Update: Just got five promo codes to download Time Guru (the cool metronome app mentioned in the episode.) Send me a message or let me know down below you’re interested and I’ll share the codes! Happy Practicing

Let’s get our good new habits in early in the year! In this episode, I read practical advice from three organists/organ method books. The organ method books are in a class of their own— highly entertaining reading.

We begin with Francis Routh’s Teach Yourself The Organ (1958.) His asterisk marking the complete works of Buxtehude as ‘fairly easy’ is representative of this amusing book:

Harold Gleason’s method book of 1962 makes up the bulk of this episode, the complete advice is pasted below.

We feature some of Fayth Freese’s excellent article from The Diapason. I recommend the full read.

And here is the advice to teens I made for the Harrison School for the Arts in Lakeland Florida. I cannot emphasize enough how music should be a joyous process at this age, never an abusive one.

From Gleason (bold type is my emphasis)

HOW TO PRACTICE:

* Make a schedule for daily practice. Devote a definite amount of time to technique, to new music, to perfecting music already studied, and to memorizing. Devote at least one hour a day to piano practice. Later the student will need to reserve time for perfecting the many skills required for playing the church service.

* Practice as if the piece were being memorized (see the section on Memorizing).

* Study the music before beginning to practice. Note the key signature, time signature, note values, fingering, pedaling, structure, special problems, and general style. If the fingering and pedaling is not given or is inadequate, it should be carefully worked out according to the principles given in the sections on Fingering and Pedaling.

* Memorize and always use the same fingering and pedaling. Incorporate the articulation, phrasing and interpretation into the practice.

* Try to avoid playing wrong notes or incorrect time values from the first time an exercise or piece is practiced. If a wrong note or rhythm is played, do not immediately correct it. Go back to the beginning of the phrase and repeat the passage correctly a number of times.

* Concentrate on the work at hand and avoid mechanical, unthinking practice and repetition. Always practice after a lesson.

* Practice slowly in the following sequence: right hand; left hand; both hands; pedal; right hand and pedal; left hand and pedal; both hands and pedal. Begin the slow practice of short sections for both hands and pedal while working on separate parts.

* When the phrases and sections of a composition have been mastered at a low tempo, play it all the way through. When this has been accomplished with complete muscular control and accuracy, the tempo may be gradually increased. Return to slow, detailed practice of sections which are not secure, and repeat this process at succeeding practice periods.

* Always practice at a steady tempo. Do not play easy places fast and difficult places slowly.

* Devote the most attention to difficult passages.

* In contrapuntal music, play one or more parts and sing another part.

* In passages of a technical nature, the practice of four-note groups in the various rhythmic patterns is helpful in developing speed and control.

* Stop practicing and relax for a few minutes at the first sign of tension.

* When practicing technical exercises for manuals and pedals, and when first learning a piece, use clear, quick-speaking stops of 8’ or 8’ and 4’ pitch (Gedackt 8’, Principal 4’).

* As soon as the notes in a composition have been mastered, work out an appropriate registration.

* The drawing of stops and the use of combination pistons and reversibles should be carefully practiced and synchronized, in order not to interfere with the performance of the music.

* Above all, the student should learn to listen and hear that the parts are sounding together, are released together, and that the touch, rhythm, accents, and interpretation are actually being realized as intended.

How’s Your Contrapuntal Journey Fugueing?

HOW TO MEMORIZE:

The principal reason for playing from memory lies in the fact that it will result in a better performance, both technically and musically. The perfectly memorized work becomes a part of the performer and gives him complete freedom of expression.

When a piece of music is practiced correctly and efficiently, it is also being memorized, and good practice habits will lead to a continual improvement in the ability to memorize.

After a composition has been thoroughly learned with the notes, the complete process of memory should be undertaken. Concentration and interest in learning are indispensable to the memory process.

There are four types of memory which are used in music. Three of these types—aural, visual, and motor memory—depend on our senses or imagery. The fourth, and most important type, is known as cognitive memory. It is based on knowledge and is the memory we use in the analytical study of the music.

The memorization of music requires the combination and collaboration of the four types of memory. We all vary in our natural gifts and capacities, but all types of memory should be cultivated and can be improved.

Cognitive Memory

This memory is the basis of all study, from the time the piece is first practiced until it is performed from memory. Every detail of the music should be analyzed technically and musically, and be consciously known. Organize notes into patterns, groups, and phrases. Note all sequences and variations from the sequential pattern. Analyze harmonic progressions and relate them to each other. Contrapuntal lines, rhythm, and interpretative factors are all a part of analytical study. Study the form and relate the details to the whole.

Aural Memory

This memory is useful in enabling us to hear mentally what the next note or chord is, and it strengthens the other types of memory. The ability to hear accurately and retain what we hear should be developed until individual lines of the music can be played and sung without errors. Eventually a whole composition can be “practiced” by going through it and hearing the sound mentally.

Visual Memory

This type of memory gives us a mental image of the way the notes look on the printed page, or the place of the notes and the shape of each passage on the keyboard. Visual memory may be developed by concentrating on a measure of music, consciously noting all its details, and then reproducing it from the mental image. Gradually more measures can be added, and a mental image of whole phrases and sections can be retained. Avoid using different editions of a composition during the learning process.

Motor Memory

This is one of the most useful and also the most dangerous types of musical memory. Motor memory involves the touch sensations and training of the muscles so that the movements in playing become automatic. They should, however, never be mechanical. In developing motor memory the same fingering and pedaling must always be used. Avoid repeating phrases endlessly without thought or purpose. Never depend on motor memory alone in memorizing a piece. The slightest interruption in the automatic process will inevitably lead to a breakdown.

Summary

* Begin to learn all the techniques of memorizing with the first lesson. The basic principles of position, manual technique, and practicing should be memorized. Analyze the exercises and studies and memorize the fingering. A few of the manual studies in which the student is particularly interested should be memorized after they have been learned perfectly with the music.

* Memorizing should continue throughout the organist’s career and be made a part of every practice period.

* Memorize when the mind is alert and the power of concentration is strongest. Do not attempt to memorize when fatigued.

* Always begin with analysis and then introduce the other memory techniques. The more thoroughly the music is learned the longer it will be retained and the more positive will be its recall.

* Memorize phrases or short sections at first and gradually develop the ability to learn longer sections. Always be sure the sections are connected in the mind and make a unified whole.

* Work on at least one new section of music each day and then review the previous sections.

* Memorize landmarks at cadential points and practice beginning at any one of these landmarks.

* Memorize and be able to play the parts for each hand alone and the pedal part alone.

* In reviewing a work previously memorized always consult the score and repeat the original memory process.

* Do not think of difficulties ahead, or the association of chord to chord and phrase to phrase will be lost.

* In performing from memory, the subconscious mind will function if it is not interfered with by fear.

* The fear of forgetting can be eliminated by the knowledge that every detail of the music and its interpretation has been engraved in the mind and that the aural, visual, and motor senses have been well trained.

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This famous piece:

saw quite a few revisions between its conception and the version we know. For starters, note the earliest version’s key signature, and the E-flat in bar 2:

The most striking feature of the early version is the abrupt end:

No presto? No adagio? No allegro?

The fugue (in 3 voices) is a fugue with two countersubjects. See them here, the first on top, the second below. Both countermelodies occur with every entrance of the main theme:

Become your best Buxtehude.

We also have a brief look at the c minor invention, BWV 773. The piece is almost entirely a canon.

I also mentioned the issue of “stemming” at the beginning of the episode. Here is the chord I mentioned (BWV 867.) Note how Bach’s nine individual stems imply nine separate voices, whereas the print reduces them to only four:

N.B. Most of the episodes of this podcast have been newly catalogued according to genre or theme or BWV on my Substack. Yet another reason for you to join the platform! You can now browse according to BWV, instrumentation, et cetera. Have a gander at wtfbach.substack.com

Thanks to all my listeners for supporting me in 2025! Thanks to Romain Villet for reminding me to make this episode. Best of luck to him and to all brave enough to transpose Bach in 2026!

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Concepts Covered:

This podcast episode discusses Johann Sebastian Bach’s Well-Tempered Clavier, book 1, (1722) the second prelude and fugue in C minor. Including revisions, fugue structure, and contrapuntal technique, with a few hints at BWV 773 and BWV 867. There is a double countersubject, canonic writing, BWV 847a, and the earliest versions before source P. 415

We’ve traveled halfway through the chromatic scale and Bach celebrates this victory with one of the more complex fugues in the collection. The subject is somber, full of half-steps and even a cross. It foreshadows the true finale at the close of all 24 pieces:

This is one of the only fugues to make strict use of the countersubject, occurring in all but one (!) appearances of the subject.

This motif, which we call the head of the countersubject, dominates all the episodic material both right side up, and upside down:

Got Bach?

The prelude contains some interesting revisions. Here is one I thought would be too subtle to hear, but I think it’s quite audible in the episode:

The latter represents a rare simplification of harmony and texture in revision.

The biggest addendum of all is the additional measures at the end of the piece. See how abruptly the early version ends:

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Concepts Covered:

J.S. Bach’s Well Tempered Clavier, Tuning, Revisions, Early verisions. The f minor prelude and fugue BWV 857, with its countersubject, analysis and study. Organ and harpsichord performances, Chromaticism, tone-rows,

YouTube These Days....

Enjoying your contrapuntal journey? Here’s how you can help:

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Anyone else feel like we don’t have enough fugues in F major?

In the last of Bach’s four layerings to the fair copy of The Well-Tempered Clavier, we see some beautiful details that would have been lost had Bach not made this last series of revisions in the 1740s. It makes you wonder if Bach would have made even more, should he have lived as long as Telemann!

Bar 42 reads like this in A1-A3 into the 1740s:

Then, in A4, Bach found expression in the tie and 32nd notes:

Such a revision physically looks like this on fair copy:

This particular revision may not be immediately clear to the naked eye, but some are (see the e minor revisions at the bottom of the post.) I believe it was X-ray technology that led to such breakthroughs in the scholarship, but some layers might be a sort of ‘white-out’ or paste that physically would stand out on the paper— any expertise would be appreciated in the comments! We know that in the Saint Matthew Passion, Bach quite literally ‘layered’ smaller pieces of paper onto the manuscript, but I think that has to do with repair, not necessarily revision. One famous layering in A4 looks as if it’s been pasted onto the manuscript… but it could be my imagination. From the first fugue, BWV 846:

WTF Bach is free to all! Let’s spread the awareness of contrapuntal mastery. However, if you support financially, you’re much less likely to write parallel 5ths.

There are a number of revisions also in the F Major prelude. Interestingly, the length of both prelude and fugue remains unchanged between earliest versions and the fair copy. Bach had the general harmonic rhythm right, but smooths out the insides of some measures:

(Early versions, followed by the fair copy)

And so on… (more demonstrations in the episode.)

I finish the episode with four beautiful revisions to the e minor prelude (covered in Ep. 114) again made in A4. These are typical of his final revisions to the WTC1, bursting with 32nds. Here, one can somewhat plainly see the difference between inks:

Before these revisions, the melody was as follows:

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Concepts Covered:

J.S. Bach’s late A4 revisions to the Well-Tempered Clavier I (BWV 846–869) in the F-major fugue BWV 856, the F major prelude, the discant adjustments that earlier manuscript stages (A1–A3) lack. The late embellishments in the E-minor prelude BWV 855, The genesis of WTK I, variant readings, fair-copy corrections, Harmonic analysis, contrapuntal rules, and the general genius of Bach.

Giving thanks to all my listeners today! Why do you listen to this podcast?

The original Spanish of the Borges poem, as read by my good friend, Andrea Profili.

Otro poema de los dones

Gracias quiero dar al divinoLaberinto de los efectos y de las causasPor la diversidad de las criaturasQue forman este singular universo,Por la razón, que no cesará de soñarCon un plano del laberinto,Por el rostro de Elena y la perseverancia de Ulises,Por el amor, que nos deja ver a los otrosComo los ve la divinidad,Por el firme diamante y el agua suelta,Por el álgebra, palacio de precisos cristales,Por las místicas monedas de Ángel Silesio,Por Schopenhauer,Que acaso descifró el universo,Por el fulgor del fuego,Que ningún ser humano puede mirar sin un asombro antiguo,Por la caoba, el cedro y el sándalo,Por el pan y la sal,Por el misterio de la rosa,Que prodiga color y que no lo ve,Por ciertas vísperas y días de 1955,Por los duros troperos que en la llanuraArrean los animales y el alba,Por la mañana en Montevideo,Por el arte de la amistad,Por el último día de Sócrates,Por las palabras que en un crepúsculo se dijeronDe una cruz a otra cruz,Por aquel sueño del Islam que abarcóMil noches y una noche,Por aquel otro sueño del infierno,De la torre del fuego que purificaY de las esferas gloriosas,Por Swedenborg,Que conversaba con los ángeles en las calles de Londres,Por los ríos secretos e inmemorialesQue convergen en mí,Por el idioma que, hace siglos, hablé en Nortumbria,Por la espada y el arpa de los sajones,Por el mar, que es un desierto resplandecienteY una cifra de cosas que no sabemosY un epitafio de los vikings,Por la música verbal de Inglaterra,Por la música verbal de Alemania,Por el oro, que relumbra en los versos,Por el épico invierno,Por el nombre de un libro que no he leído:Gesta Dei per Francos,Por Verlaine, inocente como los pájaros,Por el prisma de cristal y la pesa de bronce,Por las rayas del tigre,Por las altas torres de San Francisco y de la isla de Manhattan,Por la mañana en Texas,Por aquel sevillano que redactó la Epístola MoralY cuyo nombre, como él hubiera preferido, ignoramos,Por Séneca y Lucano, de Córdoba,Que antes del español escribieronToda la literatura española,Por el geométrico y bizarro ajedrezPor la tortuga de Zenón y el mapa de Royce,Por el olor medicinal de los eucaliptos,Por el lenguaje, que puede simular la sabiduría,Por el olvido, que anula o modifica el pasado,Por la costumbre,Que nos repite y nos confirma como un espejo,Por la mañana, que nos depara la ilusión de un principio,Por la noche, su tiniebla y su astronomía,Por el valor y la felicidad de los otros,Por la patria, sentida en los jazmines,O en una vieja espada,Por Whitman y Francisco de Asís, que ya escribieron el poema,Por el hecho de que el poema es inagotableY se confunde con la suma de las criaturasY no llegará jamás al último versoY varía según los hombres,Por Frances Haslam, que pidió perdón a sus hijosPor morir tan despacio,Por los minutos que preceden al sueño,Por el sueño y la muerte, esos dos tesoros ocultos,Por los íntimos dones que no enumero,Por la música, misteriosa forma del tiempo

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Something’s missing:

The fact that this piece was conceived independently of its solo line is a marvelous insight into Bach’s compositional process. Somewhere along the way, Bach revisited the piece and added the upper line:

Here is a link to the video where Schiff talks about the Well-Tempered.And don’t miss the Kurt Vonnegut moment at 32:45!

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Concepts Covered:

BWV 854 and BWV 855 in the Well-Tempered Clavier, Book One, two-voice fugue, the early versions, Bach’s revision. A look at finding the right character, as seen in the Christmas Oratorio, where motivic cells show a consistent compositional logic. Bach’s improvisation, or at least improvisatory style while writing a solo line over a preformed prelude, and predetermined harmonic rhythm. We also see Bach’s use of parallel octaves in Bach, and parallel octaves in the Well-Tempered Clavier. Contrapuntal analysis, study.

Just a few moments ago, two newly christened works were connected to Bach’s name for the time after 320 years. Exciting news, have a listen! Many thanks to the Bach Archive in Leipzig for the production. (Sorry for any glitches in the production, episode made in haste!)

Know someone who’d enjoy hearing about this joyous discovery?

A link to the source of d minor Chaconne, BWV 1178A link to the source of the g minor Chaconne, BWV 1179

The live stream link (English overdub.)

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—More matter with less art. (Hamlet, II.ii)

Got friends who speak English? Spread W.T.F.

P.S. The music at the end is a taste of a forthcoming W.T.F. Bach album: arrangements of the Orgelbüchlein. Album title suggestions welcome!

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“Whoever has once felt this wonderful tranquility has comprehended the mysterious spirit that has here expressed all it knew and felt of life in the secret language of tone, and will render Bach the thanks we render only to the great souls to whom it is given to reconcile men with life and bring them peace.” -Schweitzer, Vol. 1

W.T.F. Bach wants YOU to subscribe

A prelude in E-flat minor, with a fugue in its enharmonic other. The image attached to this episode is from the Czerny edition, who felt the need to dispense with the enharmonic intrigue, and publish the fugue in E-flat minor.

Is the prelude the most crushingly beautiful thing Bach wrote? The fugue, devoid of the sensitivity found in the prelude, displays the largest repertoire of fugal technique thus far: stretto, inversion, canon in all voices, augmentation— a veritable dictionary of thematic possibilities.

Here, for example, is a passage I find most striking: stretto and strict canon in all voices. First, the theme appears in blue, ascending in perfect fourths, and a moment later, in red, inverts into perfect fifths.

Bach seems to have been fond of this idea (and perhaps the shape of this subject as lending itself to fugal techniques) as he employs it in four voices —nearly at the exact same spot in the fugue— in the fifth contrapuntus in The Art of Fugue:

We heard from Edwin Fischer, ukuleleist Herb Ohta (whose Ukulele Bach Playlist is a trip) and at the end, Pierre Hantai.

Do check out Alfredo Sanchez’ recording on guitar, he’s got a great feel for this music.

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Supporting this show ensures its longevity.

Concepts Covered:

The Well-Tempered Clavier, J.S. Bach’s Prelude and Fugue in E-flat minor / D-sharp minor Expression vs. technical complexity. The prelude, written in E-flat minor, is introspective, harmonically rich. Its fugue, in the enharmonic key of D-sharp minor, moves from emotion to intellect, showcasing the most extensive use of fugal technique seen so far in the cycle: A survey of contrapuntal possibilities. Analysis, early versions such as BWV 853a, history, revisions, and study.