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Bach, Johann Sebastian : Applicatio C-Dur BWV 994

Work Overview

Music ID : 2274
Composition Year:1720 
Instrumentation:Piano Solo 
Genre:Various works
Total Playing Time:1 min 00 sec
Copyright:Public Domain

Commentary (2)

Author : Asayama, Natsuko

Last Updated: June 1, 2008
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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

The first piece entered in the Klavierbüchlein für Wilhelm Friedemann Bach. Meticulous fingerings are provided.

His second son, C. P. E. Bach, proudly recounts that his father, J. S. Bach, employed new fingerings, such as passing the thumb under the hand to shift hand positions (Versuch über die wahre Art das Clavier zu spielen, Part I). In traditional 17th-century playing, the hand typically moved across the keyboard in small increments, primarily using pairs of fingers. This approach centered on four 'fingers,' with the 'thumb' (often given a distinct word from 'finger' in various Western languages) used only very subsidiarily. This is clearly evident from the '3-4-3-4' indication given for the simple ascending passage at the beginning of this fingering exercise. In other words, Bach was still teaching his son traditional fingerings in this exercise. It is possible that hand position changes involving the thumb were used restrictively in pieces with complex keys, i.e., those frequently using black keys, or compositions with many accidentals.

Even if the fingerings appear old-fashioned and inconvenient at first glance, following their instructions reveals Bach's intended accents and phrase divisions clearly. The two-finger pairing technique is a rational method for instruments where volume cannot be changed, such as the organ or harpsichord, and where articulation constitutes the entirety of musical expression. While it may not be suitable for the heavy, wide keys of modern pianos, and one could argue that for such simple pieces, the choice of fingerings makes little difference to the outcome, these fingering indications should be regarded as valuable historical documents that technically convey the sound of Bach's era.

Author : Ooi, Kazurou

Last Updated: October 30, 2023
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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Although a short piece of 8 measures, it becomes much clearer when divided into 2-measure sections. In measures 1-2, there is an ascending C major scale, while the left hand plays descending chords in 3rds. In measures 3-4, the left and right hands switch roles: the left hand plays an ascending scale, and the right hand plays descending chords. One may consider this a modulation to G major, or simply a borrowed chord; however, these 3-4 measures contain elements of G major.

Moving on to measures 5-6, the right hand now plays a descending scale, and the left hand plays ascending chords; these two measures are in A minor. In measure 7, both hands follow a descending scale, containing elements of F major. In measure 8, a cadence (final form) is reached, returning to C major.

From these observations, it is evident that the left and right hands alternate, passing the musical material to each other like a baton. With this understanding, determine the dynamics. Try varying the volume and timbre every two measures.

Furthermore, when repeating, ensure not to play the same way as the first time; instead, highlight different voice parts or vary the timbre and volume.

Writer: Ooi, Kazurou
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