<![CDATA[Teaching J.S. Bach]]>As mentors immersed in a two-way sharing process with students, we’re grateful for opportunities to delve deeply into the masterworks.

One companion traveler of mine dotes exclusively on the music of J.S. Bach, preferring this singular journey to any other. And without doubt, I can sympathize with his emphasis because the Baroque Master’s body of work provides a solid foundation for all music that followed.

Last night, the divinely inspired F minor Prelude, Bk 2, Well-Tempered Clavier was the centerpiece of a mutually illuminating piano lesson. It certainly gave me a chance to clarify my ideas while the student imparted his own.

This composition has a recurring “sighing” couplet, appoggiatura figure that permeates its fabric, (opening treble range) buts its tenor/bass lines, are often forgotten or neglected. Threads of couplets, augmentation (lengthening a rhythmic figure), counterpoint or imitation between voices (there are THREE) all form the ingredients of this emotionally riveting composition.

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During a piano lesson, attentive listening is the mainstay of any student/teacher interaction. It’s central to the refinement of phrases and articulation.

Bach f minor p 1 my markings

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