Johann Sebastian Bach is the grandmaster of counterpoint and arguably the most influential figure in Western music history. But for many pianists, approaching his works can be intimidating. From the intricacies of the fugue to the controversy of using the sustain pedal, understanding the logic behind the notes is the key to mastery.
In this video compilation, we explore the history, theory, and practice techniques required to bring Bach’s music to life, culminating in a full performance of his Toccata in E Minor.
The Well-Tempered Clavier: A Tuning Revolution 00:21
To understand Bach’s 48 Preludes and Fugues, you must first understand the term “Well-Tempered.” In the early 18th century, keyboard instruments used specific tuning systems that sounded pure in some keys (like C or G major) but sounded horrendous in distant keys (like F# or C#).
Technicians eventually developed a “well-tempered” tuning—a compromise that allowed all keys to be playable without re-tuning the instrument. To celebrate this technological breakthrough, Bach wrote a prelude and fugue in every single major and minor key—twice.
The Chorale Connection 04:14
While Bach’s preludes and fugues can sound incredibly complex, they share a DNA with the simple four-part chorale. Whether it is a dense fugue or a rapid prelude, the music is fundamentally built on the voice leading of Soprano, Alto, Tenor, and Bass.
When you strip away the ornamentation of a prelude, you often find the same harmonic structure used in hymn writing. This structure didn’t just stop with Bach; it forms the foundation for Beethoven, Brahms, and almost all Western music that followed.
The Great Debate: Should You Use Pedal in Bach? 11:31
Bach never wrote for the modern piano; he wrote for the organ and other keyboard instruments (clavier) that did not have sustain pedals. This leads to a debate: Purists say “no pedal,” while modernists argue Bach would have loved the color it adds.
** The Verdict:** You can use the pedal, but not the way you use it in Chopin.
Chopin: You use the pedal to connect notes that your hand cannot physically reach.
Bach: There are no notes written that the fingers cannot hold. Therefore, pedal should be used only for color, not for legato.
Practice Tip: Practice all Bach pieces without any pedal first. Once your fingering and connections are secure, add small touches of pedal for warmth.
The Secret Power of “Extreme Slow Practice” 17:38
If you have a piece that is feeling rusty, or one you can’t quite get to a professional level, extreme slow practice is the solution. When you play fast, imperfections blur by. When you play extremely slowly, it is like putting your playing under a microscope.
This technique forces you to be deliberate. It moves you off “autopilot” and forces your brain to re-engage with the score, solidifying your memory and security.
Why is the “Italian Concerto” a Concerto? 22:09
A concerto is defined as a soloist (or group) playing with an orchestra. Yet, Bach’s Italian Concerto is for solo keyboard. How does that work?
Bach utilized the “Italian Style” of the Concerto Grosso by writing specific dynamics into the score. He created the illusion of an orchestra by juxtaposing loud (forte) sections representing the full orchestra (tutti) against soft (piano) sections representing the soloist.
Anatomy of a Fugue 25:35
A fugue is a composition based on counterpoint—the interweaving of independent melodic lines. It is similar to a “round” (like Row, Row, Row Your Boat), but far more complex.
The Subject: The main musical theme.
The Answer: The subject repeated in a different key (usually a 5th higher).
The Counter-Subject: The melody played simultaneously with the answer.
Bach manipulates these themes using mathematical precision—playing them upside down (inversion), backwards (retrograde), or at different speeds.
Performance: Toccata in E Minor (38:02)
To truly understand the emotional power of a fugue, you must hear it in context. We end this video with a performance of Bach’s Toccata in E Minor. It is an emotionally charged work that concludes with a brilliant three-voice fugue.
While the analysis is fascinating, remember the most important rule: Listen to enjoy. You don’t need to analyze every measure to feel the awe of how these separate lines weave together to form a magnificent whole.