
72 J6ZSEF E0TV05: HOW TO PLAY J&zc4-...
With the implied parts written out:
II �,=o==.............. 7 7 n l, ,
10. EXAMPLES FROM COMPOSITIONS, EXPLANATIONS OF SCORES 73
Allemande
The appoggiatura in the 2
nd
bar would look like this, according
'
to the rules:
Original:
Written out:
'
first with the mordent in place, the second one without, in order
to show the pattern more clearly:
>
iI P
=
¥ f ¥' i I {251J1
�
iI
� P
=
i I4
¥ l ¥ 1 =?1
74 J6ZSEF E0TV0S: HOW TO PLAY acb--
According to the strict rules of counterpoint, the augmented
second interval is not permitted within a single part, although
this does not mean that examples of it cannot be found. Let us
look at two examples. The first one can be found at the beginning
of the 4t1, bar:
The reason for the existence of this interval here is simple: The G
sharp is the last note of the previous melody, while the F is the
first of the next.
In the second example, in bar 19, the first note of the augmented
second belongs to one part, while the second belongs to the next
part, if we write out the implied polyphony. In the version written
for a single part, the appoggiatura does not receive its proper
length from the dotted crotchet; however, in the polyphonic
version it is lengthened:
Original:
Written out:
10. EXAMPLES FROM COMPOSITIONS, EXPLANATIONS OF SCORES 75
r ..1l
Original: 40
J ;-=
If
") �
ro> r. #f ,
My suggestion:
r
� (j) �
4 0 4 0 4 0 4 0 4 0 4 0 2 0
1 J J�J�
3 3
�
ttf!? J J j � � � �
I _J-=
Courante
Suggestion for the appoggiatura:
BWV 995 Courante - bar 11
'
Original:
tr
��
),
i #r 1.h -)>
I�
r
M4i
r ��.
76 J6ZSEF EOTVOS: HOW TO PLAY f&zeb-
Written out:
¥ -�
Original:
Written out:
Gavotte I
Suggestion for articulation: By playing the first two crotchet
upbeats of the Gavotte in a light manner, using short notes and
leading towards the stressed beats of the next bar, the dance will
gain a spring-like, lively character. The typical gavotte-character
can be very effectively produced in this piece thanks to the
gavotte-articulation present throughout the dance.
10. EXAMPLES FROM COMPOS! I IONS, EX PLANA !"IONS OF SCORES 77
later...
at the end...
Gavotte II
By using the same articulation in the bass - as in the Gavotte I - the
two Gavottes become a unified whole.
F=:9°3 [F)931,(llip9 rn m I
3 3 .1 3 3
3 3 3
&t P? fP I
3
�r r �r r r
Ji
· .
78 J6ZSEF EOTVOS: HOW TO PLAY $c4--
Original:
Written out:
Gigue
Suggestion for articulation: By separating the dotted quavers from
the semiquaver or semiquavers that follow, the dance character
of Gigue can easily be created.
Original:
10. EXAMPLES FROM COMPOSITIONS, EXPLANATIONS OF SCORES 79
Articulation suggestion:
Original:
,_
J. .J.
#J----ln: - _j i
I Ir
C � b J r:- -J j �
,-
Written out:
d�hJ n .J.
d
J. jJ
S r: j- I�
-
1 Ir
r 1 �
80 J6ZSEF E0TV0S: HOW TO PLAY f&ia-.
Suite in E minor BWV 996
(On the guitar: E-minor,
possibly with F sharp scordatura,
some movements with D scordatura as well)
Prelude
The introduction contains important information about the
tonality of the piece, as do other Bach Preludes. Here I think it
is important to mention this, because the semiquaver figuration
covers over the musical progression to a larger extent than
usual, especially if we do not know where to look for it: (Tonic -
Subdominant - Dominant - Tonic)
The hidden polyphony in the movement may look like this: Notes
marked with * are those that belong to the triads which indicate
the T-S-D-T progression:
10. EXAMPLES FROM COMPOSITIONS, EX Pl.ANA I IONS OF SCORES 81
The exact points where the notes in these triads fall in the bar are
highlighted below. What it interesting is that within each of these
triadic groups it is the second (middle) note that falls on a stressed
beat, and it is the second (middle) note in the second group which
falls on the most stressed beat:
'!
f
Another interesting observation is that the same notes are used in
the opening motif of both the first and the second (presto) sections
of this piece.
f 1 fr f fu
itt w 1C r f I l
Opening of the Presto:
In the first part of the piece the "solo-tutti" parts alternate. The
solo part opens, then the tutti section dissolves this opening. Here,
the solo and tutti parts are marked. As every solo section should
end as a solo, the framed chords do not fit in this musical series.
Knowing that this manuscript was not written by Bach himself,
and that his other pieces are characterized by a logic and order, we
82 J6ZSEF EOTVOS: HOW TO PLAY i&zeb--
can safely leave out these chords, enabling us to obtain a unified
movement. We will come across other similar problems with the
manuscript of this work, BWV 996, in other places .
.olv
F f r iJ IUlll
Jr j:r:.....Jj Ifr
solo
Frr lffJ
tutti �chords}
j J j J J 11J J g.
I
#
'y
f
'/'
I V t._J' 8
,- i 5 J -I
solo
J
lutli
j qj
j 1Fl
I #W
f3 115
LJ r
solo
j j .J j j j J h 1[ffi
tutti
#
qEl •!
'
t;__J r
I
tPijLlp
(#)
_, .tr-1 ¥1
,.
I I
•
•
• •
I I I L:....J• I
• ©
-;
' ' I
-
- ff�
-·
t t t
1. .1
('Ir)
ol ,1 ':J-J"]. I
-
- -
- -
- -
r. �- •( •)
�3 2 . 2 .0 r:• r.
i
ti :r;
s r.
(5) t (5)
1-,;......:::i:::1:::i!::::!:::::=
86 J6ZSEF E0TV0S: HOW TO PLAY f&;.Cb--
Allemande
How many parts is this movement written for? This question can
be answered by playing the first section through until the end.
After doing so, the following parts become recognizable from the
texture of the music:
(the "4 - 3" written in the second excerpt marks a ritardando)
Original:
Suggested parts:
wfE f'J
Original:
f'i ) I : J J J J p 11;
10. EXAMPLES FROM COMPOSITIONS, EXPLANATIONS OF SCORES 87
The second and third parts of the sequence could look like this:
Original:
�wf
- 2
f 3
8282
(i§)
0 4
A short trill:
Courante
At the end of the first section we come across some part-writing
which is not easy to put into practice on the guitar. When
performed, in the majority of cases we hear something like the
bass stepping from the dominant onto a C sharp (the note in the
tenor part) and then back to the dominant. Musically, however,
this is a terrible solution. I cannot emphasize the importance of
the bass enough, from the point of view of both counterpoint and
harmony. In music, everything moves according to the bass. This
is especially true if we consider the ending in the bass part of a
bigger section of music.
' =II
'I
&1 �· m,pp
Original:
� r---r
As it would be played:
10. EXAMPLES FROM COMPOSITIONS, EXPLANATIONS OF SCORES 91
Gigue
Bach rarely wrote long figurations where two parts move in
parallel. If we look at the following example, especially if we
know the manuscript does not originate from Bach himself, we
may suspect the copywriter of" simplifying" the scoring in order
to make it easier to read, as, in reality, �his section would include
the crossing of parts in a Bach manuscript:
4th moif
t
• 0 •
8 8
Prelude
Here, the A to G movement is interrupted by a semiquaver pause,
which, if held for longer, will create even more tension in the
melodic movement (although not in the harmonic movement).
This is not necessarily so, but it is not foreign to the Baroque way
of thinking. (1)
Original:
���/11.¥•PTIF IF
[C n:; 1 r vl;:; n
8 8 8 8
s°
·zwsi::
With the parts written out:
1
94 J6ZSEF E0TV0S: HOW TO PLAY i&zcf>--
Original:
i?�
" ,..
1,
l"
8
•
11
8
f[PfW{w Pmi[P-frn1ffi
'
s
•
r-
•
I•
8
, i l"
1•
•
Original:
If we jump back a few bars, we can find the same in the following
example:
Original:
BWV Prelude-ending
Fugue
We may think that there are already enough parts in a fugue
to justify us not going looking for implied polyphony in such a
piece. However, there are places - as can be seen in the following
example - where, if we read between the musical lines, we can
identify some other dimensions to this piece:
u I f' I
-
I\
:
-· ...
E r.-r
'u ..... .....
fo
©
98 J6ZSEF EOTVOS: HOW TO PLAY Jllzc4-..
Written out:
Sarabande
The repeated interval jumps in the part written below suggest
implied polyphony:
Original:
• • • 1jW�1�:�1
mPfffiii:
r r -ft · ·· LJ
8 8 8 8
10. EXAMPLES FROM COMPOSI l"IONS, EXPLANATIONS OF SCORES 99
Written out:
Original:
The bar-long 'm,,jor dwrd towards the end of the first part dies
away quickly wlwn pl,1ycd on the guitar. The following can be
found in the Frcn h lute labialure of Johann Christian Weyrauch:
In Baroque times, this type of ending and other similar ones were
"sustained" artificially on instruments which cannot hold a note
for long periods, for example by breaking the chord up. In these
cases, the performer could choose what figuration to play. Being
aware of this fact, we might well play something which resembles
the following, if faced with this choice:
'�'., r rJ
2.
Gigue
The appoggiatura might be played like this, thus strengthening
the dance character of the piece:
Original:
10. EXAMPLES FROM COMPOSITIONS, EXPLANATIONS OF SCORES ]0I
Written out:
Another appoggiatura:
Original:
Original:
·11
Appoggiatura:
Double
In this movement an example of implied polyphony can also
be found. It is harder to perform than simply playing the parts
which are 'visible', but once we have a go, we will soon get
used to playing it this way. One of my students described the
acoustic difference between these two styles as similar to the
visual difference between two and three dimensional pictures. I
will leave it up to you to decide, then, which is more beautiful, a
painting or a sculpture ...?
BWV 997 Double - beginning
Original:
' ; ' f. �.
As we can sc, in Lill' bollolll line of lhe previous example, the 2nd
bar of the bas part in Llw original manuscript cannot be played
on the guitar. We have lo find another solution. It is important to
keep the initial C in lhc bass part so as not to interrupt the flow
or the upwards movement of the music:
1. Original:
1. 2. 3. 4.
,
3 d g j 0 D d d ; 1 ,a 1 :f d J #� ]
<2)
g #@ J g
1
r. ' ! '
-
With the parts written out:
-
[i - .,,,,,,..__
=--
..,. ., #r :.t· 7 #r:.i:• 7 F
�·
F r·
The piece continues with more polyphony, which can also be
played on the guitar with a good fingering.
D #� D ; 11d � � d
4-
� � 9� �� � �
� [Jr.
� � fi� � �
9 -�
�
I
8 � 8
II 4 0 t
4
I I 0,=::::;4 :::::;::::::;:::::;:::;;i
....
1• 8
8
106
,� � � 'F
The b leads to c
; ;����;��
$
:; !
8
�
8 q·�
8 t 1
•
8
-2
The f leads to e
�
7 7
·� 8
7 7
��
d �d d ; � s 3 • � I-� � l lt,; s d •
·� k'
� ·�
-�
:i r
I
,,3 ·� 3i.3 d d w 3 3
8 �
tt/ J3J
:J
,,
JI
� � I,� � � � §
II�
8 7 8 r. �
7
J Q J 1d � Q d d d '. t=M
8
� ol
d
31
]
3 .�
�
8 8
�
8
·r8
j.
8 8··· ·-····· . .7 ..... f,
:Fn l
8 8 8
8 H
108 JI I 11 I• 11 l'<h: llllW 10 PLAY J&,zc4-..
L
g rr
[!; 7� ,�l;srn� �1;:'1
[
10. EXAMPLES FROM llMl'll�I I ll•N•,, I• 1'11\NI\ I IONS OF SCORES 109
Prelude
Layers of implied polyphony are once again present in this
movement. The following example can speak for itself:
r
-r::::-
f�M$��$�-- -�J-. -;� r-� r
:� � J
.,-Jm .---r J • Jm JJJJ
110 1<•1. II l1JIV11'1 llllW 10 J'LAY.t&z@-..
or
·�
,•n � D {JjJ
�- fP iJJ
�- I_p2 JJJ
�- _p3 .J�- JJ IfE
r , r , r , r , r ,
1
With the parts written out:
,----, ,------;i
,----,
r
�
r i { i t· r i �-
r i �-
r i
Fugue
At the beginning of the Fugue, it is easy to recognize the type of
melodic movement I discussed in the chapter called "Melodic and
harmonic progressions in music". Wherever we look, and no matter
how large a section of music we look at, movements that start on an
unstressed beat in the bar always step onto a stressed beat.
Ji j .l � J
r i
I 0�11
-�----���--Jl
112
Original:
=:1:::::1�=
1 r r
= ==1=:1W-; :� l
With the parts written out:
...
10. EXAMPLES FROM CoMJ'()�I I l(lNS, EXPLANATIONS OF SCORES I I;\
ii
�:: ��==�1
�=
Allegro
At the beginning of the movement, in the 3,ct bar of the bass part, it
is impossible to hold the B in 1st position, and there is not enough
time to change to a higher position. Or is there? Here is po sible
guitar fingering for this part:
114 Jill 11 1111 V11 ° 1 llllW IP l'I.AY J:ilzcb--.
Can the C sh,11p in tlw }'" 1 b.ir of the bass part and the E, which
imm c.liatt•ly follows 11 in the soprano, be played on the very same
string? The <1bovt' fing •ring is possible on the guitar due to the
articulation shown b ,Jow. The guitar fingering thus depends on
the technique used in the right hand:
'-..._.,· -
As the C sharp in the bass is short, there is time to play the next
note on the same string, so the higher position for the next B note
can be reached.
4
r
BWV 998 Allegro-bar 4
111f J
J j I,,..
.J
-
-
� t...
With the parts written out:
10. EXAMPLES FROM COMl'O�I I JllN',, i:\J'I.ANATIONS OF SCORES 115
Original:
Original:
116 , .. ,.,, j 11\1!•, IIPW ro PLAYJ&;c4--..
rl�.
�� m � 4�.JH:=J l J J j
t LI r t..J
BWV 998 Allegro-from bar 34
Original:
J J j J lj J J J
j
i V
With the parts written out:
[�::: r____r__r -
f�
- -
Original:
r r rcr rcr r
11 1.::
10. EXAMPLES FROM Co�11•o�I I ltlN�, EXPLANATIONS OF SCORES 117
[�
With the parts written out:
: r r r_:J::
J
: ;/
3 3
Original:
Original:
'»u 1 J $ ij J I j J ; 5 � J IJ J $ J4 J IJ J,J 3 .J J I
j
� q� � c r r
r c r r r r r____r.........r r. r j
With the parts written out:
; ". --- -
fl. ....... - -
,.., = - -
p c r r
-
� � �
; fl. -
". Fr=;
,...,
r c r r r r r rr r:.EJ
BWV 998 Allegro-from bar 57
Original:
10. EXAMPLES FROM OMl'(P,IIIONS, tXl'LANATIONS OF SCORES J 19
Original:
t,. . ... . .
..,
fl. � .F:n. .F:n. .F:n.
i I r r r
BWV 998 Allegro-from bar 73
Original:
... and finally, one last example: BWV 998 Allegro - from bar 81:
Original:
10. EXAMPLES FROM 'll�ll'll�lllllNS, EXPLANATIONS OF SCORES 121
Unfortunately, it is not too nice, but the only possible way to play
it on a 6 tring guitar is:
�· �·illfmgp1!J
<J) <J) r
10. EXAMPLES FROM OMl'\lSI 11\lNS, ·XPLANATJONS OF SCORES ] 23
Violin version:
124 1(1/ 11 1111\11•, 1111\\1 1(1 l'l.AYJ:8zc:4-.
The guitar version, here in G minor, with the mistaken note from
the lute tablature ...
.,
r
... and the violin and organ versions, where the mistake has been
corrected:
Ir Wl' pu L Lhc "a" sign one string lower on the lute tablature than
ilH misl,lkL'n position, we will produce exactly the same sound
10. EXAMPLES FROM �llMl'<l'>l I IPN�, EXPI.ANATIONS OF SCORES J 25
The original lute tablature and the (poor) bass-violin clef solution:
126 J(l/Sl!I, i,()J'VOS: HOW TO PLAY acb--
� ; ::·f;: ��� I
Naturally, the part marked with a dashed line begins with a
crotchet, and after the change of parts the bass answers as follows:
i ni J ;.
'-,--------�
E'.Jr r r #�
l ............................. .l
thema counterpart
We should also add that Bach did not write out any chords. Let
us take a look at this section in the violin and subsequently in the
organ version:
First of all let us look at a mechanical solution for this part, which
is often used on the guitar:
#l � 1 � d: � #l �J 1 � � J d J.
! = c r)fr= rr= rr= r= r)Lg:£!
4.�rr = r= r= r = r= r= r = r=3
q� �
r---rr r r r r r ,-
r r r
���J = �J=�:��.
-{rrrr r r rr'-{rrrr rr rrr
Here are the two parts which answer each other, without the
octave difference. This is what we should hear when this section
is played:
The wrong note in lh' I ult' labia lure (once again in the bass-violin
key version):
I I I I I I I I
I I I I I r rr 1 I I I f
Original:
Original:
�!¢rm�lvW1�tbpiiU
The implied polyphony:
On the basis of the violin and organ versions, we can ignore the
well-known dotted rhythms in the lute tablature, as were added
to the piece by J. Ch. Weyrauch, and not by Bach himself. By doing
so, we restore the movement of the theme in this piece.
11
rnm
,m
� '
t...t....r
l ..
, rr I"' i
®
134 J6LSI I I() I VII',: lltlW 111 l'I.AY aa-.
Suite in E major BWV 1006a
(E-major on the guitar, possibly with an F sharp scordatura)
Prelude
Let us play around a bit with the beginning of the Prelude: What
kind of implied polyphony can we recognize here? If we split the
beginning of the piece into three instrumental parts, we discover
that two of them are closely related to each other, or even identical,
and they echo each other at an octave interval from each other.
The opening figure is different but is still comparable. The aim of
the melodic movement, which is to lead towards a stressed beat
from an unstressed one, defines where the two parts should be
divided. If we play out the parts in the manner suggested below,
it becomes easier to understand where certain notes belong:
I\• H ...
��� �.;..
., 7 y .....
-"
1-.J fl 7 f f
� �
- --
I\• H /"
.,
r r
In bar 17, the harmony of the next main musical idea begins.
Where the harmony belongs, as well as its place in the musical
process, can be better understood if we augment it and remove
the arpeggio movcm nt:
10. EXAMPLES fROM 'oMl'tl�l I lllN�, EXl'I.ANATIONS OF SCORES 135
enen E3L1{gfjE[j
rf
ft*-riv52ti41�521
Two clear parts can be distinguished in this section. The first part
stretches from the tonic to the dominant (E-A), then a part, which
is twice as long, leads back to the tonic. This asymnwlry c,111 be
136 J11;:s11 1111111• 11111V 111 1'1.AY J;8ic4--
,-u#u 1 J J J J DJ D IJ
�:1rrrf::#A IJ
10. EXAMPLES FROM l.'ll�ll'll 11 l(IN�. EXPLANATIONS OF Seo RES 137
=f¥tfrr r Gr n It
r
or
The reason is simple: This slur ties such notes or groups of notes which
do not belong together from the point of view of melodic progression.
The first note in the slur is actually the closing note of the previous part,
while the second note is the first note of the following part!
Loure
The interpretation of the Loure is always a matter for much
debate. What was written about this dance in the Baroque period?
The Entree, the Laure and the Courante should all be played pompously; and
the bow should be lifted between each crotchet, whether it is dotted or not.
(Qunntz)
Thefirst beat of every bar should be emphasized more than t/1e s1•co11rl 0111•.
(Hm.,.,r1nl)
138 1111 Ii 1111V11, 111>\\'T<ll'I.AYaa-
Laure: I\ 1mrlirn/111 s111:,;i11s slyle i11 which, where two notes have the
same vn/11e, suc/1 11s lwo crolc/1els, lwo quavers, etc., the first of these
is receives 111ore I i111e 11111/ nccen t, without actually being dotted or hit.
(Brossard)
J, tr
.,
, .b y
I
),J J J, Ji; J -. _.rn
•
Oricinal:
r r.
The suggested aticulation and appoggiaturas:
r
,�1'i fillIf ill IfP r,£P I_[DJ � ,J 1•1
Here is a possible interpretation of the slurs, seen here only in the
leading bass part:
Bach started writing in the slurs in bar 10, and then in bar 12 he
stopped, possibly because he thought that the parts were clearly
divided due to the bigger difference in intervals. He continued
writing in the slurs from bar 14 but only on the first four notes,
after which there are no slurs written in the part. The first four
notes of bars 14 and 15, which contain the same figuration, may
have been intended to be played by different instrumental parts
because Bach wrote in the slurs in one case, but not in the other.
The above solution is also based upon a certain call and response,
where the parts answer each other.
142 Ill 11 I II 11, 1t11W 111 l'I AY J:8,ic4-_
Tlw highlighlc•d p,11 ls 11•1!•1 lwn• lo the first call and response:
f
... and here to the second one:
Ir
If we keep the lower part of this detail and add the upper part of
the violin version, then we will achieve a part which is playable
and looks like this:
W, 1 e L F r t F fil I f t f F t c fu ! r L f f [f fu I
#
11
Menuetl
The first part of the appoggialur.1 in th' Mcnuet I probably suits
the character of the movement bell •r if played short. The other
appoggiatura, however, sounds equally good when played for
longer.
.-
r- 1--r
Menuet II
The two appoggiaturas at the beginning of the movement go well
with each other if the second is not adjusted to the crotchet but
rather reinterpreted, as part of the polyphony and adjusted to suit
the movement of the upper part. As a result, it will receive almost
half the value of the note, just as the first appoggiatura does:
'*' ,.p,r
A suggestion as to how to play the appoggiaturas:
n JJJJ p
*"'
.J J 1 I JF J t
t t t t 'f° };
.J J n 1f¥(}-44D J J J J I jz
)
t t t t fj t r
In bar 12 anothl'r appoggiaturn can be found, which can
strength '11 llw i ndqwndl•nn• of the part , if the note-value it is
given is n•ll'v,rnl In ih nwn l,1yl'r in the part-writing:
10. EXAMPLES FROM CoMl'll'd I lllN�, EXPLANATIONS OF SCORES 147
Original:
Bourree
At the beginning of the Boum�e manuscript, out of the dynamics
written in by Bach only the first one is marked to coincide with
the slurs. The rest are all written at the beginning of the bar, but
of course they also refer to the upbeat. The original manuscript
looks like this:
Here, the upbeats in the soprano line contain three notes. Let us
look at how the melodies answer each other:
o/ 1" 1 p , , , J ,#, J J J )
j
10. EXAMPLES l'HOM \lMl'll I I IONS, EXPLANATIONS OF SCORES 149
,r
BWV 1006a Bourree - bar 7 with the upbeat
4•jlttl .CT2 -
J J J r J J :JdJ J JJ )
i t r r i l
Gigue
And one final suggestion to add to the examples:
The appoggiatura in bar 4 of the Gigue may receive two thirds of
the value of the main note:
f d j j J i j ....t·o J
#
11 1 )
r
A suggestion as to how to play the appoggiatura:
�11.
Postlude
J6zsef Eotvos
12.
Bibliography
J. S. BACH BIBLIOGRAPHY
EDITIONS OF BACH'S WORKS
Johann Sebastian Bach, Werke. Edited a Bach-Gesellschafl. L •ipzig,
Breitkopf and Hartel, 1851-1899. Kiegandzitand: 1931 New 1•dilinn:
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6.WORKS
GENERAL
Butler, G. G.: ,,J.S. Bach and the Schemelli Gesangbuch Revisited." In:
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und Technik von 8.:tchs m •lotlis her Polyphonie. Bern, 1917 (1946).
Lenz, Chr.: Studicn zur Satzlechnik Bachs. Untersuchung einiger vom
Erscheinungsbild der Vokalpolyphonie gepragter Kompositionen.
PhD Dissertation. Heidelberg, 1970.
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Special Emphasis on J. S. Bach. Princeton, 1978.
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1982.
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1985.
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35-51.
Schulze, H.-J.: ,,Wer intavolierte Johann Sebastian Bachs
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J 2.111111 l(H,1(/\l'IIY 159
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zu Bachs Spatwerk. Wiesbaden, 1968.
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Emery, W.: Bachs Ornaments. London, 1953.
HARPSICHORD AND ORGAN WORKS
Aldrich, P.: Ornamentation inJ. S. Bach's Organ Works. New York, 1951.
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Breig, W.: ,,Bachs Goldberg-Variationen als zyklisches Werk." In: Archiv
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Damman, R.: Johann Sebastian Bachs ,,Goldberg-Variationen". Mainz,
1986.
Eichberg, H.: ,,Unechtes unter Johann Sebastian Bachs Klavierwerken."
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Ernst, F.: Bach und das Pianoforte. Frankfurt a. M., 1964.
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162 J0/•,1 I I II I \'II•,: 111 >W 111 l'I /I Y J2lzc.&-.
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I '.l., 111111 IIH,R/\l'IIY I(, I
FRANK-PETER DIETRICH
J. S. Bach:
The Goldberg Variations
J. S. Bach:
The Art of Fugue
www.eotvos.net
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