Johann Sebastian Bach, born in 1685 in Eisenach, Germany, is widely regarded as one of the greatest

composers in the history of Baroque music. Bach came from a family of musicians and was immersed
in music from an early age. His deep religious faith and dedication to his craft are evident in his
extensive body of work, which includes compositions for organ, keyboard, orchestral, and vocal
music. Bach's music is revered for its intricate counterpoint, harmonic richness, canonic variations
and profound emotional depth.

One of Bach's most significant contributions to music was his mastery of contrapuntal writing,
notably demonstrated in his collection of preludes and fugues, "The Well-Tempered Clavier."
This monumental work showcases Bach's command of polyphony and harmonic exploration, setting
a standard for piano composition that has endured through the centuries. Explicitly focusing on book
2, Fugue V, in D major. Within this fugue, Bach employs several contrapuntal elements utilising four
voices, working against but also for one another. In bar 1 of the bass, he introduces his subject
consisting of a six-note motif, answered by a four-note motif within the second bar, with most of the
fugue notes and development derived from the original subject structure. Additionally, the four-note
response becomes a counter-subject in the exposition, and in stretto with itself, it forms the fugue
episodes. This fugue is an excellent example of Bach's composition techniques and contrapuntal
creativity.

Bach developed two distinct styles of fugue. The conventional kind was one. Its features include
subject augmentation or diminution, stretto, and contrapuntal addition of a specific number of
voices with specific figures, note values, and registers. This second type emerged from Bach's
occupation with the ritornello form. Due to his occupation, Bach became aware of the flaws in how
keys are handled and the episodes in fugues, particularly for keyboard instruments. In order to
achieve a balanced relationship between thematic and non-thematic time, he expanded the scale
degree order of the thematic entry beyond dux and comes, aiming at a balance between thematic
and non-thematic time. (Sigele, Understanding Bach, 2016, pg 72)

Bach's tremendous use of canon is evident in his religious and orchestral works, specifically within his
canonic variation Vom Himmel Hoch da Komm Ich Her. The tune has formed the basis of numerous
compositions over the centuries. One such composition is J. S. Bach’s organ work Die Canonischen
Veränderungen über ein Weihnachtslied (The Canonical Variations on a Christmas Song), BWV 769. A
canon denotes a piece of music in which one voice imitates another, most commonly in a sequential
pattern. Being the expert in counterpoint that he was, he created some of the most remarkable
canons in terms of their melody, accuracy, and mathematical complexity. Vom Himmel Hoch da
Komm Ich Her shifts through the canon, following one beat after the original theme is played, using
ground bass as cantus firmus to elicit stability while having constantly moving upper lines.

Bach's legacy extends beyond his compositions; his influence also extends to the technical aspects of
music, including the standardisation of a keyboard fingering technique and the advancement of
organ construction.
According to Bach's manner, placing the hand on the keys, the five fingers so that their tips come into
a straight line and fit the keys so that no finger has to be drawn nearer when it is wanted, but
everyone already hovers over the key it will press upon. ((Forkel, pg. 12-13 (Bach reader, Pg 307-08))
Faulkner, J.S Bach keyboard technique: a historical introduction).

These influences further solidified his impact on the musical landscape of his time and beyond.