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PS Instr Instruc uc tive Editi Ed itio on Work Worksheet hee t & Pra Pra c tic tic e G uide uide
Pre Pre lude ud e , BWV BWV 939 J ohann oha nn Seba eb a stia n Ba c h
A b o ut the the Pre Prelude BWV 939: 939: A Small ma ll Prelud Prelude e that tha t So So unds und s Big This Prelude is one of 12 “small preludes” written separately at different times in Bach’s life for pe dagogical purposes. An important feature of the piece is imitation - the left hand answers the right hand, using th e same thematic material. Bring out this conversation between different voices, but take care to keep the music flowing where the hands swap roles. Another thing to consider is that Bach didn’t compose this piece with a modern piano in mind. mind. Do you know how the keyboard instruments of Bach’s time sounded? How will it influence your performance of this prelude if you imagine playing it on a clavichord or try to imitate the sound of an organ?
Pre Pre p a ra tory Que Qu e stio tio ns a nd Exe rc ises ises 1. Have a look at the first eight notes in the right hand, grouped to gether by a legato slur. This group of notes could be described as the seed from which the entire prelude grows. How many groups like this can you find (having the same number of notes and roughly the same melodic shape)? __________ 2. In which bar do both hands play this eight note motif at the same time? __________ 3. Which chords are formed by the first three notes of the motifs in bar 1, 2 and 3? ___________________________ 4. There are two instances of so called ‘pedal point’ in this Prelude. This me ans that the harmonies change, while the underlying bass note remains the same. Which bars does this apply to? ___________ 5. Which bar is the only one that contains sixteenth-notes? ___________
Pra Pra c tic e Pla Pla n
Ma sterin tering g the the Piec Piec e
Session 1: Bars 1–4.
1. Fluent eighth-notes in both hands throughout.
Session 2: Bars 8–11, right hand.
2. A smooth legato sound.
Session 3: Bars 8–11, adding the left hand.
3. Independence of hands (dynamics and articulation), especially bars 4-7.
Session 4: Bars 4–7. Session 5: Bars 12–16.
4. Clear and precise mordents, bars 8-11, left hand. 5. Maintaining a constant speed through the four final bars, 12-16.
Copyright 2014 © Op 111 Productions
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Session 1. Bars 1–4: Identifying the four-note chords which make up the first three bars of the right hand will aid fluency and help with understanding the phrasing. Begin by studying the fingerings carefully; read them out loud, while trying them out silently on a table or the piano lid. Then play each exercise four times. Always play slowly enough to be in full control.
Then play the chord as written. Keep the wrist loose and allow it to move sideways.
If your hand is too small to hold all four notes comfortably with your fingers, release the lowest note.
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Now add the left hand pedal point and practice all four bars in a row. This is the most difficult exercise so far - remember to keep playing slowly!
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Copyright 2014 © Op 111 Productions
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Session 2. Bars 8–11, right hand: Bars 8-11 uses the same eight-note motif in the right hand, but the key is now G major (dominant) instead of C (tonic). Exercises 9-17 repeat the same kind of work you have already done, but in the new key. Play each exercise four times.
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Now try the whole passage. Practice this at least four times. You need to feel really confident about playing this passage before going on to the next session.
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2
3
2
1
5
3
4
1
2
3
2
5
1
3
4
2
4
2
5
1
3
4
1
1
17
5
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2
1
5
4
2
Session 3. Bars 8–11, adding the left hand: The pedal point in the left hand also returns in the G major passage, but now it is in the form of broken octaves, with an added mordent on the top G:s. Try playing with both hands two bars at a time, without the mordents ( ). Practice this very slowly.
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Copyright 2014 © Op 111 Productions
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M ? œ œ #œ œ œ
A mordent ( ) is played by alternating the main note with the one immediately below. Practice the mordents separately. Play with a light and soft hand, and make sure you relax the hand on the second and fourth beats. 1
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Play the passage with the mordents, but without the low G:s. Practice slowly, two bars at a time. Try to find a speed where you can avoid stops or bumps.
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Now try the whole passage exactly as written. This is one of the most difficult passages - remember to practice really slowly!
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Copyright 2014 © Op 111 Productions
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5/10
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Session 4. Bars 4–7: Bars 4-7 has the eight-note motif in the left hand, accompanied by chords in the right hand. The left hand stretches a full octave here. Most hands can do this without too much effort, but don't keep the hand in a stretched position neither before or after the actual stretch. Let it contract and relax to keep the muscles supple. Play each exercise four times.
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Practice each chord change in the right hand, then play hands together two bars at a time. 5 3 1
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Copyright 2014 © Op 111 Productions
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Then play the whole passage slowly with both hands.
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Session 5. Bars 12–16: This is where Bach introduces a lot of new features, which makes for a varied, fun and challenging practice session! To begin with, practice the eighth-note motifs like you have done in previous sessions. As always, play each exercise four times.
37
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What's new in bar 13 is that the eight-note motif is played by both hands simultaneously. 5 2 1
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Then, in bar 14, Bach surprises us with lots of sixteenth-notes.
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Copyright 2014 © Op 111 Productions
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The piece ends like a three-voice chorale. When you practice, play in strict t ime. Later on, you may want to make a slight ritardando and/or delay the last chord a little.
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Now you are ready to try the whole section slowly with both hands. Keep the sixteenth-notes in mind when you start and choose a tempo that you will be able to keep up until the end.
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2
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5
Copyright 2014 © Op 111 Productions
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PRELUDE 1 BWV 939 from Six Small Preludes
Johann Sebastian Bach
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Keep the wrist loose and allow it to move sideways. Strive for fluency and forward motion through all eighth-note passages.
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Play the right hand softer than the left, and make quarter note upbeats short and light.
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Use the weight of the arm to create a warm, round and resonant sound that lasts for three bars.
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Piano Street Instructive Edition
3
2
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Holding this chord over the barline creates a beautiful suspension. 5
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If the mordents of the left hand causes bumps and stops, try practicing without them.
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Lifting the hand after the low G:s will make it easier to find a good position for playing the mordents.
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Make a slight ritardando and/or delay the last chord a little.
Keep tempo!
2
1
5
3
1
1
3
4
3
5
1
5
5
Copyright 2014 © Op 111 Productions
U u
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PRELUDE 1 BWV 939 from Six Small Preludes
Johann Sebastian Bach Piano Street Edition
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Copyright 2014 © Op 111 Productions
u
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