Download as pdf or txt
Download as pdf or txt
You are on page 1of 19

First Lessons in Bach

[Book 1]
J. S. Bach
Contents:
1. Minuet - 2
2. Minuet - 3
3. Minuet - 4
4. Polonaise - 5
5. March - 6
6. Minuet -7
7. Minuet - 8
8. Minuet -9
9. March -10
10. Minuet - 11
11. Musette - 12
12. Bourrée - 13
13. Musette - 14
14. Gavotte - 15
15. Minuet - 17
16. March - 18

Score is derived from IMSLP


Link: https://s9.imslp.org/files/imglnks/usimg/e/ee/IMSLP302296-PMLP489228-BACH-Carroll_First_Lessons_in_Bach_PF.pdf

2
1. Minuet


A study in accent and in the correct timing of beats

  
     
                
Allegretto   = 60
5 3 4

 
        




  

                 
   
2 1 5 3

           
  


3 4 2 4
1

             
     
 
    
    
5 4 4
4 1

  
            


1 3 2 1 2 1 2

        
            



3 1 5 2 1

               
  

 


3 4 2 1 3 2

   
              
   
2 3 1


    
   
    
 
  
3 3 1
 
3
2. Minuet


A study in accent and in obtaining a proper balance of tone


            
   
Allegretto   = 63

 
4
5
3 2 2

   
         


2 5

       
   
       
4
5
3

    
          


1 3 2 52

        


               
  
4
3 2 4 1
3 1 4 2 1

      
              
   


1 3 2 1

           
      
   
1
2 1 4

              
   

 


2 1 1 4 1

  
                   
     
2 4 3


1

       
           

3 1 2
 
4
3. Minuet


A study in the arpeggio of the Common Chord.(closed position)

                
Animato   = 69

         
2
3 4 4 5 4 3

           
         


2 4 4 3 3 4

           
            
4

        


     


2
4

      
         
       
   

5 5 3

  
  
               

  
3


3 2 5 3 4 2 1 2 1 2 1

                             
     
5 4
2 2 4

  
       
    
3

    


3 2 1 3 2 4 3 1
3 4

        
     
    
4
3 3 4

        


   
cresc.

5 3 2
3 2 5

          
5


  
    
      
4 5 5

         
      


3 2 5 3

 
    

4

     
4 2

4. Polonaise


A study in phrasing and in the correct timing of quarter beats

  
                          
 
    
Moderato  = 100 2 3
1 1 2

                     
 

    


1 3 2 1 3 2 4 1 3

  
           

  
         

 
4 4 4 2 1 3 4 3 1 3 2 3 4
35

           
1

      
 
   


5 2 3 1 1

           

        
 
        
     
2 3 3 5 2 3 15
2 5 4 2


     
          

 
dim. 

 1
6
5. March


A study in syncopation and in keeping a steady beat throughout

 
                   

Marcato  = 100

 
1 4 1

                  

 


4 2 1 3

 
  
                          
   
3 3 2 5 2 1 4 1 3

         
        
       


1 3 2 1 3 2 1

              
2

       
5 4

          
 
4 4
4 1 1 2 1

 
                  
     

cresc.


4

                    
 
  
3 3 3
2 1 2 1 3 1 4 5 2 1

                 

   
dim.  cresc.


1 2

  
          
       
3 3
3 1 1 1 3 2 1

             

1 3 1       
3 2 1 3 2 1 5
7
6. Minuet


A study in legato playing with careful balance of tone

    

          
Andante  = 120

                


2 1 2 2 1 2 2 1 2

                  
2

               
 


1 3 1 1 1

           


    
4 4 5
1 2 2 2

           
     
cresc.


4 3 1 2 1

        
      
             


2 1 2 2 1 2

 
           
2

      
    
2 1 2 1 3 1

8
7. Minuet


A study in contrasting the effect of the major mode (No.7) with that of the minor (No. 6)

      
Allegretto   = 66

           
4
5 5 5

              

  


1

      
      
  
5 4 1. 2. 2

           



4 1

    
             
    
5 5
2 3 1 3 4

            cresc.
    
  


2 1 2

      
         
5

    
         
  


1 4 1 1 3 2

   
       

5 5 4

          
1   

9
8. Minuet
A study in tone-values, the lower part to be slightly more prominent than the upper

     
Andante  = 120

            
3 2 3 5 2 1 3


                   

5


    
           
5 1 5 5 4


    
     


        


3 1 1 4 3 2 4 3 2


     
     
3 2

       
    
               
4 1


1 3 2 3 1 1 1
1

  
           
3 2 3 5 2 1


           
   


5


  
         
3 5 1 5


        
    
3 1 1


10
9. March
        
A study in staccato touch, repeated notes and observance of rests

          
                
Giocoso  = 80


4 5 5
4 4 5 4

  
3 3

           
1

           

1 3 2

         
1 2 1 3 2 1


1 3 4

                           
1 3 2 1 1 3 2 1 5

            
5 3

   
4 3 1 3 4

      
          
cresc. 

  


1 2 5 1 3 1 1

                 

            
       
1 3 2 1 3 2 1
1 3 2 2


     

              


2 1

            
1

          
5


5 4 3 2 1 3 2 1

       
2 1
1 3 2 1 3 2 1 3 2


   
              


1 2 1

                 
5 4 3 2 1 3 2 1 5

 
               
4 4 3

       
1 4 5

           

          
cresc.

3
11
10. Minuet


A study in phrasing, legato touch and balance of tone

    
Andante e semplice  = 108


            

5 2 3 5
1 4 2 3

     

    


5 4 1 2


 
           

 
1. 2.

 
1 3 4 1 4 3 2 1 2 3

          
        
 



1 3 2

          
   
 
5


5

      
 

          


3 2 5 2

           


4

       
     
5
4
2 2 1. 2.
1 1 1 2

     
      
 
    
1 2 3 1 2 1 2 1  1 2 2

12
11. Musette
A study in sustained notes and quality of tone


            
Andante pastorale  = 108

    
3 3 1
1

                  


5

      
         
  
3 4
4 4 2

  
                  
  dim. cresc.
1 3


 
   
   
4
3

       
         

2 1 1 3


  
             
2

      
2
1 3

    
          

13
12. Bourrée
A study in contrasts of touch and independence of each hand


                    
Vivace  = 108
3 3

  
      


           
4


    
     

3

          
          
5

 
 
         
poco cresc.

 
       
4 3

   


3

        
     

1
2

  
2

   
 
3

      
4

   cresc. poco a poco


           

            
2


4

     
3

 
2

    


 
 

2 1 2 4
4 4
2


5 2 2

            
 
                    
2 1 2 3 2 2 1 2

         

                  


   


1 4 1 1
2 3


5

        
5 5

 
  
                          
3 4 3 2

      
 cresc. 

         
1
3

2
2
1
2
1
 2 1   
14
13. Musette


A study in broken octaves and in neat phrasing

               
  
Allegro con brio  = 112

          
5
3

          
   
     
  

       


3

  
   
         
         
5

 
3 2 4

            
  
      
     


3


                                 
    
4
3 2 5 2 1 4

              
 cresc. poco a poco

          


          
         
    
5


3 4 3

            
       


 

   


3

      
3


    
    
3

           
   
 

   

15
14. Gavotte
A study in phrasing, gradation of tone and cantabile playing

       


Allegretto  = 72

   
1 4 4

      
       

  
   


2 1
1 2
4 3 3 4 3 4 3


5


                            

1 4 4

     
         

           
 
  


 
2 2 1

 
1 2 2
4 4 3 3 4 3


5 4

                     
5

 
3

                      
3


1 1 1
3

       

          

  
1 1


2
4 3 1


   
2 5

                      
5
2 3
1

    
3 5

   
 
1

 
        
1

      
1


2
4 3 cresc. 


2 5 1 2 4

 
                             
4 4 1

        
      
         
  

2 1 2
1 2
3 3 4 3 4 3 4 4
5

                 
16

     
4


4

      
            
 
  


2 1
1 2 2
3 3 4 3 5 4


                              

5 4 4 4
4 3 3 4
3 2

              
     
        
  

       
     


2 3 4 2 2 2 2 2 3
5 4 2͜5 4 4 3

   
                          
 
  
3
4 1
3 3 4 4 5

             
         


     
2


4 2 4 1 2 4
5 4 2͜5 4

      


             
4 4 1

       
          
       
 


2 1 2
1 2
3 4 3 4 3 4 4
5

                 
     
4


4

     
               
poco rit.

 
 3
2
3
1
4
1
3
2 2  
5 4
17
15. Minuet


A study in expression, phrasing and beauty of tone

  
 

                        
Larghetto e sostenuto  = 96


 
3
3 1 3
1 1 3

              
 poco cresc. poco dim.

   


1 4 1 3
5

  
                
        
1 2 3 3 2 2 3

                   
 3

     
   


   
                
4


3 2 1 2 1 2 3

             
 3

      
cresc. poco a poco
3


5 5

                       
  
1 2 1 1 2 1

   
                   
dim. e rit. 

1 1 2 3

18
16. March
A study in the accurate timing of triplets and in steadiness of rhythm

     
   
Allegro moderato  = 69

       

4
2
2 1 2 1 4

           
 
3

  


       
2 4 1 2 1


3 3

                                  
2 2


1 1


4 1 5 2
4 3 2 1

 
                
3 3 3 3
cresc.

             



4

     
3

             
2

  
5

 
4 5 2
1 3 2 1 5

    
3 3

         
 3

  



2 5 1 3 2

              
3

       
          
4 5 3 3
3 3 2 1 3 3 2

      
3 3 3

 

   
cresc.

      



4 5

             


     

5 2
2
2 3 1 2

      
           
3  3 3 3

     
 2 1 1 5 4 2
2

        
     
19

                       
       
2


2
3 1 3 1
1 5
1 3 3 4 2
3

     
3

      

  
3


cresc.

        


3
5

 

          

 

3 5
1 3 4

        
3

  
3


3


    4 2 1 2 

You might also like