How boring would this be?

Admittedly, I still find that beautiful, but Bach is one note ahead of me:

We have a prelude propelled by its instability. This might be something to pay attention to in The Well-Tempered Clavier —if not all his writing in the early 1720s— ordinary melodic shapes that become more compelling when slightly offset.

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We are 25% of the way through this triumph of tonality. Now, for the first time in the collection, the fugue makes explicit use of inverted entrances. Here is the subject ‘right-side up’ at the opening:

Exactly halfway through the fugue, Bach brings the subjects in a second exposition, only now they are upside down:

He also inverts the order of voices in the beautifully expressive episode that occurred earlier, and makes explicit use of stretto in the second half. Other fugal techniques such as ‘splintering’ fragments of the subject in stretto or in parallel thirds make for a brilliant finale on the first quarter of his 1722 masterpiece. Have a listen to the episode for more analysis!

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Concepts covered:

Preludes and fugues of The Well-Tempered Clavier, the D minor BWV 851 (and others, such as BWV 850) Bach’s compositional technique in revision. The early version, BWV 851a is a mere 15 bars long. Counterpoint, voice leading, and harmonic direction, inversion, (the first inversions in the WTK) and stretto in this fugue. Also, instability in melodic design and rhythmic offsetting. Bach marks periods of structure through the book by placing more complicated techniques at these symmetrical points. Also, articulation added to the revised versions, the autograph fair copy.

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