o Pn Ompiled and edited by

Nancy & Randall Faber

with Robert Hcath

Artist
SELECTIONS FRoM THE NoTEBOOK FoR

ANNA MAGDALENA BACH

ori

erimeate

FABER
PIANO ADVENTURESS
ExCLUSIVELY DISTRIBUTED BY

HAL LEQNARD
TABLE OF CONTENTS

March in D (Helm* 1) 14
.....
C.P.E. Bach
March in G(Helm 1).. 24
C.P.E. Bach.
Minuet in Cm (BwV Anhang** 121)....... composer unknown.
Vn..... 21

Minuet in Dm (BwV Anhang 132) composer unknown...... 12

Minuet in G (no listing) Attr. Boehm 22

Minuet in G (BWV Anhang 114) Christian Pezold

Minuet in G (BWV Anhang 116) ... composer unknown . . . . . . . 16

Minuet in Gm (BWwV Anhang 115) .. Christian Pezold ......... 10

Musette in D (BWV Anhang 126) composer unknown 18

Polonaise in Gm (Helm 1) C.P.E. Bach 26

Polonaise in Gm (BWV Anhang119).. composer unknown.... 20

About Baroque Performance Practice

About the Baroque Period

About the Editing 29

About the Music 6

About the Notebook for Anna Magdalena Bach .... 5

Dictionary of Musical Terms 28

Helm refers to the catalog of the works of Carl Philipp Emanuel Bach compiled by E. Helm.

BwVis the abbreviationfor Bach-Werke-Verzeichnis, which means "eatalog of Bachs works,"

Schmieder. Anhang means appendix.
specifically the catalog compiled by W.

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ifiiiinlulilsilllilu o il
ABOUT THE B AR0QUE PER1OD

An elaborate and highly decorative

style of
art and architecture became
popular in the
1600's. This style, which included scrollwork,
curves, and ornamentation, was called
baroque. The music of this time period also
came to be known as baroque, since it shares
the characteristics of ornamentation and
complexity.
A prominent style of baroque music pairs a
melody line with an equally important bass
line. This style of writing will be found
throughout the selections from the Anna
Magdalena Bach Notebook.
Johann Sebastian Bach was the most
important of the baroque composers. His
death in 1750 marks the end of the baroque
period.

ABOUT THe NOTEBO0K FoR

ANNA MAGDALENA B ACH

In 1725 Johann Sebastian Bach gave a

handsomely bound music notebook to his
second wife, Anna Magdalena. Anna
Magdalena was also a musician. She sang
occasionally in her husband's churches,
played the harpsichord, and was in charge of
the musical instruction of their many children.

Bach filled the opening pages of the notebook

with copies of two of his partitas and left
plenty of pages for musical additions. As time
Etching, left: The Bach family passed and the children grew, these pages were
making music together. Notice gradually filled in with favorite songs, chorales
the serolls under the mantle and keyboard pieces. A number of people
and the curved legs of the made contributions to the notebook. There are
keyboard instrument. pieces by Bach, his sons, friends of the family,
These are examples of and some unidentified composers perhaps
even Anna Magdalena herself.
baroque design.
The selections presented here are taken from
the easier keyboard pieces found in the
notebook. Bach's second son, Carl Philipp
Emanuel, who would grow up to become a
famous musician himself, wrote three of the
pieces. The others are by a variety of
composers and were probably favorite pieces
of the Bach children.
FFI049
 A BOUT THE MUSIC

which popular
were during
o the pieces in this collection are named for dancescould be immediately recognized
1he music that accompanied these dances
e. identified each dance. Many composers,
character or rhythm that
nciuding the distinctive
e OtBach, wrote dance pieces that were never meant to accompany dancing, but
Were to be played just for the sheer enjoyment of the music. Composers often placed
several dance pieces together in a single composition called a dance suite.

Minuet
The It
minuet was a
popular dance among the nobility during the 18th century. wasa
courtly and genteel dance in 3/4 time, characterized by bowing and polite gestures. Although
the music to the minuet usually followed a standard form, the steps often varied and could be
very elaborate.

Polonaise
The polonaise is named for its country of origin, Poland. It began as a country dance, but
later developed a more stately character. A polonaise is always in 3/4 time and often
has a slight emphasis on the second beat of the measure.

Musette
Musette is the French word for bagpipe. Keyboard pieces called musettes tried to imitate
the bagpipe sound, especially the bagpipe's characteristic drone.

March
Though not technically a dance, march music provides a steady beat so that marching
soldiers can keep in step. Marches are used for parades, pageants and military processions.

A typical family of the

baroque period making
music at home.

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ABOUT BARO QUE PERFORMANCE PRACTICE

The pieces
contained in the Notebook
for These
Anna instruments Bach would
Magdalena precedcd the originally
invention ol tnebeen
played on the harpsichord or clavichord. have
piano

harpsichord clavichord

Articulation
Articulation refers to the connecting and detaching of notes. Since the harpsichord and the
clavichord are not capable of a wide range of dynamics (see their entries in the dictionary on
the inside back cover), the baroque performer must use subtle articulations to make the music
expressivve.
Baroque composers supplied very few articulation marks since performers understood tThat
they were to follow certain musical conventions (customs or rules) of articulation ana
phrasing. In this edition, the editors have provided sufficient articulation marks to convey the
baroque conventions, while still leaving room for individual
preferences.
Where no
slurs are given, the
performer may choose to slightly detach the notes or to group
some notes into a slur. There are usually several valid performance possibilities. Generally,
unslurred quarter notes are played detached, and stepwise eighth notes are played legato.
Dynamics
Baroque composers rarely included dynamic markings in their music. There was, however, a
general assumption that the performer would begin forte if not otherwise marked. Keep in
mind that a forte on the harpsichord is not nearly as loud as on the modern piano.
Dynamics should be chosen that complement the character of the piece.
It is effective to use dynamic changes to show contrast. For example, the performer may
choose to change the dynamic during the repeat of a section. (This type of dynamic contrast is
shown in this edition as -p.)

Ornaments
Ornaments may be played or omitted according to the skill of the performer. They may also
be added, particularly at cadences.
These are the common ornaments:
the trill (wor r) the mordent ( ) theappoggiatura ( )
13 A 3
played played played-
as as as

begins on a note above
and plays 4 notes or more
All ornaments:
begins on the principal note
and plays the note below
looks like a grace note but
plays
on the beat and shares the
duration of the principal note

begin on the beat (not played before the beat)

are slurred to the principal note
are played
very (except
rapidly the appoggiatura)
Don't try to count out the rhythm of a trill or mordent - it is not countable.

FFI049
8

Minuet in G
Christian Pezold
(1677 1733)
BWV Anhang 114
IGracelully ( 321)

S-P

13

3)

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 ir

25

29

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 Minuet in Gm
Christian Pezold
(1677 1733)
BWV Anhang 115
Elegantly )
(4)

13

Because of the stepwise descent, the ornament may begin on the principal note "A" instead of on the
"B." upper auxiliary note

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 17

21

(
25

(42)
29

[If played as a set, repeat the previous minuet.]

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 Minuet in Dm

Composer unknown
BWV Anhang 132

(9

(3)
234

2.

10

This ornament iscalled a Schleifer, or "slide." E

written played

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(

Steven Keene virginal, I668

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 March in D
G.P.E.Bach
(1714-1788)
Helm
Moderato

(1)

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13 (

16

19

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 16

Minuet in G

Composer unknown
BWV Anhang 116

13

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 17

r
21

26

36

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 18

Musette in D
Composer Unknown
BMV Anghang 126
[Lively, but not too fast]

myp

(
Sim.

(5)
3
12 (3)

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 19

15

(
Cresc.

(
22

25

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20

Polonaise in Gm
Composer unknown
BWV Anhang 119

Stately
(2)

(61 S-P

5
3 2 1 3 4

3 2

(1)
9

(2)
3
13

indicates emphasis, not necessarily to0 short.

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 21

Minuet in Cm
Composer unknown
BWV Anhang 121

f-p

(
(
15

( 9

( cresc

(2

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22

Minuet in G

Attributed to a Mr. Boehm

)

5
3

6)

3 2

14 4)

a) Posibly with appoggiatura b) Posibly C$

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 23

18

21

3 2

25

5-1
(1)

28 1 2

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24

March in G C.P.E. Bach

(1714 1 788
Helm i

2
|Lively

32

r
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 25

10 5

13

16

cresc.

3132
19
12 1

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 26

Polonaise in Gm
C.P.E. Bach
(1714 1788)
Helm i
Animated]1
(2)

3 2

(8)

10 A

PoBnibly C

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