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J. S . B A C H
INVENTIONS & SINFONIAS (Two- & Three-Part Inventions)

W X E D B Y W i

A N A L F R E D M A S T E R W O R K E D I T I O N

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 J. S . B A C H
INVENTIONS AND SINFONIAS
(Two- and Three-Part Inventions)

En
W I L L A R D A . P A L M E R , E d i t o r
 Facsímile ofthe Title Page ofthe Autograph of 1723

Sincere Instruction
in which lovers of keyboard music, and especially those desiring to leam to play, are shown a clear way not only (1) to
leam to play cieanly in two parts, but also after further progress (2) to proceed correctly and well with three obbligato
parts, and at the same time not only to compose good inventions, but to develop them well; but most of all to achieve a
cantabile style in playing, and to acquire a taste for the elements of composition.
Prepared by
JOH. S E B . B A C H ,
Chapel Master to His Serene Highness,
the Prince of Anhalt-Cothen.
The Year of our Lord: 1723
 SOURCES U S E D FOR T h I S EdITION
J . S. Bach's Inventions and Sinfonias, more commonly
known as the Two-Part Inventions and Three-Part
Inventions, were not published during Bach's lifetime.
There are two authentic autographs:
1. The Clavier-Büchlein vor Wilhelm Friedemann Bach,
which was begun in the year 1720, contains each of
the 15 Inventions under the title Preambulum. The
Sinfonias are contained in the same volume, each
bearing the title Fantasía, but the Sinfonía in C
Minor is missing and the Sinfonía in D Major is
incomplete. Several of the Inventions are in the hand
of Wilhelm Friedemann, but these certainly were
written under the supervisión of his father. Most of
the Inventions and all of the Sinfonias are clearly in
J . S. Bach's own hand. This manuscript is now in the
library of the Yale School of Music at New Haven,
Connecticut. A facsímile edition is published by Da
Capo Press, New York.
2. The final and complete versión, the Autograph of
1723, is entirely in J . S. B a c h ' s own hand. This
manuscript is in the possession of the Berlin State
W h y O n l y 15 Inventions and S i n f o n í a s ?
The title page of Bach's autograph manuscript of the
first volume of his Well-Tempered Clavier is dated 1722.
This book contains 24 preludes and fugues; one in each
major and minor key. Why, then, did Bach use only 15
keys in his Inventions and Sinfonias, the final autograph
of which is dated 1723?
In composing the Inventions and Sinfonias, Bach chose to
use the keys that could be acceptably applied to the oíd
system of tuning in general use at the time. This system,
which we now cali meantone temperament, was known
to the musicians of that day simply as "the method of
tuning." It favored certain keys and made others
impractical. Sharps could not function enharmonically as
flats, or vice versa. In meantone temperament, as it was
practiced in the 18th century and before, each key has
its own special character, and the usable keys are more
harmonious than the same keys are in equal temperament.
Meantone temperament is generally tuned to make the
following tones function as harmoniously as possible
when combined in various intervals:
\\
i
c D E F G A B dictionaries and encyclopedias should be corrected:
Library. A facsímile edition is published by Dover
Publications, Inc., New York.
A number of interesting manuscript copies, made by
pupils of Bach, or by members of the Bach family circle,
are extant. Two of these, from the archives of the Berlin
State Library, were found to be helpful in preparing this
revised edition, particularly in checking Bach's original
slurs and ornaments, which are not always perfectly
clear in the autographs.
1. A manuscript formerly in the possession of Wilhelm
Friedemann Bach. Bischoff believed it to be authentic,
and referred to it in his edition as "the second
Autograph." We will refer to this as "the Friedemann
manuscript."
2. A manuscript in the hand of Heinrich Nikolaus
Gerber, dated 1725. Gerber was Bach's pupil for
several years, beginning in 1724.
Thus, to make the Inventions and Sinfonias playable on
Instruments tuned according to the system in general
use, B a c h confined his selection of keys to those
compatible with the meantone system. Actually, he
very nearly went beyond the limits of the system by
including the key of F minor. Since there was no true
A-flat available (unless Bach used a modified meantone
tuning, in which a few of the tones can sometimes be
used enharmonically), the G-sharp key had to serve as
an A-flat. The interval F to G-sharp (actually an aug-
mented second) served as a very small minor third,
making the character of the key considerably more
"doleful" than the same key would have sounded in
equal temperament. The key of F minor seems to have
often been reserved for music of similar character.
The purpose of The Well-Tempered Clavier, on the other
hand, was to introduce pieces in all major and minor
keys. This was made possible through the use of a
system of tuning known as Well-temperament, which not
only made it possible to play in all keys, but also
preserved, to a remarkable extent, the "characters of the
keys." This system involves a compromise tuning that
allows enharmonic relationships between sharps and
flats, and slight adjustments that would allow, for
example, an F-natural to serve as an E-sharp. One
common misconception, found in some music textbooks,
Well-temperament is definitely N O T the same as our
presently used system of equal temperament, which

divides che octave into 12 equally out-of-tune semitones.
I n this system, the "characters of the k e y s " are
destroyed, the only difference in the sounds of the keys
being a matter of highness or lowness in pitch.
For further study of the historical temperaments, two
books by Owen Jorgensen are highly recommended:
Tuning the Historical Temperaments by Ear, Northern
Michigan U n i v e r s i t y Press, Marquette, 1977, and
The Importance of the C l a v i e r - B ü c h l e i n
The Clavier-Büchlein is actually a music instruction
book, devised by J . S. Bach for his eldest son, Wilhelm
Friedemann, and probably also used by his younger chil-
dren, including C a r i Philipp E m a n u e l and Johann
Christian. The first versions of the Inventions and
Sinfonias are believed to have been composed at
Wilhelm Friedemann's lessons. Since, in the foreword
to the Autograph of 1723 (see page 1) J . S. Bach stated
that the purpose of these pieces included "how to com-
pose good inventions and develop them well ... and to
acquire a taste for the elements of composition," it is
important to know as much as possible about how Bach
presented these works to Wilhelm Friedemann.
The order of the Inventions, and also the Sinfonias, as
they appear in the Autograph of 1723, is as follows:
C, Cm, D, Dm, E-ñat, E , E m , F, F m , G , Gm, A , A m ,
B-flat, B m . ,
The present edition places them in the above order, as do
all modem editions.
In the Clavier-Büchlein, however, Bach presented them
to his son in the order of the ascending diatonic scale,
from C major to B minor, with the remaining pieces in
descending order, from B-flat major down to C minor, as
follows:
C, Dm, E m , F, G , A m , B m , B-flat, A , Gm, Fm, E , E-flat,
D, Cm.
3
TUNINGIContainingIThe Perfection of Eighteenth
Century TemperamentIThe Lost Art of Nineteenth
Century TemperamentIandIThe Science of Equal
Temperament, Michigan State University Press, East
Lansing, 1991. Anieles contained in the latter volume
convincingly prove that true equal temperament was not
practiced on pianos before 1885, and was not commonly
practiced on pianos before the 20th century.
The flrst three Two-Part Inventions ( C major, D minor
and E minor) are based on scales or portions of scales;
the next three ( F major, G major and A minor) are
derived from broken chords. The next ( B minor) uses a
combinación of both ideas, but emphasizes contrapuntal
development, and is, essentially, a two-voice fugue. The
pieces that follow, in descending order of keys, continué
to show that B a c h was a well-organized teacher.
Modem teachers will no doubt agree that this is a logical
order for presenting these pieces to students, particularly
when emphasis is placed on teaching the various devices
used in their composition.
It is possible that Wilhelm Friedemann himself may have
composed, or at least parlicipated in the composition of
some of these pieces, supervised by his father. In the
Clavier-Büchlein, the C major and D minor Two-Part
Inventions are in Wilhelm Friedemann's hand, with a
few emendations by his father. The E minor, F major, G
major, A minor and B minor Two-Part Inventions are
entirely in Wilhelm Friedemann's hand. After the com-
pletion of the ascending series, the father's hand defi-
nitely takes over for the remaining eight pieces in the
descending series.
In the Autograph of 1723, all of the Inventions and
Sinfonias are in the hand of J . S. Bach.
4

The Explication
The following table of omaments, from the Clavier-Büchlein, entitled "Explication unterschiedlicher Zeichen, so gewisse
Manieren artig zu spielen, andeuten" is the only such table ever prepared by J . S. Bach.

The above table is reproduced below in modem notation.

Explanation of various signs, showing how to play certain ornaments properly.

(1) (2) (3) (4) (5) (6)

Trillo mordant trillo und mordant cadenee doppelt-cadence Ídem

(7) (8) (9) (10) (11) (12) (13)

doppelt-cadence Ídem accent accent accent accent und ídem
und mordant steigend fallend und mordant trillo

I
The most common English ñames of the above omaments are:

(1) Trill (2) Mordent (3) Trill with (4) Tum (5) Ascending (6) Descending
termination trill trill

(7) Ascending (8) Descending (9) Appoggia- (10) Appoggia- (11) Appoggia- (12) Appoggia- (13) The same
trill with trill with tura from tura from tura and tura and
termination termination below above mordent trill
 5

Because the Clavier-Büchlein was in private ownership
until 1932, when it was purchased by the library of the Yale
School of Music, it was not easily available for use in edi-
tions prepared before that year. This includes the Bach-
Gesellschaft, Busoni, Czerny and Masón editions. Hans
Bischoff had access to it only after he had completed his
edition of the Inventions and Sinfonias and made a few
incomplete references to it in a supplementary table, over-
lookmg a great deal of important information. While the
.Autograph of 1723 must be considered the final revisión,
and consequently the versión most approved by J. S. Bach,
the valué of the Clavier-Büchlein in establishing an authen-
tic and accurate text is easily illustrated by the following
examples:
In Invention No. 3, one of the omaments has caused con-
siderable confusión. It appears in the third measure and
Facsímile from the Autograph of ¡723
3rd measure: , 45th measure:
again in the 45th measure, which is identical. In the
Autograph of 1723 this omament has the appearance of
ív^iv, but it appears over a 16th note! The omament bears
little resemblance to Bach's manner of writing the "doppelt
cadenee und mordant" (see the Explication from the
Clavier-Büchlein on page 4 of this edition). It is clearly
impossible to execute at any reasonable tempo, since it
involves playing eight notes in the time occupied by a 16th
note. In spite of the fact that it is unplayable, it is found in
the Bach-Gesellschaft edition without comment. Hans
Bischoff refers to it as the authentic omament but assigns it
to a footnote, thus indicating his concern.
When these measures from the final autograph are com-
pared with the corresponding measures in the Clavier-
Büchlein, the problem disappears:
Facsímile from the Clavier-Büchlein
3rd measure: 45th measure:

m
m
The omament is NOT ^-v^jv , as it appears in some editions. It is very clearly a slur foUowed by a mordent: r\
The above examples and the upper staffs of the manuscript below are written in the soprano clef, which places middle C on
the lowest line of the staff.
In the 1723 autograph of Sinfonía (Three-Part Invention) No. 11, in measure 50, an ink blot just above an e-fiat has caused
all other editors to misinterpret the note as an f.
.4 utograph of 1723: Bach-Gesellschaft edition (the same notes are found in
the Henle, Bárenrelter, Peters, Wiener Urtext. Kalmus and
Schirmer editions):

I 1 ^ . •
^•1 \

• - t =

J i j J

e-flat or f?
ir Íl:—'

Clavier-Büchlein {1720): Gerber manuscript (1725):

e-flat
^ ^ ^ ^
The correct note is e-flat. • e-flat

In order to make the pitch of the notes referred to in our text and in the footnotes perfectly clear, we have chosen to use a
modified versión of the Helmholz pitch notation.
Helmholtz used C - B . c-b, c'-b', c"-b", c"'-b"'. We use C-B, c-b, c'-b^, c2-b2, c^-b^, as follows: ^i®:
6

^ T h e U s e o f O r n a m e n t s in t h e I n v e n t i o n s
AND S i n f o n í a s
Since the Explication applies each omament to a quaiter note only, and that application is only practicai at a modérate
tempo, it can only show the GENERAL CONFIGURATION of each omament. Note that all omaments in the table begin
on the beat. They are played diatonically in the keys in forcé at the moment they occur, with very few exceptions.

1. T H E T R I L L ^ ^ ^ v ^ Sometimes, on long notes, a mordent may have addition-

These symbols are used interchangeably to indícate a al repercussions. It is then called a LONG MORDENT.
long or short trill. Sometimes this is done when the ordinary mordent sign
is used, but often this is indicated by the sign ••jv or
A l l trills begin on the upper note.
^ . The function of the long mordent is different from
The trill may be rather freely interpreted by the per- that of the normal or short mordent. It filis out the valué
former. It may come to rest on the principal note or, at of the note.
times, continué for the entire valué of the note. The mín- ^ ( o r i » ) _ ^ ,
imum number of notes in anv trill is four.
may indícate:
' or * • ) 1) 2) 3)
— may indícate: 3) 4) 5)

4) 5) 6)
1 ñ—
When a mordent is used to fiU out a note, it cannot con-
sume the entire valué of the note. " A small portion of its
A trill is sometimes made more effective by lingering original valué must be left plain, since even the best used
slightly on the first note. mordent sounds terrible when carried, like a trill, directly
1) „ 2) 3) into the following note" (C. P E . Bach, £ 5 5 ^ 7 , I I , v, 8).
In the same work, in I I , v, 11, we read, "the brilliance of
etc. a mordent is often enhanced by raising its lower note one
half step." Thus a mordent is not inevitably played dia-
Trills on longer notes may consume the entire valué of tonically.
the note or may stop on any beat or fraction of a beat.
Some artists and teachers insist on playing the first trill
3. T H E T R I L L W I T H T E R M I N A T I O N ^
in Invention No. 7 as a mordent. This error has its origin
This is sometimes called the TRILL WITH SUFFIX, or
in oíd editions of Czerny and Busoni. In the Autograph
the TRILL WITH TURNEO ENDING, or less oñen, the
of 1723 as well as in the Clavier-Büchlein, the omament
TRILL AND MORDENT
is cleariy a trill, indicated by the symbol w . The Gerber
manuscript also has a trill, indicated by the symbol ir. The termination consists of two closing notes, connected
to the trill and generally played at the same speed as the
trill repercussions.
2. T H E M O R D E N T ^
The trill itself requires a mínimum of four notes, and the
The word "mordent" is derived from the Latin morderé, termination requires two additional notes; thus the míni-
meaning "to bite." This suggests that mordents should mum number of notes in the entire omament is six:
have an incisive quality. They contribute brilliance and
sometimes serve to accentuate the rhythm. They should
generally be played quite rapidly; sometimes even more
quickiy than these realizations show:

2) 3)
Trill
w
Terminadon
1)
may indícate:

may indícate;
In extremely rapid passages, it is effective to strike both,
notes simultaneously, then immediately reléase the lower
note (C. P. E . Bach, ESSAY- * I I , v, 3).

*C. P. E. Bach, Versuch über die wahre Art das Clavier zu spielen (Essay on the True Art of Keyboard Playing). Beriín, 1753.
 7

The termination is often written out in full, as in the 5. T H E T R I L L W I T H P R E F I X F R O M B E L O W

second measure of Invention No. 2. In such a case the This is sometimes called the ASCENDING TRILL. The
trill is played at the same speed as the closing notes. prefix consists of two notes; the trill requires at least four
Invention No. 2 notes; thus the mínimum number of notes for the entire
(2nd measure) omament is six.
written: played:

É É / I
Prefix Trill

In his ESSAY, I I , iii, 13, C . P E . Bach comments that a

1) 2)
trill may have an added termination when there is time,
whether it is indicated or not. These are better when the mav indícate: etc.
trilled note ascends to the following note but may be
added regardless of stepwise ascent or descent.
Since this omament is usually employed on long notes,
B a c h indicated terminations on the long t r i l l s in and since long trills are usually best played with a termi-
Invention No. 12, but did not in Invention No. 4. nation, this ornament, in practice, usually becomes a
TRILL WITH PREFIX FROM BELOW. WITH TERMI-
4. T H E T U R N < ^ NATION (see No. 7, below). In the Inventions and
Sinfonias, the only example of its use without a termina-
In his manuscripts, J . S. Bach used a vertical or sloping
ron is in the 16th measure of Invention No. 9:
sign for the tum: g
Invention No. 9
The tum in Bach's music always begins on the note (I6th measure)
above the principal note. written: played:

In his ESSAY, I I , iv, 3, C . P E . Bach says, "The tum is

almost always performed rapidly." He gives the follow-
ing examples, in which the manner of performance of
É
the tum is shown to depend upon the tempo of the
music:
Adagio Moderato Presto

É
os

6. T H E T R I L L W I T H P R E F I X F R O M A B O V E ^
According to the section of C . P E . Bach's ESSAY just This is sometimes called the DESCENDING TRILL.
cited, the tum is a miniature suffixed trill, in effect, and The prefix from above consists of four notes, and is sim-
can be used as a simplification of same. ilar to the tum. The trill requires at least four notes; thus
the mínimum number of notes for the entire omament is
When the tum is placed between two notes, it is played eight.
after the principal note has been sounded. The rhythm of
the tum must then be determined by the amount of time
available for it. There are usually several acceptable
Solutions: Prefix Tnll
1)
: may indícate:;
m mav indícate; •
1) 2)

etc.

2) 3) 4)

In practice this ornament is usually replaced with a

TRILL WITH PREFIX FROM ABOVE, WITH TERMI-
NATION (see No. 8, below). The repercussions need not
be measured.
For an example of such a tum, see Invention No. 9, mea-
sure 16.
8

7. T H E T R I L L W I T H P R E F I X F R O M B E L O W , 8. T H E T R I L L W I T H P R E F I X F R O M A B O V E ,
WITH TERMINATION ^ WITH TERMINATION ^
This is sometimes called the ASCENDING TRILL, WITH This is sometimes called the DESCENDING TRILL.
TERMINATION (or SUFFIX). WITH TERMINATION (or SUFFIX).
This omament consists of three parts: the prefix, the This omament requires at least two notes more than the
trill, and the suffix (termination). It cannot be played one previously discussed, thus it usually occurs only on
with fewer than eight notes, as shown in the Explication: long notes. zzzzi—

/
Prefix
I \ ! \
Trill
w
Termination
í
Prefix
/ \ i \
Trill Termination
Because the last two notes of the trill combine with the
1) 2) termination to produce a sound exactly like the prefix, it
-10-

m
] may indícate: •

The termination is sometimes written out in full. It may

etc.
is best to include several additional repercussions of the
trill whenever the length of the note permits. The
Explication makes this clear:

also be added to a trill with a prefix when followed by a

stepwise ascent.

This omament is usually executed only on notes of con- This omament is most frequently used on long notes, but
siderable length, but it appears in Invention No. 11 over a it appears in Invention No. 5 over a quarter note:
dotted eighth note.
Invention No. 5
Invention No. II (32nd measure)

É
written:
(lOth measure)
written: played:

played:

r r r n • f ' i v r r ÍI

OR OR
OR

The omament is used several times in Invention No. 12:

Invention No. 12 NOTE:
(1 st measure) Compound omaments 5 through 8 begin with pre-
written: fixes. The curved shape of the beginning of the
sign for each of these omaments is a graphic indi-
cation of the contour of the first four notes of each
ornament. The remaining portion of each sign
shows how the rest of the ornament is played
(either as a trill, or a trill with a mordent ending).
played:
With this in mind, the interpretation of each of
these omaments is very simple to understand and
É easy to remember:
5) 6)
OR

O :

7) 8)

A trill of this length does not require an exact number of

repercussions. Like the normal trill, it may begin slowly
and accelerate as it proceeds.

9-12. T H E A P P O G G I A T U R A I N D I C A T E D B Y
ORNAMENT ONLY O The modem acciaccatura or "grace note"
The small hook may have been derived from the slur that
is used with a small note indicating an appoggiatura.
The word "appoggiatura" is derived from the Italian
appoggiare, meaning "to lean."
If the hook comes from below the main note, a LOWER
or ASCENDING APPOGGIATURA is used. The note a
diatonic step or half step below the principal note is
played on the beat of the principal note. This note
receives the accent and resolves more softly to the main
note. If the hook comes from above the main note, the
UPPER or DESCENDING APPOGGIATURA is used.
When the valué of the main note is divisible by two, the
appoggiatura is given half of that valué:
9. Ascending Appoggiatura 10. Descending Appoggiatura
written: played: written: played:
An appoggiatura used with a dotted note usually receives
two-thirds of the valué of the principal note:
written: played: written: played:
_ z:^
Examples 11 and 12 in the Explication show the appog-
giatura used with the mordent or the trill. Note that in
example 12, the appoggiatura becomes the starting note
of the trill. (See also 13, THE PREPARED TRILL,
which is just another way of indicating the same oma-
ment as that shown in example 12.)
11. Appoggiatura and Mordent 12. Appoggiatura and Trill
written: , played: written: played:
Note that in both of the above examples, the appoggiatu-
ra portion of the omament is given its usual valué, in this
case, half the valué of the principal note.
THE APPOGGIATURA INDICATED B Y SMALL
N O T E S J^fw»»?
Most of the appoggiaturas in The Well-Tempered Clavier
are written in small notes.
In playing these appoggiaturas, the same rules are
observed as those outlined for the hook. A l l appoggia-
turas are played on the beat and receive the accent.
may indícate:
may indícate:
9
IMPORTANT!
appears in
many modem editions of the music of J. S. Bach. It
was never used by Bach and it is always incorrect!
Of the relatively few appoggiaturas that appear in the
Inventions and Sinfonias, those occurring before dotted
notes are the ones most subject to varying interpreta-
tions. In the last measure of invention No. 5 some artists
prefer to give the appoggiatura less than two-thirds of
the valué of the dotted note:
É
Invention No. 5
(last measure)
written;
played;
I m
In this case, the total time valué of the large notes is
incomplete by one 32nd note. It would seem that Bach
intended for the appoggiatura to be played as an eighth
note. The principal note would then fit in as the missing
32nd note. For this reason, the first example seems to be
the best solution. However, the second example is
acceptable and frequently used,
In the omamented versión of Sinfonía No. 5 there are
many appoggiaturas before eighth notes and before dot-
ted eighth notes. Those before eighth notes receive half
the valué of the note. Most performers give the appog-
giaturas before the dotted notes only one-third of the
valué of the notes, or even less, possibly to keep the
principal note from losing its identity. The performer
may prefer to play them according to the rules of the
period, giving them two-thirds of the valué of the dotted
note.
Sinfonía No. 5
(3rd measure)
played;
TI F
- t i —
10
T H E APPOGGIATL'RA USED AS A
PASSING T O N E
When a passage descending by thirds contains appog-
giatura signs (hooks or small notes), the appoggiaturas
may (at the discretion of the performer) be used to fill in
the interval of the third and are played very quickiy.
The following examples are identical in meaning:
The notes may be played in rhythms appropriate to the
character of the selection:
When used in this fashion, the small notes do not func-
tion as appoggiaturas, but simply as passing tones.
Invention No. 3 contains examples that may be consid-
ered important evidence that Bach, at least occasionally,
used the small note or the hook to indícate a passing
tone.
In the Autograph of 1723, these measures appear as
follows:
4th measure: 46th measure:
In the Clavier-Büchlein, the same measures appear as
follows:
4th measure: 46th measure:
zt
I trill or mordent, but serves to mark the line or space
While it is trae that measure 46 is not identical to the
fourth measure, it seems clear that Bach wanted the
passing appoggiatura in the 46th measure because he
writes it out in full in the Clavier-Büchlein. Thus we
may assume that he wanted it played the same in the
fourth measure.
In this editor's opinión, this is the O N L Y context in
which appoggiaturas may be played ahead of the beat in
the music of J . S. Bach. The ON-THE-BEAT APPOG-
GIATURA is possibly the MOST EXPRESSIVE of all
omaments, and it is usually advisable to use them even
between descending thirds!
13. T H E P R E P A R E D T R I L L U
J. S. Bach used the same ñame for this omament as for 12,
the APPOGGIATURA AND TRILL. The appoggiauira is
treated as a prolongation of the starting note of the trill.
written: played:
A prepared trill appears in Invention No. 9, in the 15th
measure.
Invention No. 9
(15th measure)
written:
u
played:
OR
The 13 ornaments contained in Bach's table have
been discussed. Three additional omaments remain to
be explained.
14. T H E S C H L E I F E R ^
This omament may also be called the "slide." The zig-
zag portion of the omament has nothing to do with a
upon which the ornament begins. When this sign is
used, the two lower neighboring diatonic notes are
played on the beat of the principal note and quickiy
slurred to the principal note.
1) 2)
may indícate:
The schleifer does not appear in either of the two auto-
graph manuscripts of the Inventions and Sinfonias, but it
is used several times in the Friedemann manuscript.
Examples of the realization of the schleifer will be found
in the footnotes of Sinfonias No. 4, 7, 9 and 13.
15. T H E PRALLTRILLER
The pralUriller ("compact trill") is not included in the
Explication, but it is discussed at length by C . P. E . Bach
in his ESSAY, I I , iii, 30-32.
The pralltriller may occur only after a descending sec-
ond. The note that is omamented with the trill must be
preceded by the note one diatonic step higher. The prall-
triller is played like an extremely rapid trill. It contains
only four notes, the first of which is tied to the preceding
note.
C. P. E . Bach says that it "joins the preceding note to the
decorated one, and therefore never appears over
detached notes." In every example in his ESSAY, he
joins the two notes with a slur:
É
written: played:
m Those editors who use the schneller as a subslitute for a
We must emphasize that a pralltriller is not merely a nor-
mal trill tied to the preceding upper second. C . P. E .
Bach says, "the pralltriller ... is distinguished from the
others by its speed and brevity." He also says, "Unlike
other embellishments, it cannot be demonstrated slowly
to students. It must literally crackle. It must be snapped
on its final appearance ... with such exceeding speed
that the individual tones are heard with difficulty.
Because of this, its acuteness stands beyond comparison
with other trills."
I f a pralltriller is employed in the first measure of
Invention No. 1, it cannot be played any slower than the
example shown below:
Invention No. 1
(Ist measure)
written:
i some slight degree of spreading.
É
played (if pralltriller is used):
Because of the absence of a slur from the previous note,
we believe that this omament should be played as a nor-
mal short trill:
16. T H E S C H N E L L E R
This omament is translated as "the snap." It is not a sub-
stitute for the short trill, although it has been used in this
fashion by many editors of Bach's keyboard works,
including Busoni, Masón and several modem editors.
Some editors write this omament as the realization of a
short trill, and then compound their error by calling it a
pralltriller. In his ESSAY, I I , viii, 1-4, C . P E . Bach says
that the notes of the schneller are always written out in
the style of two-note appoggiaturas (but without a slur)
and that it is always played rapidly:
wntten: played:
É
trill (when the trill is preceded by the note one diatonic
step higher) for the purpose of "preserving a legato"
should consider that C . P. E . Bach also said that it
"appears only before quick, detached notes." The ten-
dency to use this omament as a substitute for a short trill
is evidence that there are still those among us who think
that w is an inverted mordent. C. P. E . Bach does not
even mention the schneller as part of his discussion of
the trill but takes it up as a sepárate subject. The
schneller is not mentioned in the Explication, and there
is no evidence that it should be used in any of the
Inventions and Sinfonias.
17. A R P E G G I A T I O N O F C H O R D S
The practice of arpeggiating or "breaking" chords was so
generally employed on the harpsichord and clavichord
during Bach's day that it was not considered necessary to
nótate it in the music. When arpeggiation is indicated,
the chord may be even more broadly spread. No chord
sounds very good on the harpsichord without at least
Chords may be broken beginning with the top note or the
lower note. I f there is enough time, they may be broken
in both directions, particularly in chords near the end of
the piece (especially in preludes that have an impro-
visatory character).
Invention No. I ends with a closing chord, with an arpeg-
gio sign indicated by the composer. Invention No. 8 also
ends with a closing chord, but with no arpeggiation indi-
cated. It may be arpeggiated, however, at the discretion
of the perfonner.
12

MORE ABOUT T H E UPPER-NOTE T R I L L Kreutz believes, as too many others do, that a trill pre-
ceded by an upper second must begin on the main note,
In his ESSAY, I I , iii, 1-5, C . P E . Bach outlines eight
to avoid repeating the preceding note! This is in dis-
contexts in which tiills may be used: 1) on the repetition
agreement with all the examples we have from C. P. E .
of a note, 2) in stepwise passages, 3) in leaping passages,
Bach, Couperin, D'Angelbert, Marpurg, Agricola, Türk,
4) in succession, 5) in cadenees, 6) on sustained notes, 7)
Quantz and many, many others. Not one of Bach's con-
at fermatas, and 8) at caesuras. After listing these uses,
temporaries has mentioned such a rule. In C . P. E .
he adds, "The trill always begins on the tone above the
Bach's ESSAY, I I , i i i , 16, there are many examples of
principal note."
trills on notes preceded by upper seconds. C . P. E . Bach
Can C . P. E . Bach's principies be applied to J . S. Bach's also points out that "trills are often used on a descending
music? In no case does C. P. E . Bach's discussion of any second, precisely where a mordent would be unsuitable."
omament disagree with his father's table. His discussion
F W. Marpurg, in his ANLEITUNG,* 1, iv, 7, wrote, " A
of their application agrees with the ways his father
trill, wherever it may stand, begins with the accessory
applies them. A n example is the APPLICATIO and other
note. I f the upper note, with which the trill should
pieces he wrote for another son, Wilhelm Friedemann, in
begin, immediately precedes the trilled note, that note
the Clavier-Büchlein. The son's book can serve as a
must be repeated with a new attack; or, before one
companion to the father's, and by studying the two
begins the trill, it must be connected by means of a tie
together we become more enlightened. We see that the
to the preceding note."
things J . S. Bach taught one son were taught identically
to the other. C . P. E . Bach wrote, "My father was my The upper-note trill functions melodically, harmonically,
only teacher, and everything 1 know, I learned from and expressively like an upper appoggiatura. Just as an
him." upper appoggiatura is most effective when it repeats the
preceding note, so is the trill most effective in the same
Proper baroque performance practices, along with the
context. In fact, the most important use of a trill is in
correct execution of baroque ornaments, have been
cadenees such as the following one:
rediscovered in the 20th century, beginning with the bril-
liant pioneering efforts of Arnold Dolmetsch, who
revealed his findings in his still excellent book, THE
INTERPRETATION OF THE MUSIC OF THE XVII &
XVIII CENTURIES. REVEALED BY CONTEMPORARY
EVIDENCE (London, 1915). Scholars such as Howard
Ferguson, Thurston Dart, Michael CoUins, Putnam
Aldrich, David Fuller, and a host of others, have added
important evidence in theses and various arricies pub- The note preceding the trilled note serves as preparation
for a suspensión. This same note is repeated and reiter-
lished in the scholarly joumals. Arnold Dolmetsch's
ated as the upper note of the trill, and this produces the
work has been diligently carried on by his son, Cari
effect of suspensión. The resolution occurs when the
D o l m e t s c h , and by his b r i l l i a n t student, Robert
trill ends on the main note:
Donington, in his valuable book, THE INTERPRETA-
RON OF EARLY MUSIC (London, 1963; newly revised preparation suspensión resolution

and enlarged versión, New York, 1973). Also important

is the same author's A PERFORMER'S CUIDE TO i
BAROQUE MUSIC (New York, 1973). Through the
objective studies of these and other scholars, the trill
from the upper auxiliary has been firmly established as
standard baroque performance practice.

In view of the knowledge we now possess, including
17th- and 18th-century table after table showing all sim-
ple trills beginning on the beat and on the upper note,
and all prefixed trills beginning on the beat, it is amazing
and annoying that we still so frequently encounter trills
beginning on the main note and/or ahead of the beat, not
only in recordings of famous artists, but also in lectures
and articles by musicians who should know better.
In Alfred Kreutz's BEMERKUNGEN ZUM VORTRAG
(Observations about Execution) published with his edi-
tion of The Well-Tempered Clavier, V o l . 1, by C . F . -
Peters, he recommends that about two-thirds of the trills
should begin on the main note. The reason is simply that
The lengthening of the valué of the dot and shortening of
the following note is explained in a subsequent section.
The effectiveness of this upper-note trill may be tested
by playing the same passage, beginning the trill on the
principal note. The expressiveness produced by the dis-
sonant sound of the upper note disappears. The disso-
nance-resolution effect is one of the most expressive
sounds in music, and it represents an important function
of the trill in many of its contexts.
Even in those passages where beginning the trill on the
upper note does not produce such an effect, the present
editor is convinced, just as Robert Donington says he is
{INTERPRETATION OF EARLY MUSIC, pages

* Friedrich Wilhelm Marpurg, Anleitung zum Klavierspielen (Introduction to Keyboard Playing), Berlin, 1755.

632-633), that the trill was begun habitually on the
upper note during this period, even when it was not par-
ticularly functional, from a harmonio standpoint, to do
so.
E v e n as late as 1789, Daniel Gottlob T ü r k , in his
KLAVIERSCHULE (Leipzig & Halle), I I I , 33, labels all
main-note trills "incorrect." His illustrations show
upper-note trills which reitérate the preceding upper sec-
onds, even in chains of descending seconds. He also
shows that even trills in the bass begin on the upper aux-
iliary.
Frederick Neumann, in his book, ORNAMENTATION IN
BAROQUE AND POST- BAROQUE MUSIC, Princeton,
New Jersey, 1978, shows a number of instances in which
he believes certain trills in the music of J . S. Bach might
best be begun on the principal note. This is an important
reference work, and its contents should be viewed with
respect by every serious student of Bach's music. In
doing so, however, it is recommended that Robert
Donington's discussion of Neumann's beliefs, on pages
620-640 of his above-mentioned book, be carefully
studied and considered.
T H E EXTEMPORIZATION OF ORNAMENTS
We may safely say that any musician of J. S. Bach's time
who played the Inventions and Sinfonias using only the
omaments indicated would have been regarded as a very
unimaginative performer. The practice of adding oma-
ments to the text has been frowned upon in recent years,
but there are no grounds for this attitude, and it may
even result in a performance lacking in style and authen-
ticity.
There are two particularly important situations that may
require addition of omaments to the text. In these cases,
the ornaments have often been omitted from the
manuscripts because it was obvious that they should be
there and a written omament seemed unnecessary, and
perhaps even insulting, to any player who was familiar
with the general practices of the period.
The most important of these situations occurs when a
cadential fonmula such as J
is used. (See the example in the previous section.) A
trill on the first note is obligatory, whether indicated or
not. , -
The other occasion often calling for the addition of oma-
ments is in the recurrence of thematic material that has
been omamented on its first appearance. In fact, when
any recurrent theme is omamented in any of its entries,
one might consider using the same omaments at all the
appearances of the theme. One of J . S. Bach's students,
E . L . Gerber, made the statement {LEXICON, 1790) that
Bach played the omaments in the themes of his works
even when they occurred in the pedal parí of an organ
selection. C . P. E . Bach remarks that " a l l imitations
should be exact in every detall."
13
When the omament is one of the most important charac-
teristics of a particular theme, there is little doubt that it
should be played each time the theme occurs, if possible.
In some of the Inventions and Sinfonias it may be
observed that J . S. Bach omamented the right-hand
entries, but not the left-hand ones. In these cases the
player must judge whether the "missing" omaments are
to be added.
In addition to the situations mentioned above, in which
the addition of certain unwritten omaments is more or
less obligatory, it should be noted that the practice of
adding omaments e.x tempore was a part of "the manner
of playing" leamed by every student of music during
Bach's day. Each performer was expected to heighten
the expression or the AJfekt (emotional content) of the
music by the judicious addition of appropriate embel-
lishments. Audiences of that day, schooled in under-
standing the performance practices of the period,
applauded the tasteful addition of embellishments that
made the performance more brilliant or more expressive,
as the contexts demanded.
Invention No. 7, for example, provides many situations
in which omaments may be effectively added. Mordents
are most effective on upward steps or leaps, and in the
bass, on a note just before the downward leap of an
octave (just as, in this case, the piece begins). A
schleifer is effective in the treble voice on an upward
leap, particularly on a leap of a fourth, and would work
well on the fourth count of measure 10.
Trills work well on notes that descend from the previous
upper second. Bach himself indicates a trill in this pre-
cise context on the first beat of the second measure, and
again on the fourth beat of the same measure. It is prof-
itable to notice how often Bach ascends by step or leap
to a mordent, and how often he descends by step to a trill
in the omaments he has indicated in this composition.
Passing tones may often be effectively added between
skips of a third.
Much may be leamed by listening to performances by
artists who are skilled in the art of adding omaments to
baroque keyboard music. Among the best of these are
harpsichordist Igor Kipnis and pianist Andras Schiff.
D o t t e d R h y t h m s in t h e
Baroque Period
In the Baroque period, the v a l u é of a dot after a note was
not always strictly observed. In his ESSAY, I I I , i , 23,
C. P. E . Bach S t a t e s , "Short notes which follow dotted
notes are always shorter in execution than their notation
14

indicates." He also said, "Shon notes which precede

dotted ones are also played more rapidly than their nota- Phrasing and
tion indicates." He suggests adding another beam to the
short notes, which would mean that the valué of the dot
Articulation
should be lengthened.
It was with reluctance that the editor of this volume
written: played:
decided to indícate suggested phrasing, even in print
lighter than the rest of the text. In the Autograph of
1723 only Inventions No. 3, 9 and 15 and Sinfonía No. 9
played: contain any slurs. The Clavier-Büchlein has none at all.
written:
Bach's original slurs are probably intended to simply
É i indícate a legato style of playing. Not one of these slurs
«i crosses a bar line. This implies that they should be treat-
Evidence of the prolongation of the dot is found in the ed as if they were bowing indications for stringed instm-
Clavier-Büchlein in Invention No. 9, in which the tum in ments, as they are used when a legato performance is
measure 16 is written out in full: desired, with no noticeable separations or lifts between
Invention No. 9 slurs. In other words, the present editor does not consid-
(measure 16) er these slurs to be indications of articulation. The final
as written in the iw decisión about the interpretation of these slurs must rest
Autograph of 1723: with the performer.
16th note
Emanuel Winternitz, in Volume I of his MUSICAL
as written in the AUTOGRAPHS, published by Dover Press, suggests that
Clavier-Büchlein: the directions of the stems of notes in some early
32nd note manuscripts, including those of J. S. Bach, may be help-
The practice of lengthening the valué of the dot is ful in determining the articulation desired by the com-
especially important in the cadential formula J . J ^ | J , poser. This seems plausible and may apply in some
which may often be played j..}\¿ . ( A trill may be measures of the 1723 autograph of the Inventions and
added on the first note, as mentioned under EXTEMPO- Sinfonías. We will cite two examples.
RIZATION OF ORNAMENTS.) The stems of Invention No. 1 coincide with the general
The final cadenee of Invention No. 2 will serve as an concept of its phrasing:
example of the lengthening of the dot in the cadenee.

Invention No. 2
(measure 26) The stems in Invention No. 15 might indícate detached
written: notes on the second and fourth counts of the first mea-
sure and the second count of the second measure:
r-
/O
played:
p
Because Bach often wrote large intervals in this fashion,
The exaggeration of the dot is used by some artists in it is doubtful that the change of direction of note stems
Sinfonía No. 5: within the same count always indicated some sort of
arriculation, but examples like the two shown above
Sinfonía No. 5 occur frequently and are too remarkable to ignore. For
(measure 2)
written: this reason, such situations have been duly taken into
account in determining the phrasing recommended in
this edition.

played: We have made it very clear that the phrasing indications

After using the term "always" in his discussion of the
practice of lengthening the dot, C . P. E . Bach adds,
"there are exceptions, and one should examine the
melodic lines carefully."
Other examples of inexact notaüon of time valúes will
be mentioned in footnotes when they occur.
in light print in this edition are to be regarded only as
editorial suggestions. Teachers and students who are
conversant with baroque music and are familiar with the
performance practices of that era, and who have listened
to this music played by fine artists, should feel free to
form their own optnions. Indeed, we encourage them to
analyze the subject matter of the music, the basic pat-
tems and configurations, etc., determining for them-
selves the logic of grouping certain notes together and
separating others. Subjects to be used in canonic imita-
tion should, of course, be played with similar phrasing at
each occurrence. Subject and countersubject, on the
other hand, should usually have contrasting articulation.
Students who make their own analysis will certainly
profit from such a study and w i l l play the selections
more convincingly as a result, even if they disagree com-
pletely with our editorial suggestions.
edition, mf in the Masón edition and p in the Czerny edi-
tion. Who can say that any of these is wrong? A great
deal depends on the way each of these beginnings is
developed and completed.
Rather than add another opinión to the existing surplus,
we have generally adopted dynamic indications similar
to those of Hans Bischoff.

Dynamics
Bach gave no indications of dynamics in any of the
Inventions and Sinfonias. We have added editorial sug-
gestions in lighter print. Our remarks under the subject
of PHRASING AND ARTICULATION will apply also to
dynamics. Students are encouraged to think for them-
selves.
If these works are to be played as they might have
sounded on the clavichord, the dynamics range should
be between ppp and mf. I f they are to be played as
they might have sounded on the harpsichord, the sound
can be made somewhat louder, but crescendo and
diminuendo are practically eliminated. Scholars have
argued that they were solely for the clavichord, and
others that they were solely for the harpsichord. More
have been convinced that Bach intended them for all
keyboard Instruments.
It is certainly desirable that the student be aware of the
characteristics and limitations of the Instruments for
which this music may have been written, but it seems
foolish to limit the resources of the piano to correspond
to the weaknesses of these Instruments, when we cannot
at the same time expand its possibilities to embrace the
few advantages offered by them.
Pedaling
Use of the sustaining pedal is best avoided in the perfor-
mance of the Inventions and Sinfonias. This is not mere-
ly because the keyboard Instruments of Bach's day were
not equipped with sustaining pedáis. Unless the sustain-
ing pedal is used with extreme care, it tends to obscure
contrapuntal lines. It is difficult to keep the pedal from
sounding anachronistic in this type of music. Rather
than take this chance, it is best for the student to leave
pedaling out of this music completely. It would be
wrong to say that it cannot ever be used in good taste, to
ensure a legato at certain points. But the compositions
were constructed to be played without a sustaining pedal,
and for this very reason most of the longer leaps occur at
points where the legato phrase S H O U L D be broken.
Many of the greatest artists play all of these works with-
out ever touching the sustaining pedal.
The una corda ("soft") pedal may be used judiciously for
dynamic contrasts, but the pianist should avoid relying
on it to the extent that he uses it in every soft passage. It
is most effective in terraced dynamics or echo effects.

Contrapuntal music on the keyboard does not demand

tremendous differences in dynamics. The effect is rather
that of a conversation—each voice adding its opinión
with sufficient volume and contrast to be audible, but not
so much as to completely overshadow the others. A n
occasional whisper is effective, but to have every voice
shouting at once would obscure the contribuüon of each
voice and thus, generally speaking, double fortes are not
idiomatic to this type of music.

We would discourage an expressionless, abstract inter-

pretation of this music and at the same time condemn an
overly romanticized versión, with sweeping crescendos
and melodramatic contrasts.

Teachers and students are wamed against slavishly fol-

lowing the editorial suggestions for dynamics. The artis-
tic performer must have a part in the creation of the
music he produces. Consider the fact that the first
dynamic indication for Invention No. 1 i s / i n the Busoni
16

Tempo I n d i c a t i o n s
Bach left no tempo indications for any of the Inventions
and Sinfonias. The table below was compiled from early
editions, from scholarly commentaries, and from the
recorded performances of various artists.
Several of the recorded artists play with a considerable
amount of nabato, and with fluctuations of tempo, some-
times almost from measure to measure. Erwin Bodky*
chose to relate all of his tempo indications to the human
pulse-beat, and to round out his indications to end with
zeros. T o these he added "plus-or-minus" signs, as
might well be appropriate for all of the indications in the
following table.
The widespread divergence of supposedly knowledge-
able opinión could be the subject of a long discussion.
In Invention No. I, compare C z e r n y ' s and Andras
Schiff s . = 120 with Glenn Gould's . = 60.
The present editor would be the last to say that any of
the tempos in this table are wrong. We believe that this
table will show that almost any reasonable tempo works
well enough in the hands of an artist who has convic-
tions about the chosen tempo. And this may be the Ies-
son to be leamed; experienced students or artists need
not be bound by editorial tempo suggestions (or any
other editorial indications, for that matter) with which
they strongly disagree.
It is also well to remember that tempos may vary with
factors other than the taste or moods of the individual,
including the responsiveness and tonal clarity of a partic-
ular instmment, as well as the acoustics and resonance of
a room or hall.
It was completely in the baroque spirit to leave the
choice of tempo to the performer.

A
I EDITIONS 1— COMMENTARIES —| RECORDINGS

n3
D u
* C _ 3
O * ra tu — w
c C T3 S eo o
JS o. 2 i :

M.M.
u
s U
0)
N
-a
o
ca S ü i¿ o
S I
ü o U
•s ^
S .i:
os W
c o
o o
H «
=^ •§
S °^ 3 "
ü S

INVENTION 1 J 96 120 ±80 63 66 63 60 80 76+ 72 63 76 120

INVENTION 2 69 108 ±80 52 63 63 40 72 60+ 60 60+ 80 112

•
INVENTION 3 60 80 ±60 46 48 48+ 66 58 52 46 42 52 52

INVENTION 4 76 72 ±60 60 60 60 72 52 64 58 58 84 76
J.

INVENTION 5 72 108 ±80 72 63 84 100+ 88 76 72 104 100 96

J

INVENTION 6 138 144 ±120 96 104 104 92 120 80 120 88+ 112 112

INVENTION 7 69 112 ±60 72 66 63+ 108+ 76 52 58 48 84 56

116-
INVENTION 8 126 144 ±100 120 112 100 112 120 116 112 120 120
126
INVENTION 9 60 116 ±60 46 50 63 40 48 60 60 58 80 63

INVENTION 10 100 152 ±100 108 104 96 160 120 96 108 96+ 120 96

INVENTION 11 80 108 ±80 58 60 84 112 44 100 72 88 72+ 96

INVENTION 12 76 84 ±60 72 69 50 100 60 69+ 48 69+ 69+ 76

INVENTION 13 116 104 ±80 69 66 88 144+ 92 104 84 104 112 84

INVENTION 14 69 88 ±60 88 56 54 52 66 40 66 56 66 63

INVENTION 15 J 96 104 ±80 92 96 54 104 76 80 84 63 84 80

(See page 65 for the tempo indications of the Sinfonias.)

*Bodky, E r w i n . SeeRECOMMENDED READING. on the following page.

**Keller, Hermann. Die Klaviemerke Bachs, Edition Peters, Leipzig, 1950.
 17

Recordings Used
Galling, Martin, HARPSICHORD. Vox Archive A C D Koopman, Ton, HARPSICHORD. Capriccio Digital Stereo
8028. 10 210.

Gilbert, Kenneth, HARPSICHORD. Digital Stereo 415 Landowska, Wanda, HARPSICHORD. Memorial Edition,
112-2 .Archiv Production. R C A VictorLM 2389.

Gould, Glenn, PIANO. Columbia MS56622. Malcolm, George, HARPSICHORD. Nonesuch H71144.

J^cottet, Christiane, HARPSICHORD. Pilz C D 160 134. Schiff, Andras, PIANO. Decca 411 974-2 London.
Kirkpatrick, Ralph, HARPSICHORD. A R C 73174, Archiv.

Recommended Reading
Bach, Cari Philipp Emanuel. Versuch über die wahre Art
das Clavier zu spielen. Beriin, 1753; English translation,
W. J . M i t c h e l l , Essay on the True Art of Playing
Keyboard Instruments. W. W. Norton & Co., New York,
1949. .... ... -
Bodky, Erwin. The Interpretation of Bach's Keyboard
Music. H a r v a r d U n i v e r s i t y Press, Cambridge,
Massachusetts, 1960.
Couperin, Fran90is. L'art de toucher le clavecín. Paris,
1716, enl. ed. Paris, 1717; English translation, Margery
Halford, Alfred Publishing Co., Van Nuys, California,
1974.
Dart, Thurston. The Interpretation of Music. Harper and
Row, New York, 1963.
David, Hans T . & Mendel, Arthur. The Bach Reader, A
Life of Johann Sebastian Bach in Letters and Documents.
W. W. Norton & Co., New York, 1945. Revised ed.,
1966.
Dolmetsch, Arnold. The Interpretation of the Music of
the XVII and XVIII Centuries. Novello & Co., London,
1946.
Donington, Robert. The Interpretation of Early Music,
New Versión. St. Martin's Press, New York, 1973.
Dorian, Frederick. The History of Music in Performance.
W. W. Norton & Co., New York, 1942.
Emery, Walter. Bach's Ornaments. Novello & Co.,
London, 1953.
Ferguson, Howard. Keyboard Interpretation from the
I4th to the 19th Century. Oxford University Press, New
York & London, 1965.
Jorgensen, Owen. Tuning the Historical Temperaments
by Ear. Northern Michigan University Press, Marquette,
1977.
Jorgensen, Owen. TUNINGIContainingIThe Perfection of
Eighteenth Century TemperamentIThe Lost Art of
Nineteenth Century TemperamentlandIThe Science of
Equal Temperament. Michigan State University Press,
East Lansing, 1991.
Neumann, Frederick. Ornamentation in Baroque and
Post-Baroque Music. Princeton U n i v e r s i t y Press,
Princeton, New Jersey, 1978.
Palmer, Willard A . , & Halford, Margery. The Baroque
Era, an Introduction to the Keyboard Music. Alfred
Publishing Co., Inc., Van Nuys, California, 1976.
Quantz, Johann Joachim, Versuch einer Anweisung, die
Flote traversiere zu spielen. Berlin, 1752; English trans-
lation by Edward R. O ' R e i l l y , On Playing the Flute.
Faber & Faber, London, 1966.
Restout, Denise. Landowska on Music. Stein and Day,
New York, 1964.
Türk, Daniel Gottlieb. Klavlerschule. Leipzig & Halle,
1789; English translation by Raymond H . Haggh, School
of Clavier Playing. University of Nebraska Press,
Lincoln & London, 1982.

ACKNOWLEDGMENTS
1 would like to express my thartks to Judith Schneider for her valuable assistance in the preparation of the manuscript of the
first Masterwork edition of the Inventions and Sinfonías, and for her help with the research necessary for its completion. I
also wish to thank Owen Jorgensen for helpful suggestions in the preparation of the foreword of the present edition.
Thanks are also due to Lynlee Alley for her assistance in tabulating the metronome tempos. Sharon Aaronson is due thanks
for her help in bringing this newly revised edition to completion. Most of all, I wish to thank Morton and Iris Manus, the
guiding spirits of Alfred Publishing Company, whose unfailing support and encouragement have made all of my
Masterwork editions and other educational materials possible, and whose high standards should be an inspiration to all
music editors and publishers.

And to my dear wife, Ruby Touchstone Palmer, my treasure now for 50 years, who continúes to make my work as pleasant
and free oteare as possible, no amount of thanks can ever suffice.
 I n v e n t i o n N o . 1
in C Major
B W V 772

Allegro moderato M.M. J = 60-66

4 T n-

Jim.

r3~i

•2 1
1 a 2
4 o 1

i i
crescendo

SE
m
Ti'

) 1 l

1 2

® A L L manuscripts show a T R I L L here. The mordent on this note, which appears in the Busoni edition, the Czerny edition and the Masón edition, is
without foundation.

This trill and the trill in the following measure might also be played as pralltrillers (see discussion on page 11) or as trills with termination (see page 6).

(D The trill at the cadenee may be played with additional repercussions:

 4^^
• 4. > 4,
-^J í !<- — d — —

' 1^ " a 5 4 2

crescendo

¡2)® These trills in parentheses appear in the Clavier-Büchlein. They should be included. Trills at such ® "TO"
cadenees are part of the tradition of the Baroque period. They may be played with more repercussions: tJ

The bass line in the Clavier-Büchlein ends as follows:

(D The arpeggio sign appears in the final autograph. It is played the same as in modem notation.
 l
20 m
I n v e n t i o n N o . 1 l
in C Major
B W V 772a
V A R I A N T C O N T A I N E D I N T H E AUTOGRAPH OF 1723
This versión of Invention No. I appears in the Friedemann manuscript of 1723. The added notes seem to have been written into the
manuscript later. They might have been added by J. S. Bach himself, to show that it was permissible to vary even the subject matter
of a composition by adding passing tones. The triplets were clearly indicated.

It was not the practice during this period, however. to combine binary and temary rhythms. Wherever triplets were written against
two notes it was customary to alter the temary rhythms to fit the binary ones, or vice versa, depending on the prevailing rhythm of the
composition. If the groups of four 16ths are accommodated to the triplet rhythm, the first and third notes (or rests) in the group must
be lengthened and the second and fourth shortened. The triplets may be accommodated to the lóths by playing each triplet as two
16th notes followed by an eighth note.

Glenn Gould, in his recording of the Two and Three Part Inventions (Columbia MS 6622), has chosen to use some of these added
notes and to omit others. He uses the following rhythm:

Allegro moderato
M.M. J = 60-66

r
 21

5
i 1
i
^ 0 ^» ?-

= = t f ~ - f = = P = - p = P f f =
J^^-^ é J J J j J J J J
-i J^iJJ^J^í

3: !13i 1

3i
1 1 ^ x 1 i' fWI I 1

cresc.

r r r r r f r r
2 S 1

H! 1
4
0 ^aip-n 0-f-m

f
1 ^
1

|18|
r — * " " V l * ~ f * r p r p—^j-"—
r f n
1 1 1
/' crescendo
0
Mí*

1 i
I-
P

P
1 4

3
22

I n v e n t i o n N o . 2
in C Minor
B W V 773

Moderato M.M. é = 60-69

legato
3

Ü
43 43 1 4 2

legato

i
1 a s 3 a 1
cresc. 4 :¿ 3

j^'^i 1 1 1 1 F T ] r — h — 1 ^^'T T*^'^

1
T
P
T—^
^ r ; - ^ - i - i M — J — .— ^ — ^ — - i j ^^-^^^^
3
•J « • -«L • 1 3 as

m 1-'-'

If a slow tempo is chosen, all trills may be played with addidonal repercussions. In such a case it is probably best to preserve the lega-
to style throughout.

(X)(D(3)® Some editors believe that these ornaments and the corresponding ones later in the composition should be interpreted as examples of the
'•Schneller" or "Imperfect Shake." See the discussion on page 11.

If such is the case, they are played:

m :etc.

This conclusión is due to the fact that consecutive octaves result if the trill in measure 3 is begun on the upper auxiliary. C. P. E . Bach, however,
States in his ESSAY that the Schneller is always written out in full. This may be reason enough to conclude that the use of the Schneller in any of
the Inventions is incorrect.

(D This trill does not appear in any autograph. It is added in the Bach-Gesellschaft edition. Apan from its usual function in the cadenee, the oma-
ment is logical because of the canonic structure of this invention. Since the trill is used in the left hand at the end of the eighth measure, the canon
is clarified by playing the trill in the right hand in the sixth measure.

(H) The tie does not appear in the Clavier-Büchlein.

 23

(7) Consecutive unisons result from beginning the trill on the upper note, but the performance of the omament as a Schneller does not solve the problem (if
indeed there is a problem other than the fact that the composition was written to be played on an instrument with two manuals). The realization shown
here is possible. The Schneller is impossible to perform in this measure.
24
•:l->

t ^ r T T i 1 2 5

J J h j - J > f f L J
~ * <i— * al a - «1 é—*

m
1 3 ! ,'i !

3 1 4
3 2
5*

5-í

2 1 9 1 4 1 3 1 3 1

i i

3 1 ! 1
S 1 4

m
2 1 1

cresc.

r n
r3-
0 ^ i

fe

pp rf r
-w

j» ^ ^ ^ ^ ^ ^
esc. f

^
-M
1 3
1 2 t 5 3 f 4 a

(S) More consecutive octaves result from starting the trill on the upper auxiliary.

® See comment on this final cadenee in the discussion of dotted rhythms beginning on page 13.
 25

I n v e n t i o n N o . 3
in D Major
Allegretto M.M. # • = 52-60 B W V 774

n •
43

3 1 ' ílv
H — i - f i — r j 1 1 1 1 1 I " — ^ — r - r -
^ ^ J ^ : ^ =• f — — — -

L ?,J % •» •» . :• r^^ r r 7 >

^ ^ff ^ 7 7 •
1 1 r r [ j 1
4

granoso
simile
m
-0

1 s

3 1 i 1 3 2
[Ó]

É
1 3

The slurs in dark print appear in the Friedemann manuscript in a manner that makes it impossible to know exactly which notes they
encompass. Bach probably intended simply a legato style of playing.

The omaments in the third and fourth measures (and those in the 45th and 46th measures) of this invention are highly controversial.
They are clarified considerably by the Clavier-Büchlein. The trills in parentheses are from the Clavier-Büchlein.

® See the discussion of this omament under THE IMPORTANCE OF THE CLAVIER-BÜCHLEIN. beginning on page 3.

( D This omament is discussed under THE .APPOGGIATURA USED AS A P.ASSING TONE, beginning on page 10. After reading this discussion you may
agree with the interpretation shown in the te.Kt. Nevertheless. here are other possibilities;

ese:
I This trill appears only in the Clavier-Büchlein. It is a cadential trill and should be played. More repercussions may be used, and the dot may be
lengthened:
26

ÍIS^

i i
2 L

i
i

\2Q\ E T 3 í 1
3 í
4 w 1

cresc.

1 3-

ES

cresc. cresc.

This tnll may be played with additional repercussions and with the valué of the dot lengthened. in the same manner as (¡) on the previous page.

Trills in lighter print on this and the following page are cademial trills, not indicated in either manuscript. They may be played with additional repen
See (3) on the previous page.
 1 4 1 4 5
^ ~ ^ - —

^--^ ^ J

•
• I- S i l *7 1 0 '
. 1 — - ! 1
1 1 " 4

-f^~—
^ ^ . fci:^--
3 t3 l 3 simile
/^U 3 1 ^ (w ) J
Jf fftt f» - 4 - 1
ii é 9

^ m - -s
• ^
r r r 7 7 " ' —r f 0
-7»—Pft 1 ' ' ' 1 U 4
1 í 2
1

(D These notes are from the Clavier-Büchlein.

28
I n v e n t i o n N o . 4
in D M i n o r
B W V 775
Allegretto M.M. J- = 60-66
2
1
j i ] 1 1 n - r 1 J
*
J
*
J
J a
1 1 1 J ^ — + f i *

n — 1 » r r LL
^ L V - f j

/ i 1

•^.1 -pT^
r r r p
r r r r 1
r r f r r T i
^' L 1 M ' ' H — W — 1 — 1 — 1 —
inenof

"£V ^ (* ' • — p —
r ^ Z.

3 1 r 1 r = 1
3 a 1 s 4

Traditionally, the 16th notes are played legato, and the eighth notes are played detached or staccato. The phrasing recommended here
is suggested by the directions of note-stems in the Autograph of ¡723.

® This omament appears only in the Clavier-Büchlein. At a rapid tempo, the first note of the trill may be tied to the note preceding it. With this form of
execution the omament becomes a "Pralltriller": P
 29

1 7

v5 !

i
3

CE
1 2 si 5 ,
1 ¡

2-5
-»~w * • I» a ^' 1

(2) This and other trills in lighter print are cadential trills, not found in the manuscripts. They may be played with additional repercussions, and the dot may
be lengthened:

@ ® The symbols * v and are used interchangeably by Bach. They all mean "Trillo" (trill). These long trills are the only means by which the tone
may be sustained audibly for so many measures. The trills may be played with twice as many repercussions as shown, if desired.
 31

I n v e n t i o n N o . 5
in E-flat Major
B W V 776
Allegro moderato M.M. J = 100-108
3 21-
2 1 2 1

-0- ti -0-^

—^—^—-—
ta t »
518 333
3 ^2s>. i_ ^

i 3 1

43

1
4 2 1 2
i
5 1

The first mordent in the motive is often omitted. When the left hand plays the same theme in the fifth and sixth measures, corresponding omaments are
absent in all of the autographs. It would seem that a decisión should be made as to whether the mordent be omitted or included throughout the work (see
THE EXTEMPORIZATION OF ORNAMENTS on page 13). The omaments are clearly indicated in the Autograph of 1723. Wanda Landowska played
the mordents in the first eight measures exactly as shown in the text. After this she added and omitted omaments according to her own fancy.

At a fast tempo this and all corresponding trills might be played as 32nd notes: ;rillers:
or as pralltri
 ! it
32

1 ^

B J 3 2 :t

3 _ -Mv
.1 a ;<
:í 2 :i 3 —-^-»(v
:i 2 J

piüf

1 i
i -.1 f f- f f-f-f-

" f e
.12 S

— s — r " F T — r — i r r r r f r r r p ]
M i l 1 1 1 1 1 ^

r r r ' T r f r r r f r f - r
•
1 ' ' , ' ' ' ' ' ' n r r r i r r a " i 2 .•! 2

[H]

É
piüf
f

m
^ 3 ^ 1 3_

mf 32 .12 3

I''', t f r f r f f r ¿Jij-s
1 a -Mv

_*—^
34

m
f

4 3 12
rrrrr
1
[[[011 im
4 2*14212

® This is an example of inexact notation, which was common during the Baroque period. See the discussion of this omament on page 9.

( D In the Clavier-Büchlein a trill appears instead of this omament. This is the only embellishment contained in this invention in the Clavier-Büchlein.
34

[25]
1 i -P-it-^X

Se i

32 3 3 23 323

® This is an example of inexact notation, which was common during the Baroque period. See the discussion of this omament on page 9.

(2) In the Clavier-Büchlein a trill appears instead of this omament. This is the only embellishment contained in this invention in the Clavier-Büchlein.
 35

I n v e n t i o n N o . 6
in E Major
B W V 777
Moderato M.M. i ) = 92-100
1 í

3
I
1 s

1 3 1 4 5
3
• f — r — p — r -
^ — I K - rf
^ r r ;
cresc.
i« —
r . r
1-3 1 i —

3 1

i
tí
Ü

1 a 1

This invention may be played legato throughout. The mordenüike figures, such as the ones in the right hand in the fourth
brought out more effectively if the accompanying notes are played detached.
36

i
i

• S 3

. . 1 S 1 3^

i 5
crescendo

i P

1 3 4 32
1 3_4 2 •'i
SÉ
- IITÍÍHÍI

a 4 a
15 14
,-11
-d
1 11 1 1 M
—7
1w n
J J ^

cresc.
^ -¥ r

•f •fn»—n—5^
y "» * —MI i •
—?-• 1
< 9 i
38

I n v e n t i o n
in E Minor
N o . 7

B W V 778
u
Andante con moto M.M. J = 60-69
3 4 3 3 a 3
11 5.

i 1

2 1
r rr r

pn 3 2

0 m P

i i

3 1

i
í-J-1 r 3 - i etc.

43 4 43 4

®®(D®(D® appear only in the Clavier-Büchlein.

® The number of repercussions in the long trill tlepends on the tempo, but see footnote ® on the following page.
 w 1 y-"^^ 1 2 3

m
í 3 2 4

112
32
- ^
i
i
cresc. f p

-3 2 4 1 4 13 2

r-J-i

4 2
14

m 5 2 3

- 3 - ' etc.

The long trill may be ended with the suffix:

This trill appears only in the Clavier-Büchlein.

P
It is necessary if the note is to be sustained, and there is no doubt that it should be played. Because of the
short trill in the right hand, which is played with the starting notes of the left-hand trill, a mínimum number of repercussions for the long Bill is the number
shown in this text.
40

m
i 3 1 3

diminuendo mf

llU „ . — ^
. ^ - - y j ^ 1 3 ^

. . —^ —^pj-»

dim.

~ P 0 m J r . 1 — ,
p . p r f 0^. 0 ' — r F 0 j ?
— \ — 1 — « f e - ^
4 1 2 1

» 2
a 5

I
1

crescendo f

"^i^ 5j—' 0 0^.'i \ a-kriT; P^"1~~ -^-p= F=f^—ri—

—
1

2 íl» 32

i
1-5
5-1

® The Bach-Gesellschaft has djj', which does not appear in either autograph. although it does appear in the bass in measure 18.

® From this point the

'í' I J I " ^ I J . i i . J
Clavier-Büchlein has
the following:

S i

1 F H 1
^ — p 1 1 1 ' 1 M _ |
^—j-i-.—5-^1

m
r I* r" ^ W
 41

I n v e n t i o n N o . 8
in F M a j o r
B W V 779
Vivace M.M. J = 112-120

1 1

r • 1* r f f f
m

[ r

• ¡L
E r r r r
^ \ T'—1 , — . ^ — j —
L- •— 5 ^
1 1 2

(2>
1
m i í

i
«2
1

2 1 2 1 3
1 2 3 ' 2 >
i r

m —
r rv r r r
4,

i crescendo

j j I I I I I
' V r B
— • — 1 ^ — • — í

p ^1 1
U—m —i —• *»
—
w
f

^ ) ^ T - r —

•
t> [ — ^
1 1

® Busoni phrases as follows, but is inconsistent (in several measures he uses the phrasing suggested in this edition).

1 .11.' ' 3 \y [ . ¡ ^ 7 ^ ^
42

^^^^ ^ r r f r
m
1 2 1

m P

P 1 3 1 2
P
2 3 2 1 3

£ 4 I»* . *

4 5

3 f- 1 3 1 -0- i -0- i f »- -p- 3

r ' r ' r * r
0 p 0
— r — r — p — -'-^ \l0 itp - • - r - f

1
-—U- • — W -
4' T^r

}• 1
ft ¿
r *

1 rr
¿ f —# 1-^ +fi ^ :

^ • - ^
-¿-^—1 ^ =
l l — ^
a 1 2 1
1 1
3 1
J I J

The Clavier-Büchlein omits measures 17, 18, 19 and 20.

The notes on the smaller staff are those found in the Clavier-Büchlein as the bass line of measures 21, 22 and 23.
( J ) The Clavier-Büchlein shows the fermata over the last chord.
 I n v e n t i o n N o . 9
in F Minor

The slurs in darle print, from the Autograph of ¡723, are missing in the Clavier-Büchlein. These slurs indícate a legato, cantabile style throughout the piece,
except for the short, disjunct motives, which should be lightly detached. An abrupt lift at the end of each slur is not intended. The slurs in light print are
derived from those that occur in similar passages in the final autograph.
 45

21

2 1

m
o I, r '

£ 3 3

1 -•
I4 3

® The C/üvi>;--eHc;i/í>m has et".

(2) The Autograph of 1723 has an ai]. The t| sign does not appear in the Clavier-Biichieirt.

® The Autograph of 1723 has d k The Clavier-Büchlein has dll.

® The SacA-CeiW/ícAa//shows - s ^ . The Ai/ío^?rap/i 0/772J has U . (The C/av/<'r-fi«íWé.m has no omaments in this invention.)

( D The Bach-Gesellschaft shows , a trill with termination, Bischoff has the double mordent.

(D The Clavier-Büchlein shows the tura written out in full:

(7) See discussion under 5 ( W f TRILL WITH PREFIX FROM BELOW) on page 7. .Mso see DOTTED RHYTHMS IN THE BAROQUE PERIOD. beginning on
page 13.
 2 12 3 4
3 2 3_4

2 1 2 3 4
3 2 3 4

m m

The valué of the dot may be increased: 1^

See discussion under 5 (THE TRILL
WITH PREFIX FROM ABOVE ) on page 7.

In the Autograph of¡723, this omament could possibly be Uv , in which case it is played:
Ses 13 (THE PREPARED TRILL) onpagsW.

m
48

I n v e n t i o n N o . 10
in G Major

B W V 781

Allegro M J V I . J . = 96-108
3232
1 í 4
1=

w/' 5

5 3 a i - - r ^

^ ^ ^ ^ ^
^1 dim.

2 3 2 3_

[6] 5 2 1 2

i
5 a 1 1 4 1

r r
*
f r
1 ^
lu
S 4 2 l 2 U 232 ^ 1 2
¡*~
^

This invention is traditionally played detached throughout. Busoni has sempre staccato. Bischoff. Masón and Czerny indícate no phrasing.
 51

I n v e n t i o n N o . 11
in G M i n o r
B W V 782
® Moderato con espressione M.M. J = 50-60

1
3

1 3, 2 1

i 12t

r-3-

ü
2 J.,3 1_2 1

i r ¿ ' r r r 'ir

cresc.

. r - J
tJif^ r 'í f r '
2 ^ 4 l i l i í
1 i 1

® This invention is often peiformed at a faster tempo. A slower tempo is suggested by the omaments in measure 10, which are usually omitted. The 16th
notes are usually played legato and the eighth notes detached, except as indicated. The mordents should be played as quickiy as possible, regardless of the
note valúes in the realizations.

The Clavier-Büchlein has the d- x ' d out and replaced with a bt>': ^ i>^' E {1

All of the trills in this invention are preceded by the upper note. They may be tied to the previous note and played as pralltrillers (see page 11).
52

/-i-l
1 > r'^'^f ''fff-
\
1 -1
•)
'
323 2
1 '¡ '¡II
í 3i 434 3

® See the discussion of THE TRILL WITH PREFIX FROM BELOW, WITH TERMINATION, on page 8.
(D T
heM
Í/ WgrapA o/;72i has A¡1 here (no accidental indicated). The C/avier-Sác/i/em has A t .
® In the Clavier-Büchlein the last three measures are as follows;
54

I n v e n t i o n N o . 12
in A Major
B W V 783

Allegro M.M. J - = 69-76

m
1 i 1 1 2 1 1 2 :i 2

fe i fe

írrrrrr rí

m I
1 3 "—•

i
f
® _5ÍSL
'y-^é J J J j - 7 'J J y r pr P 1 :i 23

1 :í 1

14 13 14

® This manner of execulion of the trill with prefix from below, with termination, allows consistency throughout the selection, including the trill in the next to
last measure, which is not tied. The use of the omament in this invention is discussed on page 8.

The Clavier-Büchlein has:

 323
m
tí
p r P C

leggiero

rrrrrrrrrrrr^Tj , v "7 7 ^

fe
1 2 5
3

crescendo f

?c£ff^ 7 7
5 1
i

13

i i
1 2i , 2 123_ *y
tí:

•3)
3 i
3 1
3 43 3 2 12

[m 2 1

i
2 1
tí

cresc. f

I The Clmier-Büchlein has:

:etc.-
56

i 2 l
53
1a 1
21
tí:
i

1 1
marca to

|16| U * 1

-j) 7 7 ^ j g g _ : — 7 7

» : "^^^
*í X - 1* V If
K 7 7 7 7 — ^ g - - g ^ ^ 7 7
1
s s

3 ,2 -*?1 1 1
5 2 1 ? "

S i

J J) J J) i

32 1
S ' 2
4 32 3 2341 14
13 l
m

201 5^ ^ , 5 5
i cresc.

1 - ^ 1 ^

i
121
3 2 12 t 23 2

® The Clavier-Büchlein has c^^ instead of f j - .

(5) A trill at the cadenee is appropriate: —

 57

I n v e n t i o n N o . 1 3
in A Minor
B W V 784
AUegro M.M. J =104-112

í 1 2

— r J * ' í
•

— h - 4 — ^ — i - ^ -
1 2 5 4
—_ 9

® The Clavier-Büchlein has c- instead of d^.

(2) The treble d-'s and the bass d' in this count are jí in the Clavier-Büchlein.

(3) Many editions have ab'. It is clearly ai]' in both autographs.

® From this measure on, the Clavier-Büchlein ends as shown at the bottom of the next page.
 59

|T9l legato 1 5 2 5 1 2

i
2

5 1 3

1 2

2 3 2 _4_\ 2 1 o'Tn
3 1

. Carica ¿iJixcfi
crescendo - /

2 3
5
(3)

From measure 16 on, the Clavier-Büchlein ends thus:

i
m

m
S4
[19]
<¿ F . 0 r r im r^t
r 1» r r p I J J J j j t i " II
%=^^-^---
r ''f -!^f—^1»—¡—^ !—
1 u ! L j L i r tf^^
 I n v e n t i o n N o . 1 4
in B-flat Major
B W V 785
Andante con moto M.M. J = 52-56
5
1 4
-p «
" ~ f
* J *\}éjé* J
^ ^ ^ ^ r h f ñ 1 -0-

• 0

i — ^
1 5

m 5 1 3 2
a,"" 1 -~n5 ^ 3 S 2
0
3
n 7 í
dim.

:2: 7 ?
3 3
(4) (4>

7 J

dim.

m 5
í4>
i 1 í 1 1
i

cresc.

1 4 i T í

s 0)

3 1 1 T»-| 3

i 5 1 5

® The Clavier-Büchlein has d" insiead of a

61
62
I n v e n t i o n N o . 1 5
in B M i n o r

B W V 786
Allegro moderato M.M. J = 80-88

i ' V r ~ . 1
S
w 1 r'*«i*^i -vv 1 a
— J - ^ \=
— ^ — í f e ? — i ^1 — 1 — -«^ f—*L^<J J . J J ^ *

—f=í s = S = Is =
[-y (/ é' ' p P p
_ál 1 2 JJ L i
^4 1

3 -i 3

m 1 2 1 14 3 2

232 3
23
—
—t4=i—J
L J - I

(la 3) (12 3) (12)

31 2 32

4 3 1

® The dotted rhythm may be exaggerated, (see discussion beginning on page 13).

This Fj} and the following Gjí are eighth notes in the Clavier-Büchlein.
 63

rn_ u 1 2 1 4 4^ 1 4

É
fe
1
1 — ^ — ^
3 ' leggieramente
staccato

É i
r - T - > x 7777

1-2

U3^ 3 2

23
i
í3
64

m .1 2 .11 5 2 2 ® 2
5 J _

I
cresc.

3 2 1

2 2 1 4

2 1 2 4 2.1
4 4^
(12 3 )

3 l
m 32
1 s
L

23
r-.»-i 1 3
(12 3)
(12)

3 2
1 2

1 1
m
i
In the Clavier-BücMein the first a' in this group of 16th notes has no accidental: the second a has a sharp.

® The valué of the dot may be exaggerated: ^

 65
Tempos f o r t h e S i n f o n í a s
Compiled from early editions, commentaries and recordings of various artists.

- COMMENTARIES- -RECORDINGS-

03
JJ 0
a P
ia .2 ^ ca 1) — C/3
o
-Co c u c °° a T3 3 0 -S =^ a -a 0 00 0

M.M. S
« (U
N
T3
o
CQ
_2J
s 0 ta Ü
S I
o Ü u ^
Cu S g -ys
0

Ü S
13 ^"
u
« 3 8
SINFONIA 1 J 96 96 80 69 66 72 132 72 80 80 69 84 92

SINFONIA 2 J. 100 60 80 63 88 63 50 88 80 76 63 76 76

SINFONIA 3 J 76 92 80 76 66 69 100 80 84 88 N/R 84 92

SINFONIA 4 J 56 84 60 54 56 54 116 46 44 48 N/R 63 46

SINFONIA 5 52 100 60 48 50 58 44 42 56 44 40 60 60

SINFONIA 6 J 104 84 80 84 84 112 184 132 84 104 N/R 92 120

SINFONIA 7 J 56 88 60 56 58 56 96 66 60 60 N/R 56 66

SINFONIA 8 J 80 92 80 N/C 80 84 104 80 80 72 N/R 100 100

SINFONIA 9 J 50 69 40 46 46 46 66 48 44 44 N/R 46 48

S I N F O N I A 10 J 100 100 80 96 88 92 116 92 116 80 N/R 92 104

S I N F O N I A 11 138 180 120 142 160 96 208 120 120 120 96 104 80

S I N F O N I A 12 J 104 112 80 84 92 84 108 88 80 80 N/R 96 96

S I N F O N I A 13 108 180 80 108 126 104 96 132 176 132 72 138 120

S I N F O N I A 14 J 76 66 60 54 60 56 96 66 60 60 46 60 84

S I N F O N I A 15 100 112 80 72 88 76 116 76 84 88 54 96 96

i).

*Bodky, Erwin. The Interpretation ofBach's Keyboard Music. Harvard University Press. Cambridge, Massachuseits, 1960.

**Keller, Hermann. Die Klavierwerice Bachs. Edition Peters, Leipzig, 1950.

N/C = No Comment
N/R = Not Recorded
66

S i n f o n í a N o . 1
in C Major
B W V 787

Allegretto MJVI. J = 69-80

(1) The word "simile" refers to ; _ on the main theme, which may be continued throughout the selection. The use of this effect, advocated
in most editions, is left to the discretion of the individual. It should not be overdone.

® This trill appears only in the Clavier-Büchlein.

(J) T h e Clavier-Büchlein has only an eighth note d" in place of the last two 16th notes of the measure.
 ,- i3
m

a 1
y 2-1 3 2
crescendo
/
L I I I I

.3 3
te

dUnUmendo
2 1 2 "

5 5
2 ~3~T~-nS 4
1

i r a i . , nH :
3
2 2 _ i ^ i a

^ 3
5^" —

'3) This and all other trills preceded by the upper second may be played as Pralltrillers (see page 11).
;2) In the C/avíer-BHc/i/í'/>i the tied g' is replaced with »/. *
(6) This trill is logical if the trill in the fifth measure is observed. It does not appear in any of the manuscripts.
(J) In the Clavier-Büchlein the a" is an eighth note and the following fri' is omitted. This corresponds to measure 5 of the Clavier-Büchlein.

® This tnll does not appear in the autographs. It is included in the Friedemann and Gerher manuscripts. It should be added. since it agrees with the trill
in measure 6 (see THE EXTEMPORIZATION OF ORNAMENTS. page 13). .
® In the Clavier-Büchlein the lower voice is a quaner note.
® The nat is missing in the Clavier-Büchlein.
® This trill is included only in the Friedemann manuscript. The trills in measures 7 and 15 make it a logical addition.
® The accidental B>
I is omitted in the C/av/er-Buc/j/cín.

® This trill should be added if the trill in measure 5 is observed. It appears only in the Friedemann manuscript.

® The lower staff is from the Clavier-Büchlein.

 69

Sinfonía No. 2
in C Minor

B W V 788
Andante con moto M.M. J • = 60-76

— m ^
J -í^—M.—-pfa^Vr ^
^ 1^

mf

>V.,I, 11' r ^ r V p ü f f
^ b 1, H — * ^ ^-4= 1—4-—J • 1 1
' í 7 1 7 ^ - í •

7 i 7
¡•'•1. i P J ^ ^

2 1
2 1 1
4^
fe==e====^'

3 5 2

This sinfonía does not appear in the Clavier-Büchlein. The dynamics follow the Bíjc/!0# edition. The student should be reminded
that no dynamics were indicated by Bach. The effectiveness of so many crescendi and diminuendi on ascending and descending
figures is debatabie and is a matter for personal judgement.

' These omaments. which are included in so many ediüons, do not appear in the .Autograph of 1723. The are derived from the Friedemann manuscript.

( D The ai) and the aí|' in the measure are omitted from the Auto<>raph of 1723 and the Friedemann manuscript, an obvious error. The afl- appears in the
Gerber manuscript.
70 d

01 IJS 1 5
4 3,

3 ^

13 2 r a
i 3 3 3 1 1

. 9 -5)^
N* 4
"1 ^ 1 — — ^
a P P~—
f — r
i
3
2- -4

1 7 ^ _ ^
«'i r
1 1 1

El]

7 - J f - t
1 5
dim. i 3 2

1 ^ 7 7
2 4 1 a 1

i 4
[20]

m
2 1 2

7 j 7

i
— " •I j t- —m
T 7 ^ yP •
(§) An alj' may be more correct. In Bach's manuscript a natural affects only the note before which it appears, and there is no natural here in the Autograph
ofl723.
(J) The trill may end with a suffix: J J , h i
72
Sinfonía No. 3
in D Major

Allegro moderato M.M. J = 76-84 B W V 789

^yJ-L L_
«J
f> - simile 2

•f-Ff-0
" l : iií (i V—fi «4 m.
.ZJ%±
3
1—L , 2 3 1

2 1 1
(2;?

2 2 i I I ' '

• • • » r
# M — F — F — ^ — fg.
f — ^

— r ^ r ' F f " " r f • r

- ¿ - ^ — j -

4 ^ ^ 3 3

1 ^
1^
crescendo ^.^ '
(3)

m
Only the first 12 measures of this sinfonía are included in the Clavier-Büchlein.

® The autographs contain no omaments. The omaments

shown here are from the Friedemann manuscript. which Q |,
also has an abundance of appoggiaturas, beginning as follows:

In the Clavier-Büchlein a sharp appears before the g.

In the Clavier-Büchlein the middle voice contains an additional note:

74

Sinfonía No. 4 5
B W V 790
,•) i .1

in D Minor

Andante M . M . J = 56-63 3

a
m
3

P espressiro cresc. 7n/

2^ 1 5

4í

mf

3 4 2

E]

2 \

cresc. f

1 1 4 1 3

(J) The autographs contain no omaments. In the Friedemann manuscript the main theme is oraamented as follows:

written: played:
0 #^ |T p *—#,—p p-p-
= = Í B
^3-'

The cadential trill on the repeated gf" is characteristic of the Baroque style (see.rW£ EXTEMPORIZATION OF ORNAMENTS, page 13). The trill may
have additional repercussions, and the valué of the dotted note may be exaggerated:

For the upper voice the C/avíer-flii'c/t/íin has: ¿'^ ' : This may be played as a suffixed trill: —
76
Sinfonía No. 5
in E-flat Major
B W V 791a
V E R S I O N F R O M T H E AUTOGRAPH OF 1723

This versión of Sinfonía No. 5 is sometm

i es performed wtihout ornamentation. Many of the omaments were added after the manuscript
was completed, perhaps by J. S. Bach himself.
Andante M.M. J = 40-44 3 *_

ñ LO i I i

simile

"í/ espressiro
simile

1 i

i^J ' — '

f • - — •

poco rinforzando

— ^ 7 1
1 ' =

^ ' ' - r r - - i - r ^ - r r h f ^ ^ ^ ^ ^ f ^

•
~~ • 3 2.1
|6| .

1 ^ ^

z.
' • \ • •
1 2

d) All dotted rhythms may be exaggerated, as explained in the discussion beginning on page 13. For example. the first two measures may be played as
follows:

i
'-3-' "-J-
The tum, which appears in many editions, is not defmite in the Autograph of 1723, and does not appear in the Friedemann manuscript.
 77

3 34 5
3 23
2
•i-^ '-.i-I .
3

2 1
[n] Si i = 4
SE
m g

poco piüf

4 323rJ-, 2 4 r 3-1

2 í

' ' \ J . n
V- ^— -¡í

mefio f

^^hÁ íf ^? •* —

-?-y=- * -?
2 1 2 4 -i
78

I
É
^ 5,
3JM_S 5 I — i ^,2:3 2 *

1 2 1 2 .1 2 .1
12 l i 'i

^ ^ ñ F--
*y ^' H

piiif

1 X Iw ^

f
1b 5—frp~' ^ •
P ¿"PF

5
r" c - u 'r ^''^ ^ I
'1 1
r-
2
g.-. . - ^ ^ 1 11 1h 1
[24j 1 a ^ -a
212
7*1*7 ==—
=^
• wry f^-í-
•
{

-"^^I^^ - t i ^ ^ —=—^r-T i
^^-H—r''* * J * ,
2 13 1
^
•

(3) This trill is found in some published editions. It appears in neither autograph.

® In the Autograph of 1723 this omament is clearly U»v . instead of v.»vv • as shown in the Bach-Gesellschaft and Biic/toj^^editions.
80 í*"
Sinfonía No. 5
in E-flat Major
B W V 791
V E R S I O N F R O M T H E CLAVIER-BÜCHLEIN
, . . . . . — . .
_ simile
3 4

-f—^ ^ f s - ^
simile

El 3 4

3 ^
/70C0 rinforzando

Bischojf'sobservation that "it is neither possible ñor worthwhle

i to list all the deviations in both manuscripts in the appearance
omaments in this composition" probably referred to the differences between the Autograph of 1723 and the Friedemann manus
The differences between the versión in the Clavier-Büchlein and the Autograph of 1723 ARE worth noting, however, and for
reason both versions are included in this edition.
(I) A l l dotted rhythms in this sinfonía may be exaggerated, as explained in the discussion beginning on page 13.
 83

Sinfonía No. 6
in E Major
B W V 792

Allegro m o d é r a l o M.M. #• = 84-92

rjj UJUj. p . -il^ -J— -

1V . -— /

fj .—

/ ^tí íf g (§) 1 .... ¿: :

— ^ 2

[4] 51 (sempre legato)

tí
i
m i m:

^—•

4-5 4-5

lililí ' i -
4 5
¡
1^^-= —fn¡í ^¡

r- 2
1 -S-.
^Jrjj
1 ^ 2 3 5 =^ Í 3
íSj--
2
1 (8>
» 1* - — .
~w—1*—r—1* •

iOj 2 5

i 1
i
2 3
/

m 1 = ^
84

un
3 3
1
n ^_
-5-7^
3
1 ' 1
T —

diininneiido
f r f ftr r f . -
y íí *

|161 •i 1

1 7 7 i 7
^ h l J ^
'-^-^ ^

1 3 , f -f ^ M ^

— 1 —

|19|
1 J
= p T ^ = = ^ r r r 0
j j w
^^^^^^ \
\

-3/—Trff-'^ ]• 1-4
_j ^
5

5
-¿r—- «-^ JT]
CJLT f = ¥ \
^> ^ P-^ ^
1
/
í—^^— ^— ^

(2):

~ X \ r n dimimiendo

1 3 1 4 3 2-4 5-3
® In the Clavier-Büchlein the note is E | .

® The lower staff is from the Clavier-Büchlein.

 üiniinueiido

ac
i
4 1

I22l 8 3| r - — p

{ ^ -
1 m
/
L v y . r f F , . ? — — ? * í —

í — i — ¿ - ¿ —

X /\ ^ w H-J W ~

1 ' j . — m j n1 5 5 5

«j CL; r
3 L 1

_J. diinimiend 0

• — I * — ^—
í 9 - i

® In the Clavier-Büchlein the note is E | .

(D The lower staff is from the Clavier-Büchlein.

 85
i-t
m

i ! 2
(3
3 ^2
))

4-1

1 .rTJ n
5

3 4 2

1 2

^ 1 l 1 ^ 7 ^ 7

s
—W- > *r—í *r~
f 7 f 7
r-. í— '-—
2

0: titila
f

í *f ? *T
Ni. 7

.. j
,- í 1_¿ 2_
7 < 7

•Ti •

4^^ ^ 4, 5^^ ^

^ ^ r r/ r I- H
' 1=
== - ^ ; — t
1 ^ 3 1

^- " < 7 j 7
4 — /
:
^ 1

5 5

|39| _ rit.

\j(^k \ , f ^ ^ ¡

^¿^" L 1 J ^ L J L 1 J
^ ' m tf*^ _¿

r f . •
r j ^ ^ ^ ^ 7
1 ' 1 r í i i J ^ M
f^. i: 7 1 7
3 4 -i-
( D This appoggiatura is contained only in the Friedemann manuscript. It effectívely avoids the melodic interval of the tritone.

® The upper staff is from the Clavier-Büchlein. ^

The final measure is often played thus: The appoggiaturas are found only in the Friedemann manuscript.
86

Sinfonía No. 7
in E Minor

BWV 793

A n d a n t e M.M. é = 5 6 - 6 0

4 5 5 4 3 . - - J ^ "« í

]i — i
S l 5

cresc.
1 2
2 1 1 1 5^
—0-
i
m

di I
3 5 4 3 4

i 3 1 2
3

71^-"
5 i

® No omaments appear in either of the autographs. In the Friedemann manuscript the main theme is omamented as follows:

played:
m. ,_J>

The lower staff is from the Clavier-Büchlein.

 s 3 legato

i T
piuf
m
1 a

4-5 4 3 2 5-S

fe

2 1
5 4 a )
1
5 4 3 2 5 3

5 4-5 4 5

[23] •
.
—^
f
: , F
P—0—m—F m - u F M i l te

2 1 a ^ ' ' -a j Í;^ j j ^ j j j •^í^-T-H í ^

S 2 3 •

1 3 2 4

tr 4

4fi
4

^ 1
cresc
1 4 l i l i
• f — - — r — r — f — í —
J—• 0 "
1 3
r 1 1 1 r ^
1

d) The legato style outlined on the first page may be continued. The crescendo and diminuendo marking the principal theme is traditional and is found in
most editions.

Some performers play the 16th notes slightly detached.

® The upper staff is from the C/avier-Bdc/iWn.

 m >
' 5 3 1 ' [ J

i 7 í

• 3 3 1
[-J
S

[ ]
(2» (2)13)
[32] t (2>í3) *4¡

i
4 5 ,3 Í2) j 4 5
5 a 1 3

2 ! J.^ 1 1
i 2 1 i t 1 1
[

5 4 5 4 5

i35| {4> i 2 1 3 —~-

f [ J
t

^ Nr
n 1 1 " T I " _ r -

LL
w • K 0
^ 7
í
3 1 1 2 1
piüp
a 2

•>i ^- . ^
3 S 2 3 4 5 5
'4

3 S 4 3 5
.2 3

I ' T — ; ^
; — 1
1 3 2 1 2

1 2

12 5 2
5 .
m
su 4
3
3 1 fe
1 2
1 a
i ^
Vi/ r i
In the Clavier-Büchlein the c ' is omitted; the previous note ( f | ' ) is a quarter note.
 89

S i n f o n í a N o . 8
in F Major
i ,i i .!
r- 3 -I B W V 794

.Allegretto M.M. J = 80-84

1
4 354

5_3

fr=^ P 1 2-1
a 1

7T>
3 2 4 3 2 4 a

The trills in measures 1 and 10 are the onlv omaments in this selection in the Clavier-Büchlein. The omaments in heavy print, from the .Autograph of
1723. are also included in the Gerber manuscript.

( D The lower staff is from the Clavier-Büchlein.

( D The trills in lighter print are in accordance with Baroque perf-ormance pracíices (see THE EXTE.MPORIZ.ATION OF ORNAME.NTS. paae 13) and many
of these are found in the Friedemann manuscript.

® In the Clavier-Büchlein this C is omitted—the previous c is a quarter note.

In the Clavier-Büchlein this note is omitted and the previous g- is a quaner note tied to the g- in the previous measure.
 43 2-5
m 43 5 ^

i
12 2-1

53^
3 2

23

|20| 5 4 ^ 4 ^

*—r ^ ' — ' « - —

¿—r^-''
^ i
cresc. _ _ f
^ 23

P—tTf7T— 3 ^ S ^ •1

f r r rf

4354 4 3 5

" m - ^ 'r
3 5 3

I i
2 - ^ 2 - , 1 2

1 ^-

(D The lower staff shows the lower voice in the Clavier-Büchlein. The upper two volees are unchanged.
92 i^-

43 Sinfonía No. 9
in F Minor
B W V 795

Largo M.M. J = 44-50

sempre espressivo

- -,43 4 ^ 5.
n i
^ ^eérr r.
S. ' 1^
3
— — — .
—

[7] 5 4 3
-fJ
5

ú . > ^7
4 ~--^4

-f
1
^
4 ~-

1^ • — 1 1 2
crescendo

1>V ^ ^ — 1 — 1 2 ! 14 j — ^ — t ^ 4 - — l y i -

4 4
5 4 2

® In the Friedemann manuscript the subject is omamented as follows;

written; played;

(D The heavier slurs are from the A«íoorap/i o / / 7 2 i . No slurs are found in the C/t?!-^^-^»!:/?/^^.
d) The crescendi and diminuendi indicated in the first two measures are traditional. They are not indicated in subsequent appearances of the subject in the
interest of an uncluttered score. If they are observed. they should be kept within reasonable limits, considering the dynamics in forcé at each point.

® In the Clavier-Büchlein the c' in the lower voice is a half note.

 3
m

Jim. 2
5 f e

1 3 i 3

_ * 3 -—5-^
1 j?i.H~ 1 \ _ 1 7 ' i i J 1 - j
1 J • - ^ •• H-*—- -J -'•
. J f ^ ^ — — ] J - L J ^
_ - 1- - F

1 i ! r 7 f r 7 >

3 2 2 1

3 3 3 .^^4 5

i
151

7 r r 7

crescendo

te

1 4

Lía 5.,,--'^—4T — 5
> t r s fc^ -n r t ^ ^ > « - H ^

,,. ^ ^ ^ ^

54

^ 1 ¡5 2 3 1a 5i

1 1 2 5
5 2
(D The cadential tnll may have more repercussions.

® For the middle voice the Clavier-Büchlein has a quarter note dt|' on the last count.
® For the upper voice the Clavier-Büchlein has a quarter note bq' on the last count.
{§) The -v»^ is found only in the Friedemann manuscript. A trill is needed at the cadenee, and the suffixed trill is appropriate when the trill is followed
by the upper second.
 95

Sinfonía No. 10
in G Major
B W V 796

L2J
^rrr. r 1
fr — ^
2 1 T a i

1^! :
7 ^

® The crescendo and diminuendo in the principal subject is traditional and may be observed each time the theme occurs. Some editors have placed a slur
over the entire subject, while others favor detached playing or "non troppo legato." We leave the decisión to the performer.
(2) The Clavier-Büchlein has a cjf-.

(D Because of the c- occuring in the upper voice on the second beat of the measure, the half note in this and similar situations must be perfonmed as two
quaner notes, thus:

f f^LlLf
96

-5 4-5
2--, S

rrlír- —
[2ÜJ ,

fe^ f "^í] ^ f ^
1 1 3^
f
3
1 L
•i
4

® The sharp does not appear in the Clavier-Büchlein.

® The lower staff is from the Clavier-Büchlein.
® In spite of its omission from most published editions. the d- clearly appears in both autographs. as well as the Gerher manuscript.
(7) The lower staff is from the Clavier-Büchlein.
 97

•2
1 i
3

ll 2 1 2 4

3 5 1
EU - - í T s —
4

i^M ^ • J h 't^ ^ — ^
»—J—
1 1 — . — _ — . — .

U\A 1J1 1
é ^ ^ ú rrpi
•I n r

i L 4 ^
1 1 w V-, 5 2 í

2 5, 1 5
1 2 1
i
i rififorzando
3-2

1 5 i Si/
1 4

In the Clarier-Büchlein the g- is tied to the g- in the next measure.

L In the Clavier-Büchlein measures 27-30 appear as follows;

1-1 rW^ ^ ll J

r ^ r r tfp r ^
f0 .
X^j L.
98
Sinfonía No. 1 1
in G M i n o r
B W V 797
Andante con moto M.M. J- = 40-46

®3. 4-5 n

poco di-niiiiiendo

fe

j
—r
'!r r

1
1

® Most editions show a slur connecting the first four notes of the main theme. The tied note at the end of the following measure makes it impossible to
continué this treatment of the theme, and seems to indícate that such phrasing is iUogical.

® The lower staff is from the Clavier-Büchlein.

® The upper staff is from the Clavier-Büchlein.

® The trill may have more repercussions. Here the Gerber manuscript has .

( D Of the numerous omaments in the Friedemann manuscript, the ones included here in lighter print are the most imponant. Both omaments in this
measure appear in the Gerber manuscript. The trill at the cadenee should not be omitted. It may be played with a suffix.
 99

3-5 3-5

i
diminuendo noc 3 a ?;oc'J

1 a 1 :t

4-5
3

i
i4
12 12

® The C/avier-BHc/i/em has d'.

O These omaments do not appear in any of the manuscripts, but are appropriate, particularly when the omaments in measures 15 and 71 are observed. The
tnll may be played with a suffix.
 L

dvninuendi) - - - /;oco - - - - j

i 4 1
3 ^

45 2-4

i
- - poco
2-i

m IT"
te

3-5

i
' 2-!

i
—1 -1
i
The tie connecting the two c-'s is missing in the Clavier-Büchlein.

In the Clavier-Büchlein the middle voice rests for the valué of the bt' dotted eighth note.

The upper staff is from the Clavier-Büchlein.

Most published editions have f. The Clavier-Büchlein and the Gerher manuscript have et. The Autograph of 1723 clearly shows an el>, but an ink blot
just above it has caused the note to be misread as an f. The lower voice in measure 48 is imitated by the upper voice in measure 49. It is logical that the
lower voice in measure 50 should be imitated by the upper voice in measure 51. Thus é> is more logical than f See the discussion on page 5.
® The lower staff is from the Clavier-Büchlein.
 101

® The natural sign is missing in the Clavier-BücMein.

O® The lower staff is from the Clavier-BücMein.

® In the Clavier-BücMein the lower voice in measures 65-66 is the same as measures 1-2. See (D .

,®. See d). The omaments in this manuscript appear in the Gerber and Friedemann manuscripts. They are important at the final cadenee and should be played.
102 mi
Sinfonía No. 1 2
in A Major
B W V 798
Allegro MM. J = 92-108
3 ..^

m^u^ m M^' h 1—r

3
'•U UJ. UJ„ 2

• _Lr ^O^-1 r r 1 l i l i
3 2
y "~~ •—" 2

3 ^

3X2-4 .2-4

i
i e garó

i * r •
1 5 2 1 3

® The tie is missing in the Clavier-Büchlein.

(2) In the Clavier-Büchlein the last count of the measure, in the lower voice, is an f)} quaner note.
 103

3/- r~3--x2-4

m
Ul

i 2-1
crescendo1 L 3 1

8 4 2 4 3

E ]

É
9j 1 1

m
4-5 2-1 S S

^~-]^ 1 ^ ^ ^ ^ ^
3 —•—' cresc.

^ ^^ * » f f T~F^p^F "T" P
J-}^ ^
4 2

17

i
i
/ l 2, í

1 3 1 3 3 3 1
2

1-5

4 1

( D In the Clavier-Büchlein the e' has no sharp. The next e', however, is sharp. In the Gerber manuscript both e"s are sharp.
@ For the first half of the measure, the Clavier-Büchlein shows a half note e | ' in the middle voice.
(D__ The sharp is missing in the C/avier-Süc/i/ein. -
104

|2l| 3^

B 0 1
' f f )g
= ^

r crescet do

^ ri ••'
4^- 1 r1 ' ^ 1 3
^ r p r ^ r —

^
— "
1
^
3
- ^ — •

2^-5 4
¿3^ 5

i s i o f> .^ 3 ^
/
1 1 i

fe g
Ul a 2
1 ~a 8 1 1
3
te
-^5 3

m 4 4 a 1
1 » 1 3
tí

- i -

r " •- 4 ^ — ^ — ^

4 -.--rrzí '

m ñu y
i
3f

3 3

® The cadential trill should be played, even though it does not appear in any of the manuscripts. It may have additional repercussions, and the dotted
in the last measure may be exaggerated (see THE EXTEMPORIZATION OF ORNAMENTS, page 13).
 105

Sinfonía No. 13
in A M i n o r
B W V 799

® AUegretto M.M. J - = 56-60

® In the Clavier-BücMein Bach altemates shon and long bar lines throughout this sinfonía: >^ J *) ^ ^ etc. This suggests a
6/8 feeling and a tempo as fast as that recommended by Czerny = 180 or J. = 60).

In the Friedemann manuscript the subject is omamented as follows:

„?, f. T M ' .

'-3-' ^3-'

® We indícate the traditional crescendo and diminuendo only once. I f they are observed here. they should be observed each time the theme appears.
® Trills in parentheses are from the Clavier-BücMein.
( D The I6th notes moving stepwise are usually played legato.
106

2 1

" r ' r p
2-1
I —
i ' p
F-» r r r ± —

•tí 5
3 4-^
=^ 4

^ 2. -~
4

li . f \ i,J.-;^ ~T
P ,
1¿
1 t 2 — — p j*—
1 2
1

± ^ '-
1
' • d
1 J ^ i - T ^ O-I

(6) The 16th notes of the countersubject are usually played detached or staccato.

(7) This countersubject is usually played with a light staccato.

(g) The lower staff is from the Clavier-Büchlein. In measures 37 and 38 the Friedemann manuscript agrees with the Clavier-Büchlein.
107
108

Sinfonía No. 14
in B-flat Major
B W V 800

'"/'^íC^^a • ^
1 ^

/
f
5 ^—Ta *v - /
/

r—
fe
3

dvninuendo

3t—•ig:
7 -
iV2 a

0 0 0 .

m
1 7 P ítlf^-"X^^— ^-kíi Ti
f — ::::: rr-

1- MeJjT 5 i^L-T 1 2 1 3 4 3 a 1 3 4 1 ^ ^ y »

r-J-

fe.
" " ' " I \

3 "

te
1 ^ ^ 1 1-5

® The trill at the cadenee is recommended. It appears only in the Friedemann manuscript. It may be played with additional repercussions and the dot may
be exaggerated.
 109

1 '1

m . — ,

8| - 3 £ 4 3

1 V
\

1 4 1
3 4 3 4 ^

2 1

—*r» •
'2
1 3 2 1
" 3 2

w
^
r M^ -e>
3 1-5
110

Sinfonía No. 15
in B Minor
B W V 801
Allegro vivace M.M. J*. = 96-100
S 1 -j
\lh V. !=f=F
^ 10— J J ^ J ^- J
====#=
leggier(

fe ^

5 4 2

I
3 12 3 5
fe

leggiero

i
2 1

\lk
1/1 5 l

- I ^ ^
2
^ ^ ^ ^ ^ ^ ta 1
4
i'
T—

—JÁ 5L_S_^S_
—
-í—? J J * J J
= ^

3 4 5 Ji-i

a
S 3
5 3 3

i
7-
leggiero crescendo

S i -•I é-

The trill appears in the Friedemann manuscript. It does not appear in the autographs.
(D Instead of C | , the Clavier-BUchlein has an A .
 111

IT?!

Ifll 1—J).-l é é • é m
8 1-12 • 4~

LTEj/ip- ^ r r ü i n ? ^ajT^Li'.

® In the Clavier-Büchlein the lower voice is B.

® The lower staff isfrorii the C/avíer-Búc/i/em.
112

(D The lower staff is from the Clavier-Büchlein.

^ Thp rrill aooears only in the Clavier-Büchlein.