A Method for The Well-Tempered Clavier
by J. S. Bach 2001
--- This is a fiction. ---
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Prelude No.1 C Major
The object of this Prelude No.1 C major is that the musical youth should utilize their thumbs properly. So it is not possible for anyone to play this without fingering of thumbs. For small children who cannot open their fingers enough to cover an octorve, it is designed in a form of arpeggio and fingers can be moved smoothly on the keyboard.

In early 18th century, it was not common to use thumbs for the keyboard. Without using thumbs, there will no future development for the keyboard music. So, I think it very important to make this kind of etude. Moreover it is possible to study and feel the structure of chords, their sequences and versatility of sonolity of this chord progression.

In order to do your practice, you may try various kinds of arpeggios.

Good or Not? Listen! Good or Not? Listen!
Why these arpeggios above are not good?

Because the original arpeggio is the best.

I have explored every possible arpeggio and encountered this splendid and outstanding pattern. It is unusual. First of all it is beautiful in shape. And it has a peculiar rhythmic ability. Of course the basic pattern in the half bar is "four 16ths and four 16ths". But there are "5 16ths and 3 16ths", "2 16ths, 3 16ths and 3 16ths" or "2 16ths and 6 16ths". No, it is none of them. Sometimes it is free from the beats and gets the calm and spiritual atmosphere.

This arpeggio makes all five voices independent. These five voices are in chord but move by themselves. One of them moves chromatically. Then its chord structure seems to be very complicated. If you look at the chord progression chart, you will think this music should have benn made in the late 20th century. ( Oh, I will not know that. )

The chord progression is as follows;

bar01020304050607080910
1-10 CDm7/CG7/BCAm/CD7/CG/BC/BAm7D7
11-20GGdimDm/FFdimC/EF/EDm7G7 CC7
21-30Fmaj7F#dimDm/AbG7C/GG7sus4G7Ebdim/GC/GG7sus4
31-G7C7F/CG7/CC

How it seems complicated is not the matter. It is the matter of voicing. The inner melodic structure is more important.

AMB is my dear wife Anna Magdalena. She is extremely pleased to play this prelude and listen to it.

Why don't you talk with Mrs Anna Magdalena Bach ?

By the way, about a hundred years after someone called Charles Gounod would use this prelude as the harmonic basis for "Ave Maria". He loves this prelude. I appreciate his adoration. But I am afraid that he does not know the real meaning of this work. Sorry, this prelude is not for backing.

Anna Magdalena Bach - Ave Maria - Uncertainty

Here is another version of Prelude No.1 for you. It is enigmatic. Can you find the secret of it?
listen!

Probe and Email : mocfujita@aol.com


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