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568:, one of those pupils. Despite the presumption of equal temperament, research has continued into various unequal systems contemporary with Bach's career; there is debate whether Bach might have meant a range of similar temperaments, perhaps altered slightly in practice from piece to piece, or possibly some single, specific, "well-tempered" solution for all purposes. Modern scholars suggest some form of unequal
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Das
Wohltemperirte Clavier oder Præludia, und Fugen durch alle Tone und Semitonia, so wohl tertiam majorem oder Ut Re Mi anlangend, als auch tertiam minorem oder Re Mi Fa betreffend. Zum Nutzen und Gebrauch der Lehrbegierigen Musicalischen Jugend, als auch derer in diesem studio schon habil seyenden
124:
to a book of preludes and fugues in all 24 keys, major and minor, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study". Some 20 years later, Bach compiled a second book of the same kind (24 pairs of
4236:
Mr. Kirnberger has more than once told me as well as others about how the famous Joh. Seb. Bach, during the time when the former was enjoying musical instruction at the hands of the latter, confided to him the tuning of his clavier, and how the master expressly required of him that he tune all
2854:
2216:
Several attempts have been made to analyse the motivic connections between each prelude and fugue – most notably
Wilhelm Werker and Johann Nepomuk David. The most direct motivic reference appears in the B major set from Book 1, in which the fugue subject uses the first four notes of the prelude, in
1115:
The well-tempered
Clavier, or Preludes and Fugues through all the tones and semitones, both as regards the tertiam majorem or Ut Re Mi and tertiam minorem or Re Mi Fa . For the profit and use of the studious musical young, and also for the special diversion of those who are already skilful in this
2360:
relates an anecdote in which von Bülow, having a distaste for the endless clamor for encores, was facing a thunderously applauding house and raised his hand, saying "Ladies and
Gentlemen! If you do not stop this immediately I shall play you Bach's 48 preludes and fugues from beginning to end!" The
583:
and found other people's tunings unsatisfactory, and also that Bach's personal tuning system allowed him to play in all keys, and to modulate into distant keys almost without the listeners noticing. In the course of a heated debate, Marpurg and
Kirnberger appear to agree that Bach required all the
1006:
is the only known copy of the W.T.C. that shows the doodle. It would be a too bit cryptic for Bach's spirit, but seems to the hopeful to represent the purpose for which the masterpiece was written, and at the same time, a clue to its decipherment. In perspective, this is not surprising, since the
603:
Since 1950 there have been many other proposals and many performances of the work in different and unequal tunings, some derived from historical sources, some by modern authors. Whatever their provenances, these schemes all promote the existence of subtly different musical characters in different
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D. Schulenberg (2006) allows that Lehman's argument is "ingenious" but counters that it "lacks documentary support (if the swirls were so important, why did Bach's students not copy them accurately, if at all?)" and concludes that the swirls cannot "be unambiguously interpreted as a code for a
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553:, where the flat arm and sharp arm cross each other. Any unbroken performance of the pair would have required both of these enharmonic keys to sound identically tuned, implying equal temperament for this pair, as musicologists expect the entire piece to be played as a single performance.
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Johann Georg
Neidhardt, writing in 1724–1732, described a range of unequal and near-equal temperaments (as well as equal temperament itself), which can be successfully used to perform some of Bach's music, and were later praised by some of Bach's pupils and associates. J.S. Bach's son
998:
was taught to tune in his lessons with Bach: Kirnberger's tuning allows all 24 keys to be played through without changing tuning nor unpleasant intervals, but with varying degrees of difference. The temperament is unequal, and the keys do not all sound the same. Compared to
5017:
1645:
The two major primary sources for this collection of
Preludes and Fugues are the "London Original" (LO) manuscript, dated between 1739 and 1742, with scribes including Bach, his wife Anna Magdalena and his oldest son Wilhelm Friedeman, which is the basis for Version A of
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928:
L. Swich (2011) more recently presented an alternative reading from that of Lehman, and others, of Bach's tuning method as derived from the title page calligraphic drawing: It differs in significant details, resulting in a circulating but unequal temperament using
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were widely circulated in manuscript, but printed copies were not made until 1801, by three publishers almost simultaneously in Bonn, Leipzig and Zurich. Bach's style went out of favour in the time around his death, and most music in the early
650: 's major-key preludes statistically, observing that some major thirds are used more often than others. His results were broadly in agreement with Kellner's and Werckmeister's patterns. His own proposed temperament from that study is a
5662:
5251:
2053:
483:. It was later shown that this was the work of a composer who was not even born in 1689: Bernhard Christian Weber (1 December 1712 – 5 February 1758). In fact, it was written in 1745–1750 in imitation of Bach's prior example.
5655:
748:
In the course of studying German
Baroque organ tunings, Andreas Sparschuh assigned mathematical and acoustic meaning to the loops. Each loop, he argued, represents a fifth in the sequence for tuning the keyboard, starting from
2434:(No. 29). The accessibility of this prelude, the "easy" key of C major, and its use of arpeggiated chords, have made it one of the most commonly studied pieces for piano students. This prelude also served as the basis for the
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to listen and visualize performances of Book 1 by Fisher, Landowska, Walcha, and 10 other renowned pianists. This tool also provides the score and tempo information of each recording, along with short performer biographies.
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Werckmeister III, the other 24 key-circulating temperaments, Kirnberger's version of Bach's tuning is much more differentiated, with its 8 different kinds of major thirds (instead of
Werckmeister's 4).
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sound out of tune on keyboards limited to 12 pitches per octave. Bach would have been familiar with different tuning systems, and in particular as an organist would have played instruments tuned to a meantone system.
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comma layout derived from Bach's loops, which he published in 2005 in articles of three music journals. Reaction to this work has been both vigorous and mixed, with other writers producing further speculative schemes or
521:; after Bach's death it became popular as the standard keyboard tuning, and had been described by theorists and musicians for at least a century before Bach's birth. Evidence for this belief is found in the fact that in
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tradition. In his publications he has recommended and devised many patterns close to those of
Neidhardt, with subtler gradations of interval size. Since a 1985 article in which he addressed some issues in the
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say there is insufficient proof that Bach's looped drawing signifies anything reliable about a tuning method. Bach may have tuned differently per occasion, or per composition, throughout his career.
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created his main work, in the Gulag сamp conditions: a full cycle of 24 preludes and fugues (the work was unpublished during a long time and practically unknown until its premiere in 2014).
1814:
1112:
besonderem Zeitvertreib auffgesetzet und verfertiget von Johann Sebastian Bach. p. t: Hochfürstlich Anhalt-Cöthenischen Capel-Meistern und Directore derer Camer Musiquen. Anno 1722.
392:(1656–1740), who compiled one such cycle of preludes in 1682. His contemporary Johann Heinrich Kittel (1652–1682) also composed a cycle of 12 organ preludes in successive keys.
5332:
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made the first recording using multiple instruments (harpsichord, clavichord, organ, and fortepiano) for Philips in 1982. As of 2013, over 150 recordings have been documented. The
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minor from Book 1) and one is two-voiced (the fugue in E minor from Book 1). The fugues employ a full range of contrapuntal devices (fugal exposition, thematic inversion,
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1697:
912:
Interbartolo, Venturino, & Bof (2006) proposed a tuning system deduced from the W.T.C. title page. Their work was published the next year in a book by the same title.
6209:
297:, similar ideas had occurred earlier. Before the advent of modern tonality in the late 17th century, numerous composers produced collections of pieces in all seven
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1139:
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study, composed and made by Johann Sebastian Bach, for the time being Capellmeister and Director of the Chamber-music of the Prince of Anhalt-Cothen. In the year 1722.
230:
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Studien über die Symmetrie im Bau der Fugen und die motivische Zusammengehörigkeit der Präludien und Fugen des "Wohlemperierten Klaviers" von Johann Sebastian Bach
2552:
released a new and complete recording of Book 1 under a free license. Her performances are available below, beginning with the Prelude No. 1 in C major (BWV 846):
2190:). The preludes are also notable for their odd or irregular numbers of measures, in terms of both the phrases and the total number of measures in a given prelude.
4775:
1093:(1720) there is an almost complete collection of "Prelude and Fughetta" versions predating the 1722 autograph, known from a later copy by an unidentified scribe.
2168:
encompass a wide range of styles. The preludes are formally free, although many of them exhibit typical Baroque melodic forms, often coupled to an extended free
6362:
5781:
3918:
1036:
994:
A system like Swich's, with all its major thirds more or less sharp, is confirmed by Friedrich Wilhelm Marpurg's description of the way Bach's famous student
6367:
5742:
4144:
896:
comma division. Motivations for Jencka's approach involve an analysis of the possible logic behind the figures themselves, and his belief that a wide fifth (
757:
in mathematics: It subtracts one beat per second each time Bach's diagram has a non-empty loop. In 2006 he retracted his 1998 proposal based on A = 420
294:
284:
69:
620:
most familiar "correct" temperament. Kellner's temperament was widely adopted worldwide for the tuning pipe organs, and contains seven pure fifths and five
6121:
6108:
6074:
6061:
5976:
5963:
2019:
1901:
1731:
1714:
1209:
1188:
1815:
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6029:
6016:
5989:
5295:
2113:
2072:
1695:
1598:
1581:
1278:
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2005:
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Bach's title suggests that he had written for a 12 note tuning system, in which all keys sounded in tune (called a "circulating temperament" or a "
5810:
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4779:
2145:
4253:
1089:
was composed in the early 1720s, with Bach's autograph dated 1722. Apart from the early versions of several preludes included in W. F. Bach's
2193:
Each fugue is marked with the number of voices, from two to five. Most are three- and four-voiced fugues, but two are five-voiced (the fugues in C
4716:
1301:
6164:
5776:
5727:
6325:
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6087:
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1351:
1250:
1224:
1167:
1128:
31:
2099:
945:
Pythagorean-comma fifths that is effective through all 24 keys and, most important, tunable by ear without an electronic tuning device.
596:
himself published a rather vague tuning method which was close to, but still not equal temperament: He wrote that it had only "most of" the
2004:
639:
fifths. It is especially effective as a moderate solution to play 17th century music, if one avoids music that requires more than two
2144:
2402:), a set of 24 preludes and fugues for two guitars, in all 24 major and minor keys, inspired in both title and structure by Bach's work.
1813:
5921:
5914:
5907:
5279:
549:(6 sharps) for the following fugue. This pairs the most tonally remote enharmonic keys – at the point opposite C major on the
148:(WTC 2), respectively. The collection is generally regarded as one of the most important works in the history of classical music.
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6218:
2098:
5396:
5381:
4849:
4229:
4197:
4127:
4087:
3717:
2315:
2394:
2236:
6339:
2430:
1918:
1794:
1521:
1444:
1420:
1053:). Then all keys, each major key followed by its parallel minor key, are followed through, each time moving up a half tone: C → C
333:, resulting in several collections of pieces in all keys (although the music was not yet tonal in the modern sense of the word):
1978:
1770:
1497:
6202:
5836:
5767:
395:
6262:
6247:
5593:
984:
404:(published in 1702 and reissued 1715) is a set of 20 prelude and fugue pairs in ten major and nine minor keys, and the
2048:
2030:
1954:
1936:
1862:
1844:
1826:
1627:
1609:
1557:
1539:
1462:
1392:
1370:
1329:
608:
Herbert Anton Kellner argued from the mid-1970s until his death that esoteric considerations such as the pattern of Bach's
5597:
5208:
The portions of Book 1 performed by Martha Goldstein that are freely licensed include the following (all on harpsichord):
2003:
1019:
Early version BWV 846a (1720) of the first prelude of the first book, as written down by Bach in his eldest son's notebook
6385:
2143:
6169:
6158:
5901:
5800:
2453:
2384:, an even closer reference to Bach's model. Another inspiration after Bach, even before Shostakovich, was in 1940, when
2369:
2225:
260:
5472:
5012:
6282:
4165:
4022:
3982:
3942:
3861:
3821:
3778:
3738:
5647:
5544:
4791:
5311:
The portions of Book 1 performed by Raymond Smullyan that are freely licensed include the following (all on piano):
4422:
2097:
1007:
document with the doodle is most probably the working copy Johann Sebastian Bach used in classes with his students.
6289:
6174:
5703:
4975:
1655:
1147:
chords, one of the connotations of 'préluder' as the French lutenists used it: to test the tuning. Bach used both G
768:
of different fifths in a given range of the keyboard in terms of seconds-per-beat, with the tuning now starting on
6242:
5805:
5534:
4861:
4238:
2389:
2341:
2229:
995:
593:
584:
major thirds to be sharper than pure – which is not very informative, since it is essentially a prerequisite for
561:
4954:
Chromatic Completion in the Late Vocal Music of Haydn and Mozart: A Technical, Philosophic, and Historical Study
5886:
5066:
2549:
2538:
2257:
617:
110:
4801:
4383:
4348:
2361:
audience laughed but also stopped applauding as they knew von Bülow was able to perform the work from memory.
452:(1722), a long and formulaic sectional composition ranging through all 24 keys which was intended for an
6183:
5094:
2436:
2415:
2279:
2273:
604:
keys, due to the sizes of their intervals. However, they disagree as to which key receives which character:
4903:
Erich Schenk (author), translated from the German by Richard and Clara Winston & Winston (eds) (1959),
980:
710:, a researcher of historical temperaments, has written several surveys of temperament styles in the German
6399:
6347:
1033:
List of keyboard and lute compositions by Johann Sebastian Bach § The Well-Tempered Clavier (846–893)
557:
480:
381:
61:
4880:
5939:
5891:
5858:
5815:
5688:
5111:
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4179:
2506:
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2264:
complexity nor a great variety of keys. But, with the maturing of the Classical style in the 1770s, the
1884:
73:
6253:
5004:
2365:
5101:. From the first edition, title pages stated that the piece was "on" or "adapted from" Bach's prelude.
4645:
4624:
4588:
4430:
719:, Lindley's theories have focused more on Bach's organ music than the harpsichord or clavichord works.
388:
One of the earliest keyboard composers to realize a collection of organ pieces in successive keys was
346:
6309:
5896:
5828:
5712:
4032:
3992:
3952:
3871:
3831:
3788:
3748:
2323:
1003:
506:
5116:
4666:
Leikin, Anatole. "The Mystery of Chopin's Préludes", (Surrey: Ashgate Publishing, Ltd., 2015) p. 48.
1041:
Each Prelude is followed by a Fugue in the same key. In each book the first Prelude and Fugue is in
6195:
5463:
5008:
2425:
2385:
2377:
1632:
744:
derived from the handwritten doodle of loops on the title page of Bach's personal 1722 manuscript.
741:
492:
453:
4159:
5481:
4746:
2357:
754:
698:), with the same general pattern tempering the naturals, and concluding with a tempered fifth B–F
616:, and more could be used to determine the correct temperament. His result is somewhat similar to
510:
437:
253:
218:
5392:
5377:
5369:
5034:
4985:
4979:
4959:
4952:
4927:
4920:
4845:
4805:
4738:
4721:
4613:
4525:
4403:
4368:
4225:
4193:
4123:
4083:
4036:
3996:
3956:
3875:
3835:
3813:
3792:
3752:
3713:
3686:
2534:
2333:
1820:
1651:
1134:
1015:
565:
518:
517:
During much of the 20th century it was presumed, possibly mistakenly, that Bach intended
366:
24 groups of dances, "clearly related to 12 major and 12 minor keys" (1584) by
322:
65:
4498:
Bach 1722 – Il temperamento di Dio – Le scoperte e i significati del 'Wohltemperirte Clavier'
3707:
556:
Accounts of Bach's own tuning practice are few and inexact. The three most cited sources are
5820:
5629:
4730:
4395:
4360:
4329:
4183:
3680:
2542:
2526:
2498:
2458:
1708:
1658:(Bach's son-in-law), with some corrections by Bach, and later also by Altnickol and others.
769:
765:
750:
597:
569:
550:
502:
461:
457:
441:
425:
367:
302:
4502:
Bach, 1722, the temperament God – discoveries and meanings in the 'Wohltemperirte Clavier'
2497:, better known as an organist, recorded both books between 1959 and 1961 on a harpsichord.
17:
4567:
2490:
2353:
210:
5422:
5302:, performed on a French harpsichord tuned in Werckmeister temperament by Robert Schröter.
4283:
351:
6319:
major ("St. Anne"), BWV 552, Chorale preludes, BWV 669–689, Duets, BWV 802–805
5642:
5175:
5159:
5128:
4060:
2441:
2330:
by the time he was eleven, and produced an arrangement of BWV 867, for string quintet.
1046:
496:
400:
268:
5498:
Free piano recording of Book 1 by Kimiko Ishizaka (Open Well-Tempered Clavier project)
5139:
4814:
2461:
transcribed a piano arrangement of the early version of Prelude and Fugue in E minor (
2364:
Bach's example inspired numerous composers of the 19th century; for instance, in 1835
1023:
6409:
5585:
4916:
4018:
3978:
3938:
3857:
3817:
3774:
3734:
2494:
2486:
988:
711:
636:
540:
405:
389:
272:
249:
245:
234:, for instance, contains versions of eleven of the preludes of the first book of the
200:
190:
89:
5517:
4797:
Chronologisch-thematisches Verzeichniss sämmtlicher Tonwerke Wolfgang Amade Mozart's
4105:
Fredrich Suppig: Labyrinthus musicus, Calculus musicus, facsimile of the manuscripts
736:(1722) showing handwritten loops which some have interpreted as tuning instructions.
5508:
Free midi recording of Book 2 by Prof. Yo Tomita of The Queen's University, Belfast
5023:
4189:
2530:
2269:
2261:
2181:
2169:
917:
909:) found in Lehman's interpretation is unlikely in a well-temperament from the time.
707:
640:
526:
479:
in all the keys, for which a manuscript dated 1689 was found in the library of the
429:
314:
306:
298:
156:
5578:
5574:
5557:
5502:
5421:– Korevaar (piano), Goeth (organ), Parmentier (harpsichord). Direct access to the
5286:, performed on a French harpsichord tuned in equal temperament by Robert Schröter.
164:
43:
4795:
3648:
3630:
3607:
3589:
3566:
3542:
3513:
3489:
3460:
3442:
3419:
3401:
3378:
3354:
3325:
3301:
3272:
3254:
3231:
3213:
3190:
3166:
3137:
3113:
3084:
3066:
3043:
3025:
3002:
2984:
2961:
2943:
2920:
2896:
2867:
2843:
2814:
2796:
2773:
2755:
2732:
2708:
2679:
2655:
2626:
2608:
2585:
2567:
2545:
is another artist for whom several performances from Book 1 are freely licensed.
5602:
5140:
Helmut Walcha: Johann Sebastian Bach – The Well-Tempered Clavier Books 1 & 2
2502:
2454:
Prelude in E minor, BWV 855a § Siloti piano arrangement: Prelude in B minor
2241:
776:
609:
576:
416:. Bach knew the collection and borrowed some of the themes from Fischer for the
81:
5507:
5435:
3856:
Spink, Ian (2001). "Wilson, John (English composer, lutenist and singer)". In
2210:
613:
580:
536:
468:(announced 1704), may have included prelude-fugue pairs in all keys or modes.
342:
338:
85:
4742:
4407:
4372:
3897:
949:
Swich's proposal is based on the equal timing of the beats between the fifth
321:
of 1693 for example. Furthermore, some two hundred years before Bach's time,
244:
major prelude and fugue in book one was originally in C major – Bach added a
228:
Bach recycled some of the preludes and fugues from earlier sources: the 1720
5634:
5613:
5374:
Interpreting Bach's Well-Tempered Clavier: A Performer's Discourse of Method
4478:
4829:
4809:
4548:
Swich, Luigi (August 2011). "Further thoughts on Bach's 1722 temperament".
4504:] (in Italian). Edizioni Bolla, Finale Ligure. p. 136. A000068628.
4107:. Tuning and Temperament Library. Vol. 3. Utrecht, NL: Diapason Press.
3916:
Baron, John H. (1967). "A 17th century keyboard tablature in Brasov".
3733:
Drummond, Pippa; Lasocki, David (2001). "Johann Christian Schickhardt". In
3709:
All Music Guide to Classical Music: The Definitive Guide to Classical Music
1143:(No. 14: "Praeludium 1"). The prelude is a seemingly simple progression of
753:. From this Sparschuh devised a recursive tuning algorithm, resembling the
285:
Music written in all major and/or minor keys § Bach and his precursors
983:'s 1977 temperament and even more closely to the temperament used for the
828:
D. Jencka (2005) proposed a variation of Lehman's layout where one of the
4463:
2462:
1355:
1144:
775:
J. C. Francis (2004) reported a mathematical analysis of the loops using
413:
213:
pattern continues until every key has been represented, finishing with a
4754:
4750:
4399:
4364:
3902:. General series. The Diapason Press – via diapason.xentonic.org.
5438:
available in MuseScore, MusicXML, MIDI, PDF formats, released under CC0
5415:
2318:, K. 394 is one of Mozart's own compositions showing the influence the
2206:
2177:
2173:
1650:, and for Version B, that is the version published by the 19th-century
1050:
1042:
764:
Michael Zapf in 2001 reinterpreted the loops as indicating the rate of
728:
409:
330:
222:
217:
fugue. The first set was compiled in 1722 during Bach's appointment in
214:
186:
182:
5854:
Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769
5497:
4496:
Interbartolo, Graziano; Venturino, Paolo; Bof, Giampiero (July 2007).
267:(circa 1735) contained 24 sonatas in all keys for flute or violin and
181:
Each set contains 24 pairs of prelude and fugue. The first pair is in
4734:
2349:
5567:
5512:
4080:
Christoph Graupner: Thematisches Verzeichnis der musikalischen Werke
5539:
5513:
Complete, free midi recordings of Books 1 and 2 by Alan Kennington
5355:
4384:"Bach's extraordinary temperament: Our Rosetta Stone, Part 2"
4349:"Bach's extraordinary temperament: Our Rosetta stone, Part 1"
2493:
on harpsichord for RCA Victor in 1949 (Book 1) and 1952 (Book 2).
2235:
2224:
2141:
2095:
2001:
1811:
1693:
1022:
1014:
758:
727:
163:
155:
42:
5522:
4477:
Interbartolo, Graziano; Venturino, Paolo; Bof, Giampiero (2006).
4224:(revised, with a supplement ed.). W.W. Norton. p. 261.
1315:, No. 23: Praeludium . The fugue was transposed from D minor to D
991:, and the temperament later described by Carlo Gervasoni (1800).
259:
In Bach's own time just one similar collection was published, by
221:, and the second followed 20 years later in 1742 while he was in
326:
5651:
5129:"Well-Tempered Clavier Book 1, BWV 846–869 Recordings – Part 1"
4717:"Broderip, Wilkinson and the First English Edition of the '48'"
4120:
The Thematic Catalogue of the Musical Works of Johann Pachelbel
2533:. Such harpsichord performances may, for instance, be tuned in
2209:, etc.), but are generally more compact than Bach's fugues for
783:
In 2004, he also distributed several temperaments derived from
5503:
Complete, free midi recordings of Books 1 and 2 by John Sankey
784:
5614:"Instruction, Devotion, and Affection: Three Roles of Bach's
5191:
4885:
4017:
Walter, Rudolf (2001). "Johann Caspar Ferdinand Fischer". In
2513:
4650:
4629:
4593:
564:, who received information from Bach's sons and pupils; and
466:
Fugen und Praeambuln über die gewöhnlichsten Tonos figuratos
5518:
Piano Society – Free audio records of WTC, MP3 files, video
1302:
Prelude in E-flat minor and Fugue in D-sharp minor, BWV 853
5523:
Free pipe organ recording of Books 1 and 2 by Jan Leontsky
1037:
List of compositions by Johann Sebastian Bach § BGA14
80:
referred to a variety of keyboard instruments, namely the
5535:
All existing 18th century quotes on J.S.Bachs temperament
5465:
Johann Sebastian Bach's Werke. Das Wohltemperirte Clavier
4864:
is Beethoven's arrangement of "Book 1 – Fugue No. 22 in B
4302:
293:
was the first collection of fully worked keyboard pieces
5469:: Indiana University School of Music score in GIF format
5436:
Open-source edition of the Well-Tempered Clavier, Book 1
5389:
Bach's Well-Tempered Clavier: The 48 Preludes and Fugues
325:
was realized on plucked string instruments, such as the
5643:
Well Temperaments, based on the Werckmeister Definition
5540:
Bach- and Well-Temperaments for Western Classical Music
5144:
4690:
Das Wohltemperierte Klavier: Der Versuch einer Synopsis
2525:
Harpsichord performances of various parts of Book 1 by
2268:
began to influence the course of musical history, with
380:
30 preludes for 12 course lute or theorbo by
4435:
2489:
for EMI between 1933 and 1936. The second was made by
1027:
Bach's autograph (1722) of the first prelude of Book 1
740:
More recently there has been a series of proposals of
440:(1683–1760) with eight suites in successive keys, and
6383:
4433:
4065:
The Bach Family: Seven generations of creative genius
2344:
were the "New Testament"). In the liner notes to the
600:
tempered, without saying which ones nor by how much.
6299:
6235:
5879:
5696:
4515:
4513:
4511:
2428:copied a short version of this prelude in her 1725
2412:
Prelude and Fugue in C major, BWV 846 § Legacy
471:It was long believed that Bach had taken the title
4448:
3682:The Well-Tempered Clavier: Books 1 and 2, complete
761:, and replaced it with another at A = 410 Hz.
732:Top of Bach's title page for the 1st book of
505:"). One of the opposing systems in Bach's day was
6421:Compositions covering all major and/or minor keys
5768:Eight Short Preludes and Fugues, BWV 553–560
5473:Scores of some of the Preludes and Fugues of the
4881:"The Bach Reception in the 18th and 19th century"
4148:. Vol. IX (5th ed.). 1954. p. 223.
781:the assumption they represented beats per second.
95:The modern German spelling for the collection is
6326:Concerto transcriptions, BWV 592–596 and 972–987
5743:Fantasia and Fugue in G minor ("Great"), BWV 542
5733:Toccata and Fugue in D minor ("Dorian"), BWV 538
420:. Other contemporary works include the treatise
6226:Capriccio on the departure of a beloved brother
5796:Prelude (Toccata) and Fugue in E major, BWV 566
5763:Prelude and Fugue in E minor ("Wedge"), BWV 548
4277:
4275:
4028:The New Grove Dictionary of Music and Musicians
3988:The New Grove Dictionary of Music and Musicians
3948:The New Grove Dictionary of Music and Musicians
3867:The New Grove Dictionary of Music and Musicians
3827:The New Grove Dictionary of Music and Musicians
3784:The New Grove Dictionary of Music and Musicians
3773:Ness, Arthur J. (2001). "Giacomo Gorzanis". In
3744:The New Grove Dictionary of Music and Musicians
2149:Prelude and Fugue B minor, played by V. Dacenko
140:Modern editions usually refer to both parts as
5801:Fantasia ("Pièce d'Orgue") in G major, BWV 572
4705:(München: G. Henle Verlag, 1997), pp. 110–103.
4078:Bill, Oswald; Grosspietsch, Christoph (2005).
2164:Musically, the structural regularities of the
6363:List of compositions by Johann Sebastian Bach
5782:Toccata, Adagio and Fugue in C major, BWV 564
5663:
5564:by Siglind Bruhn. Full text of the 1993 book.
5467:, Erster Theil / Zweiter Theil (Leipzig 1851)
4543:
4541:
4524:(2nd ed.). Routledge. pp. 18, 452.
4220:David, Hans T.; Mendel, Arthur, eds. (1966).
3919:Journal of the American Musicological Society
3712:. Hal Leonard Corporation. 2005. p. 52.
3679:Bach, Johann Sebastian; Novack, Saul (1983).
2420:The best-known piece from either book is the
2232:Vol. 14 (1866), p. 44: Book 1, Prelude No. 12
2138:No. 24: Prelude and Fugue in B minor, BWV 893
2120:No. 23: Prelude and Fugue in B major, BWV 892
2044:No. 20: Prelude and Fugue in A minor, BWV 889
2026:No. 19: Prelude and Fugue in A major, BWV 888
1950:No. 16: Prelude and Fugue in G minor, BWV 885
1932:No. 15: Prelude and Fugue in G major, BWV 884
1876:No. 12: Prelude and Fugue in F minor, BWV 881
1858:No. 11: Prelude and Fugue in F major, BWV 880
1840:No. 10: Prelude and Fugue in E minor, BWV 879
1623:No. 24: Prelude and Fugue in B minor, BWV 869
1605:No. 23: Prelude and Fugue in B major, BWV 868
1553:No. 20: Prelude and Fugue in A minor, BWV 865
1535:No. 19: Prelude and Fugue in A major, BWV 864
1476:No. 16: Prelude and Fugue in G minor, BWV 861
1458:No. 15: Prelude and Fugue in G major, BWV 860
1388:No. 12: Prelude and Fugue in F minor, BWV 857
1366:No. 11: Prelude and Fugue in F major, BWV 856
1347:No. 10: Prelude and Fugue in E minor, BWV 855
979:per second). Such a system is reminiscent of
8:
6368:List of fugal works by Johann Sebastian Bach
5300:by J.S. Bach – Prelude in C major (BWV 846)"
5284:by J.S. Bach – Prelude in C major (BWV 846)"
4922:Mozart, Haydn and Early Beethoven: 1781–1802
4692:(Göttigen: Vandenhoeck & Ruprecht, 1962)
4481:[Bach, 1722, the temperament God].
4067:. Oxford University Press. pp. 268–269.
4055:
4053:
2217:the same metric position but at half speed.
1808:No. 9: Prelude and Fugue in E major, BWV 878
1749:No. 6: Prelude and Fugue in D minor, BWV 875
1738:No. 5: Prelude and Fugue in D major, BWV 874
1673:No. 2: Prelude and Fugue in C minor, BWV 871
1662:No. 1: Prelude and Fugue in C major, BWV 870
1325:No. 9: Prelude and Fugue in E major, BWV 854
1246:No. 6: Prelude and Fugue in D minor, BWV 851
1220:No. 5: Prelude and Fugue in D major, BWV 850
1163:No. 2: Prelude and Fugue in C minor, BWV 847
1123:No. 1: Prelude and Fugue in C major, BWV 846
588:temperament to sound tolerable in all keys.
456:with both 31 notes per octave and pure
125:preludes and fugues), which became known as
117:
98:
5487:: Facsimile of British Library Add MS 35021
5192:"Interpreting Bach's Well-Tempered Clavier"
4330:"The 'Bach Temperament' and the Clavichord"
4122:. Lanham, MD: Scarecrow Press. p. 84.
2020:Prelude and Fugue in G-sharp minor, BWV 887
1919:Prelude and Fugue in F-sharp minor, BWV 883
1902:Prelude and Fugue in F-sharp major, BWV 882
1795:Prelude and Fugue in D-sharp minor, BWV 877
1732:Prelude and Fugue in C-sharp minor, BWV 873
1715:Prelude and Fugue in C-sharp major, BWV 872
1522:Prelude and Fugue in G-sharp minor, BWV 863
1445:Prelude and Fugue in F-sharp minor, BWV 859
1421:Prelude and Fugue in F-sharp major, BWV 858
1360:Klavierbüchlein für Wilhelm Friedemann Bach
1210:Prelude and Fugue in C-sharp minor, BWV 849
1189:Prelude and Fugue in C-sharp major, BWV 848
1140:Klavierbüchlein für Wilhelm Friedemann Bach
305:'s magnificat fugues (composed 1695–1706),
231:Klavierbüchlein für Wilhelm Friedemann Bach
160:Bach's autograph of the 4th Fugue of Book 1
6373:List of concertos by Johann Sebastian Bach
5670:
5656:
5648:
5391:(New Haven: Yale University Press, 2002).
5376:(New Haven: Yale University Press, 1987).
3937:Cosma, Viorel (2001). "Daniel Croner". In
2114:Prelude and Fugue in B-flat minor, BWV 891
2073:Prelude and Fugue in B-flat major, BWV 890
1979:Prelude and Fugue in A-flat major, BWV 886
1771:Prelude and Fugue in E-flat major, BWV 876
1599:Prelude and Fugue in B-flat minor, BWV 867
1582:Prelude and Fugue in B-flat major, BWV 866
1498:Prelude and Fugue in A-flat major, BWV 862
1279:Prelude and Fugue in E-flat major, BWV 852
271:, and included a transposition scheme for
5811:Passacaglia and Fugue in C minor, BWV 582
5704:Fugue in G minor, BWV 131a
5633:
5603:Interpretation and analysis of JS Bach's
5453:International Music Score Library Project
5099:International Music Score Library Project
5055:International Music Score Library Project
4780:International Music Score Library Project
4434:
4432:
4145:Grove's Dictionary of Music and Musicians
2505:recording of BWV 870 was included on the
1045:, followed by a Prelude and Fugue in its
111:[dasˌvoːlˌtɛmpəˈʁiːɐ̯təklaˈviːɐ̯]
27:Collection of keyboard music by J.S. Bach
5608:by Philip Goeth (includes audio samples)
5356:"The Open Well-Tempered Clavier, Book 1"
5354:The Open Well-Tempered Clavier Website,
5180:Book 1, BWV 846–869 Recordings – Part 8"
5164:Book 1, BWV 846–869 Recordings – Part 5"
4981:Franz Liszt: The Weimar years, 1848–1861
1101:The title page of the first book of the
6390:
3671:
575:Forkel reports that Bach tuned his own
6165:Fantasia and Fugue in C minor, BWV 906
5777:Fantasia and Fugue in C minor, BWV 562
5728:Fantasia and Fugue in C minor, BWV 537
5562:/ In-depth Analysis and Interpretation
4844:(Volume 2). Indiana University Press (
2282:transcribed some of the fugues of the
475:from a similarly named set of 24
146:The Well-Tempered Clavier, Book 2
142:The Well-Tempered Clavier, Book 1
5931:Overture in the French style, BWV 831
5892:English Suites, BWV 806–811
5887:Inventions and Sinfonias, BWV 772–801
5787:Toccata and Fugue in D minor, BWV 565
5758:Prelude and Fugue in C minor, BWV 546
5753:Prelude and Fugue in B minor, BWV 544
5748:Prelude and Fugue in A minor, BWV 543
5738:Toccata and Fugue in F major, BWV 540
5723:Prelude and Fugue in D major, BWV 532
5718:Prelude and Fugue in C major, BWV 531
5343:"Prelude and Fugue No. 23 in B major"
4679:(Leipzig: Breitkopf und Härtel, 1922)
2154:Prelude and Fugue in B minor, BWV 893
2125:Prelude and Fugue in B major, BWV 892
2049:Prelude and Fugue in A minor, BWV 889
2031:Prelude and Fugue in A major, BWV 888
1955:Prelude and Fugue in G minor, BWV 885
1937:Prelude and Fugue in G major, BWV 884
1881:Prelude and Fugue in F minor, BWV 881
1863:Prelude and Fugue in F major, BWV 880
1845:Prelude and Fugue in E minor, BWV 879
1827:Prelude and Fugue in E major, BWV 878
1819:Prelude and Fugue E major, played by
1754:Prelude and Fugue in D minor, BWV 875
1743:Prelude and Fugue in D major, BWV 874
1678:Prelude and Fugue in C minor, BWV 871
1667:Prelude and Fugue in C major, BWV 870
1628:Prelude and Fugue in B minor, BWV 869
1610:Prelude and Fugue in B major, BWV 868
1558:Prelude and Fugue in A minor, BWV 865
1540:Prelude and Fugue in A major, BWV 864
1481:Prelude and Fugue in G minor, BWV 861
1463:Prelude and Fugue in G major, BWV 860
1393:Prelude and Fugue in F minor, BWV 857
1371:Prelude and Fugue in F major, BWV 856
1352:Prelude and Fugue in E minor, BWV 855
1330:Prelude and Fugue in E major, BWV 854
1251:Prelude and Fugue in D minor, BWV 851
1225:Prelude and Fugue in D major, BWV 850
1168:Prelude and Fugue in C minor, BWV 847
1129:Prelude and Fugue in C major, BWV 846
1002:The manuscript Bach P415 in the
168:Bach's autograph of Fugue No. 17 in A
109:
7:
5897:French Suites, BWV 812–817
5806:Fugue in G minor ("Little"), BWV 578
5568:Animated visualizations of the music
4185:J.S. Bach: The Well-Tempered Clavier
3977:Baron, John H. (2001). "Kittel". In
2481:The first complete recording of the
844:commas is spread over three fifths (
497:Musical tuning § Tuning systems
5869:Wo Gott der Herr nicht bei uns hält
5586:Essay by Yo Tomita about Book 1 of
5482:Bach's manuscript of Book 2 of the
4703:Das Wohltemperierte Klavier: Teil I
2541:. In addition to Martha Goldstein,
1654:, a 1744 copy primarily written by
256:to convert it to the required key.
6219:Aria variata alla maniera italiana
5940:Well-Tempered Clavier, BWV 846–893
5547:– Interpreted by Dominic Eckersley
5071:"Prelude No 1 in C major, BWV 846"
4926:W. W. Norton & Company, 2008.
4479:Bach 1722 – Il temperamento di Dio
4182:(2004). Palmer, Willard A. (ed.).
2340:the "Old Testament" of music (the
964:per second) and between the fifth
790:B. Lehman (2004, 2005) proposed a
25:
5051:Notebooks for Anna Magdalena Bach
5013:Vsevolod Vsevolodovich Zaderatsky
4578:] (in Italian). Piacenza, IT.
4347:Lehman, Bradley (February 2005).
4328:Lehman, Bradley (November 2005).
4284:The keyboard tuning of J. S. Bach
1133:An early version of the prelude,
724:Title page tuning interpretations
64:846–893, consists of two sets of
6393:
5460:(Open Source), Wikimedia Commons
4449:{\displaystyle {\tfrac {1}{18}}}
4161:The Well-Tempered Clavier I
3646:
3628:
3605:
3587:
3564:
3540:
3511:
3487:
3458:
3440:
3417:
3399:
3376:
3352:
3323:
3299:
3270:
3252:
3229:
3211:
3188:
3164:
3135:
3111:
3082:
3064:
3041:
3023:
3000:
2982:
2959:
2941:
2918:
2894:
2865:
2841:
2812:
2794:
2771:
2753:
2730:
2706:
2677:
2653:
2624:
2606:
2583:
2565:
535:prelude (6 flats) with its
460:. Finally, a lost collection by
6270:Prelude, Fugue and Allegro in E
6170:Toccatas, BWV 910–916
5902:Partitas, BWV 825–830
5838:Great Eighteen Chorale Preludes
5573:Graphical motif extraction for
5570:by Tim Smith and David Korevaar
4522:The Keyboard Music of J.S. Bach
4254:"TEMPERAMENTS XXI: Bach/Barnes"
3816:(2001). "Vincenzo Galilei". In
666:comma variant of both Kellner (
428:(1681–1764), which included 48
30:For the Westworld episode, see
5333:"Prelude and Fugue No. 22 in B
5323:"Prelude and Fugue No. 18 in G
5313:"Prelude and Fugue No. 13 in F
5117:"Bach's Well-Tempered Clavier"
4423:The tuning script from Bach's
4303:Johann Sebastian Bach's tuning
4282:Francis, John Charles (2004).
2086:No. 22: Prelude and Fugue in B
2062:No. 21: Prelude and Fugue in B
2015:minor, played by O. Yevsyukova
1992:No. 18: Prelude and Fugue in G
1968:No. 17: Prelude and Fugue in A
1908:No. 14: Prelude and Fugue in F
1891:No. 13: Prelude and Fugue in F
1588:No. 22: Prelude and Fugue in B
1571:No. 21: Prelude and Fugue in B
1511:No. 18: Prelude and Fugue in G
1487:No. 17: Prelude and Fugue in A
1434:No. 14: Prelude and Fugue in F
1410:No. 13: Prelude and Fugue in F
1159:into the harmonic meandering.
985:Organ of St. Ludgeri in Norden
572:instead of equal temperament.
422:Exemplarische Organisten-Probe
174:major from the second part of
1:
5598:Los Angeles Chamber Orchestra
1784:No. 8: Prelude and Fugue in D
1760:No. 7: Prelude and Fugue in E
1721:No. 4: Prelude and Fugue in C
1684:No. 3: Prelude and Fugue in C
1268:No. 7: Prelude and Fugue in E
1199:No. 4: Prelude and Fugue in C
1178:No. 3: Prelude and Fugue in C
973:
958:
401:Ariadne musica neo-organoedum
371:
357:
311:Apparatus Musico-organisticus
6159:Chromatic Fantasia and Fugue
5612:Lowrance, Rachel A. (2013).
4984:. Cornell University Press.
4776:Preludes and Fugues, K. 404a
4382:Lehman, Bradley (May 2005).
261:Johann Christian Schickhardt
6283:Prelude in C minor, BWV 999
5816:Concertos, BWV 592–597
5580:The Well-Tempered Clavier 2
5575:The Well-Tempered Clavier 1
5477:through the Mutopia Project
4520:Schulenberg, David (2006).
4166:Estonian Record Productions
4118:Perreault, Jean M. (2004).
4103:Rasch, Rudolf, ed. (1990).
2548:In March 2015, the pianist
2395:Les Guitares bien tempérées
2276:studying the work closely.
2109:minor, played by M. Pan'kiv
560:, Bach's first biographer;
176:Das Wohltemperierte Clavier
100:Das wohltemperierte Klavier
70:all 24 major and minor keys
49:Das Wohltemperierte Clavier
32:The Well-Tempered Clavier (
18:Das Wohltemperierte Klavier
6437:
6333:Klavierbüchlein W. F. Bach
6290:Fugue in G minor, BWV 1000
6190:Harpsichord solo concertos
5244:"Prelude No. 6 in D minor"
5236:"Prelude No. 5 in D major"
4336:. Vol. 9, no. 2.
2514:https://maplelab.net/bach/
2451:
2409:
1656:Johann Christoph Altnickol
1362:(No. 18: "Praeludium 5").
1126:
1030:
490:
282:
263:(1681–1762), whose Op. 30
119:Das Wohltemperirte Clavier
29:
6416:The Well-Tempered Clavier
6358:
6263:Suite in C minor, BWV 997
6248:Suite in E minor, BWV 996
6243:Suite in G minor, BWV 995
5588:The Well-Tempered Clavier
5552:Descriptions and analyses
5298:The Well-tempered Clavier
5282:The Well-tempered Clavier
5037:The Well-Tempered Guitars
4792:Köchel, Ludwig Ritter von
4715:Kassler, Michael (2006).
4301:Lehman, Bradley (2005) .
4239:Friedrich Wilhelm Marpurg
4209:– via Google books.
4168:– via erpmusic.com.
3624:Prelude No. 24 in B minor
3583:Prelude No. 23 in B major
3436:Prelude No. 20 in A minor
3395:Prelude No. 19 in A major
3248:Prelude No. 16 in G minor
3207:Prelude No. 15 in G major
3060:Prelude No. 12 in F minor
3019:Prelude No. 11 in F major
2978:Prelude No. 10 in E minor
2485:was made on the piano by
2400:The Well-Tempered Guitars
2390:Mario Castelnuovo-Tedesco
2338:The Well-Tempered Clavier
2230:Bach Gesellschaft Ausgabe
2172:(e.g. Book 1 preludes in
1887:. Fugue in three voices.
1071:→ ... ending with ... → B
734:The Well-Tempered Clavier
646:John Barnes analyzed the
594:Carl Philipp Emanuel Bach
562:Friedrich Wilhelm Marpurg
473:The Well-Tempered Clavier
127:The Well-Tempered Clavier
76:. In the composer's time
57:The Well-Tempered Clavier
6313:: Prelude and Fugue in E
5847:Sei gegrüßet, Jesu gütig
5248:"Fugue No. 6 in D minor"
5240:"Fugue No. 5 in D major"
5218:Prelude No. 2 in C minor
5005:"24 Preludes and Fugues"
4842:The Symphonic Repertoire
4589:Bach Digital Source 5418
4462:(Report). Archived from
4334:Clavichord International
4258:Carey Beebe Harpsichords
4031:(2nd ed.). London:
3991:(2nd ed.). London:
3951:(2nd ed.). London:
3870:(2nd ed.). London:
3830:(2nd ed.). London:
3787:(2nd ed.). London:
3747:(2nd ed.). London:
2937:Prelude No. 9 in E major
2790:Prelude No. 6 in D minor
2749:Prelude No. 5 in D major
2602:Prelude No. 2 in C minor
2561:Prelude No. 1 in C major
2550:Kimiko Douglass-Ishizaka
2539:Werckmeister temperament
2316:Fantasy No. 1 with Fugue
1384:, No. 20: Praeludium 7.
1343:, No. 19: Praeludium 6.
1264:, No. 16: Praeludium 3.
1242:, No. 17: Praeludium 4.
1174:, No. 15: Praeludium 2.
925:particular temperament".
509:in which keys with many
265:L'alphabet de la musique
209:, and so on. The rising
6178:, BWV 933–938
5635:10.15385/jmo.2013.4.1.2
5174:Bach Cantatas Website,
5158:Bach Cantatas Website,
5127:Bach Cantatas Website,
5075:welltemperedclavier.org
4688:David, Johann Nepomuk.
4646:D-B Mus. ms. Bach P 430
4421:Jencka, Daniel (2006).
3642:Fugue No. 24 in B minor
3601:Fugue No. 23 in B major
3454:Fugue No. 20 in A minor
3413:Fugue No. 19 in A major
3266:Fugue No. 16 in G minor
3225:Fugue No. 15 in G major
3078:Fugue No. 12 in F minor
3037:Fugue No. 11 in F major
2996:Fugue No. 10 in E minor
2448:Tenth prelude of Book 1
2422:first prelude of Book 1
2416:Ave Maria (Bach/Gounod)
2406:First prelude of Book 1
1406:, No. 24: Praeludium .
1216:, No. 22: Praeludium .
1195:, No. 21: Praeludium .
434:Partien auf das Clavier
432:exercises in all keys,
129:, Part Two (in German:
114:). Bach gave the title
6348:Twelve Little Preludes
5222:Fugue No. 2 in C minor
4852:), pp. 423–432 (2002).
4802:Breitkopf & Härtel
4800:(in German). Leipzig:
4729:(Summer 2006): 67–76.
4610:Monthly Musical Record
4572:La scuola della musica
4485:(Report) (in Italian).
4450:
3904:in all keys, for lute
2955:Fugue No. 9 in E major
2808:Fugue No. 6 in D minor
2767:Fugue No. 5 in D major
2620:Fugue No. 2 in C minor
2579:Fugue No. 1 in C major
2382:24 Preludes and Fugues
2376:. In the 20th century
2368:started composing his
2248:
2233:
2150:
2110:
2016:
1823:
1711:
1402:. Prelude also in WFB
1380:. Prelude also in WFB
1339:. Prelude also in WFB
1311:. Prelude also in WFB
1260:. Prelude also in WFB
1238:. Prelude also in WFB
1212:. Prelude also in WFB
1191:. Prelude also in WFB
1170:. Prelude also in WFB
1085:The first book of the
1028:
1020:
737:
481:Brussels Conservatoire
178:
161:
118:
99:
52:
5689:Johann Sebastian Bach
5616:Well-Tempered Clavier
5605:Well-Tempered Clavier
5560:Well-Tempered Clavier
5484:Well-Tempered Clavier
5475:Well-Tempered Clavier
5443:Well-Tempered Clavier
5418:Well-Tempered Clavier
5178:Well-Tempered Clavier
5162:Well-Tempered Clavier
5035:Castelnuovo-Tedesco:
4958:New York University.
4625:GB-Lbl Add. MS. 35021
4451:
4425:Well-Tempered Clavier
4237:the thirds sharp." —
2507:Voyager Golden Record
2483:Well-Tempered Clavier
2452:Further information:
2374:Well-Tempered Clavier
2348:compilation of piano
2328:Well-Tempered Clavier
2320:Well-Tempered Clavier
2286:for string ensemble:
2284:Well-Tempered Clavier
2266:Well-Tempered Clavier
2253:Well-Tempered Clavier
2239:
2228:
2166:Well-Tempered Clavier
2148:
2102:
2008:
1885:theme with variations
1818:
1700:
1127:Further information:
1103:Well-Tempered Clavier
1087:Well-Tempered Clavier
1026:
1018:
731:
717:Well-Tempered Clavier
648:Well-Tempered Clavier
418:Well-Tempered Clavier
291:Well-Tempered Clavier
236:Well-Tempered Clavier
167:
159:
107:German pronunciation:
74:Johann Sebastian Bach
46:
5862:, BWV 1090–1120
5713:Sonatas, BWV 525–530
5252:"Prelude No. 21 in B
5210:"Prelude in C major"
5039:, Vol. 2, Nos. 13–24
4942:Kerst (1904), p. 101
4905:Mozart and his Times
4819:No. 405, pp. 328–329
4431:
4033:Macmillan Publishers
3993:Macmillan Publishers
3953:Macmillan Publishers
3872:Macmillan Publishers
3832:Macmillan Publishers
3789:Macmillan Publishers
3749:Macmillan Publishers
1291:minor and Fugue in D
1004:Berlin State Library
682:) and Werckmeister (
507:meantone temperament
51:, Book 1 (autograph)
6340:Notebook A. M. Bach
6196:Goldberg Variations
6176:Six Little Preludes
5860:Neumeister chorales
5009:Vsevolod Zaderatsky
4951:Edward Noel Green.
4576:The School of Music
4456:P.C. interpretation
4188:. Los Angeles, CA:
3530:Prelude No. 22 in B
3477:Prelude No. 21 in B
3342:Prelude No. 18 in G
3289:Prelude No. 17 in A
3154:Prelude No. 14 in F
2426:Anna Magdalena Bach
2386:Vsevolod Zaderatsky
2378:Dmitri Shostakovich
2370:24 Preludes, Op. 28
2311:BWV 883 → K. 404a/2
2308:BWV 882 → K. 404a/3
2290:BWV 853 → K. 404a/1
2103:Prelude and Fugue B
2009:Prelude and Fugue G
1701:Prelude and Fugue C
1285:No. 8: Prelude in E
987:, built in 1688 by
977: 2 beats
962: 3 beats
916:Nevertheless, some
493:Musical temperament
477:Preludes and Fugues
454:enharmonic keyboard
450:Labyrinthus Musicus
337:a cycle of 24
295:in all 24 keys
152:Composition history
133:, modern spelling:
66:preludes and fugues
5840:, BWV 651–668
5832:, BWV 645–650
5824:, BWV 599–644
5678:Compositions for
5387:Ledbetter, David.
5370:Kirkpatrick, Ralph
5262:"Fugue No. 21 in B
5095:Ave Maria (Gounod)
4830:Michelle Rasmussen
4446:
4444:
3814:Palisca, Claude V.
2884:Prelude No. 8 in E
2831:Prelude No. 7 in E
2696:Prelude No. 4 in C
2643:Prelude No. 3 in C
2471:Prelude in B minor
2372:, inspired by the
2358:Philippe Entremont
2326:played the entire
2305:BWV 878 → K. 405/3
2302:BWV 877 → K. 405/4
2299:BWV 876 → K. 405/2
2296:BWV 874 → K. 405/5
2293:BWV 871 → K. 405/1
2251:Both books of the
2249:
2246:Book 1 (182 pages)
2234:
2151:
2111:
2017:
1824:
1712:
1358:of the Prelude in
1029:
1021:
880:), resulting in a
755:Collatz conjecture
738:
525:, Bach paired the
523:W.T.C. Book 1
438:Christoph Graupner
252:and adjusted some
179:
162:
53:
6381:
6380:
6311:Clavier-Übung III
6256:
6212:
6205:
6150:
6148:No. 24 in B minor
6143:
6130:
6117:
6104:
6102:No. 12 in F minor
6097:
6090:
6083:
6070:
6057:
6050:
6038:
6025:
6012:
6010:No. 16 in G minor
6005:
6003:No. 10 in E minor
5998:
5985:
5972:
5959:
5952:
5924:
5917:
5910:
5867:Chorale fantasia
5830:Schübler Chorales
5792:
5773:
5709:
5684:keyboard and lute
5622:Musical Offerings
5545:Rosetta Revisited
5529:On tuning systems
5416:Exploring Bach's
5409:Interactive media
5226:"Fugue No. 4 in C
4991:978-0-8014-9721-6
4964:978-0-549-79451-6
4932:978-0-393-28578-9
4870:minor" (BWV 867).
4840:Brown, A. Peter,
4722:The Musical Times
4675:Werker, Wilhelm.
4531:978-0-415-97400-4
4443:
4400:10.1093/em/cah067
4365:10.1093/em/cah037
4042:978-1-56159-239-5
4002:978-1-56159-239-5
3962:978-1-56159-239-5
3881:978-1-56159-239-5
3841:978-1-56159-239-5
3798:978-1-56159-239-5
3758:978-1-56159-239-5
3692:978-0-486-24532-4
3651:
3633:
3610:
3592:
3569:
3554:Fugue No. 22 in B
3545:
3516:
3501:Fugue No. 21 in B
3492:
3463:
3445:
3422:
3404:
3381:
3366:Fugue No. 18 in G
3357:
3328:
3313:Fugue No. 17 in A
3304:
3275:
3257:
3234:
3216:
3193:
3178:Fugue No. 14 in F
3169:
3140:
3125:Fugue No. 13 in F
3116:
3087:
3069:
3046:
3028:
3005:
2987:
2964:
2946:
2923:
2899:
2870:
2846:
2817:
2799:
2776:
2758:
2735:
2711:
2682:
2658:
2629:
2611:
2588:
2570:
2535:equal temperament
2342:Beethoven Sonatas
2244:score edition of
2146:
2100:
2006:
1821:Randolph Hokanson
1816:
1707:major, played by
1698:
1652:Bach-Gesellschaft
1120:
1119:
566:Johann Kirnberger
519:equal temperament
323:equal temperament
144:(WTC 1) and
16:(Redirected from
6428:
6398:
6397:
6396:
6389:
6351:
6342:
6335:
6328:
6321:
6318:
6317:
6292:
6285:
6278:
6275:
6274:
6265:
6252:
6208:
6201:
6184:Italian Concerto
6146:
6140:
6139:
6133:
6127:
6126:
6120:
6114:
6113:
6107:
6100:
6095:No. 6 in D minor
6093:
6088:No. 5 in D major
6086:
6080:
6079:
6073:
6067:
6066:
6060:
6055:No. 2 in C minor
6053:
6048:No. 1 in C major
6046:
6035:
6034:
6028:
6022:
6021:
6015:
6008:
6001:
5995:
5994:
5988:
5982:
5981:
5975:
5969:
5968:
5962:
5957:No. 2 in C minor
5955:
5950:No. 1 in C major
5948:
5920:
5913:
5906:
5845:Chorale partita
5790:
5771:
5707:
5691:
5672:
5665:
5658:
5649:
5639:
5637:
5451:: Scores at the
5358:
5352:
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5338:
5337:
5328:
5327:
5318:
5317:
5309:
5303:
5293:
5287:
5277:
5271:
5267:
5266:
5257:
5256:
5231:
5230:
5214:Fugue in C major
5206:
5200:
5199:
5188:
5182:
5172:
5166:
5156:
5150:
5149:
5146:
5137:
5131:
5125:
5119:
5108:
5102:
5097:: Scores at the
5092:
5086:
5085:
5083:
5081:
5067:Ishizaka, Kimiko
5063:
5057:
5053:: Scores at the
5048:
5042:
5032:
5026:
5021:
5002:
4996:
4995:
4972:
4966:
4949:
4943:
4940:
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4869:
4868:
4859:
4853:
4838:
4832:
4827:
4821:
4813:
4788:
4782:
4778:: Scores at the
4773:
4767:
4766:
4764:
4762:
4753:. Archived from
4735:10.2307/25434385
4712:
4706:
4699:
4693:
4686:
4680:
4673:
4667:
4664:
4658:
4657:
4654:
4652:
4643:
4637:
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4633:
4631:
4622:
4616:
4607:
4601:
4600:
4597:
4595:
4586:
4580:
4579:
4568:Gervasoni, Carlo
4564:
4558:
4557:
4545:
4536:
4535:
4517:
4506:
4505:
4493:
4487:
4486:
4474:
4468:
4467:
4466:on 1 March 2012.
4455:
4453:
4452:
4447:
4445:
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4338:
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4208:
4206:
4176:
4170:
4169:
4164:(record notes).
4156:
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3170:
3159:
3158:
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3141:
3130:
3129:
3118:
3117:
3106:
3105:
3101:Prelude No. 13 F
3089:
3088:
3071:
3070:
3048:
3047:
3030:
3029:
3007:
3006:
2989:
2988:
2966:
2965:
2948:
2947:
2925:
2924:
2913:
2912:
2908:Fugue No. 8 in D
2901:
2900:
2889:
2888:
2872:
2871:
2860:
2859:
2855:Fugue No. 7 in E
2848:
2847:
2836:
2835:
2819:
2818:
2801:
2800:
2778:
2777:
2760:
2759:
2737:
2736:
2725:
2724:
2720:Fugue No. 4 in C
2713:
2712:
2701:
2700:
2684:
2683:
2672:
2671:
2667:Fugue No. 3 in C
2660:
2659:
2648:
2647:
2631:
2630:
2613:
2612:
2590:
2589:
2572:
2571:
2543:Raymond Smullyan
2527:Martha Goldstein
2499:Daniel Chorzempa
2459:Alexander Siloti
2258:Classical period
2204:
2203:
2198:
2197:
2187:
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2091:
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1709:Raymond Smullyan
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1688:
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1471:
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1439:
1438:
1429:
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1414:
1401:
1379:
1354:. Early version
1338:
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1310:
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1273:
1272:
1259:
1237:
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679:
678:
675:
672:
665:
663:
662:
659:
656:
635:
633:
632:
629:
626:
570:well temperament
551:circle of fifths
546:
545:
532:
531:
503:well temperament
462:Johann Pachelbel
442:Friedrich Suppig
426:Johann Mattheson
376:
375: 1528–1591
373:
368:Vincenzo Galilei
362:
361: 1520~1577
359:
355:
347:Giacomo Gorzanis
345:pairs (1567) by
303:Johann Pachelbel
243:
242:
206:
205:
199:, the fourth in
196:
195:
185:, the second in
173:
172:
121:
113:
108:
102:
72:for keyboard by
21:
6436:
6435:
6431:
6430:
6429:
6427:
6426:
6425:
6406:
6405:
6404:
6400:Classical music
6394:
6392:
6384:
6382:
6377:
6354:
6345:
6338:
6331:
6324:
6315:
6314:
6308:
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6231:
6210:Gould recording
6137:
6136:
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6123:
6111:
6110:
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6031:
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5979:
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5875:
5692:
5687:
5676:
5611:
5406:
5366:
5364:Further reading
5361:
5353:
5349:
5341:(BWV 867), and
5335:
5334:
5325:
5324:
5315:
5314:
5310:
5306:
5294:
5290:
5278:
5274:
5264:
5263:
5260:(BWV 866), and
5254:
5253:
5228:
5227:
5207:
5203:
5190:
5189:
5185:
5173:
5169:
5157:
5153:
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5134:
5126:
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5109:
5105:
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5079:
5077:
5065:
5064:
5060:
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5033:
5029:
5015:
5003:
4999:
4992:
4974:
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4902:
4898:
4884:
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4874:
4866:
4865:
4860:
4856:
4839:
4835:
4828:
4824:
4790:
4789:
4785:
4774:
4770:
4760:
4758:
4714:
4713:
4709:
4700:
4696:
4687:
4683:
4674:
4670:
4665:
4661:
4649:
4644:
4640:
4628:
4623:
4619:
4612:, 1 July 1887,
4608:
4604:
4592:
4587:
4583:
4566:
4565:
4561:
4547:
4546:
4539:
4532:
4519:
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4509:
4495:
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4490:
4476:
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4471:
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4420:
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4415:
4381:
4346:
4345:
4341:
4327:
4326:
4322:
4312:
4310:
4300:
4299:
4295:
4281:
4280:
4273:
4263:
4261:
4252:
4251:
4247:
4232:
4222:The Bach Reader
4219:
4218:
4214:
4204:
4202:
4200:
4178:
4177:
4173:
4158:
4157:
4153:
4142:
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4137:
4130:
4117:
4116:
4112:
4102:
4101:
4097:
4090:
4077:
4076:
4072:
4059:
4058:
4051:
4043:
4016:
4015:
4011:
4003:
3976:
3975:
3971:
3963:
3936:
3935:
3931:
3915:
3914:
3910:
3899:Thirty Preludes
3895:
3894:
3890:
3882:
3855:
3854:
3850:
3842:
3812:
3811:
3807:
3799:
3772:
3771:
3767:
3759:
3732:
3731:
3727:
3720:
3706:
3704:
3700:
3693:
3678:
3677:
3673:
3669:
3664:
3659:
3658:
3657:
3656:
3655:
3654:
3647:
3644:
3638:
3637:
3636:
3629:
3626:
3617:
3616:
3615:
3614:
3613:
3606:
3603:
3597:
3596:
3595:
3588:
3585:
3576:
3575:
3574:
3573:
3572:
3565:
3562:
3556:
3555:
3550:
3549:
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3541:
3538:
3532:
3531:
3523:
3522:
3521:
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3519:
3512:
3509:
3503:
3502:
3497:
3496:
3495:
3488:
3485:
3479:
3478:
3470:
3469:
3468:
3467:
3466:
3459:
3456:
3450:
3449:
3448:
3441:
3438:
3429:
3428:
3427:
3426:
3425:
3418:
3415:
3409:
3408:
3407:
3400:
3397:
3388:
3387:
3386:
3385:
3384:
3377:
3374:
3368:
3367:
3362:
3361:
3360:
3353:
3350:
3344:
3343:
3335:
3334:
3333:
3332:
3331:
3324:
3321:
3315:
3314:
3309:
3308:
3307:
3300:
3297:
3291:
3290:
3282:
3281:
3280:
3279:
3278:
3271:
3268:
3262:
3261:
3260:
3253:
3250:
3241:
3240:
3239:
3238:
3237:
3230:
3227:
3221:
3220:
3219:
3212:
3209:
3200:
3199:
3198:
3197:
3196:
3189:
3186:
3180:
3179:
3174:
3173:
3172:
3165:
3162:
3156:
3155:
3147:
3146:
3145:
3144:
3143:
3136:
3133:
3127:
3126:
3121:
3120:
3119:
3112:
3109:
3103:
3102:
3094:
3093:
3092:
3091:
3090:
3083:
3080:
3074:
3073:
3072:
3065:
3062:
3053:
3052:
3051:
3050:
3049:
3042:
3039:
3033:
3032:
3031:
3024:
3021:
3012:
3011:
3010:
3009:
3008:
3001:
2998:
2992:
2991:
2990:
2983:
2980:
2971:
2970:
2969:
2968:
2967:
2960:
2957:
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2926:
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2916:
2910:
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2902:
2895:
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2886:
2885:
2877:
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2874:
2873:
2866:
2863:
2857:
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2849:
2842:
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2833:
2832:
2824:
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2822:
2821:
2820:
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2810:
2804:
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2802:
2795:
2792:
2783:
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2781:
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2772:
2769:
2763:
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2754:
2751:
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2728:
2722:
2721:
2716:
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2714:
2707:
2704:
2698:
2697:
2689:
2688:
2687:
2686:
2685:
2678:
2675:
2669:
2668:
2663:
2662:
2661:
2654:
2651:
2645:
2644:
2636:
2635:
2634:
2633:
2632:
2625:
2622:
2616:
2615:
2614:
2607:
2604:
2595:
2594:
2593:
2592:
2591:
2584:
2581:
2575:
2574:
2573:
2566:
2563:
2531:freely licensed
2523:
2521:Audio of Book 1
2491:Wanda Landowska
2479:
2456:
2450:
2418:
2408:
2354:CBS Masterworks
2223:
2201:
2200:
2195:
2194:
2184:
2183:
2162:
2142:
2140:
2127:
2122:
2105:
2104:
2096:
2094:
2088:
2087:
2075:
2070:
2064:
2063:
2051:
2046:
2033:
2028:
2011:
2010:
2002:
2000:
1994:
1993:
1981:
1976:
1970:
1969:
1957:
1952:
1939:
1934:
1921:
1916:
1910:
1909:
1899:
1893:
1892:
1883:. Prelude as a
1878:
1865:
1860:
1847:
1842:
1829:
1812:
1810:
1797:
1792:
1786:
1785:
1773:
1768:
1762:
1761:
1751:
1740:
1729:
1723:
1722:
1703:
1702:
1694:
1692:
1686:
1685:
1675:
1664:
1643:
1630:
1625:
1612:
1607:
1596:
1590:
1589:
1579:
1573:
1572:
1560:
1555:
1542:
1537:
1524:
1519:
1513:
1512:
1500:
1495:
1489:
1488:
1478:
1465:
1460:
1447:
1442:
1436:
1435:
1423:
1418:
1412:
1411:
1404:Klavierbüchlein
1395:
1390:
1382:Klavierbüchlein
1373:
1368:
1349:
1341:Klavierbüchlein
1332:
1327:
1317:
1316:
1313:Klavierbüchlein
1304:
1299:
1293:
1292:
1287:
1286:
1276:
1270:
1269:
1262:Klavierbüchlein
1253:
1248:
1240:Klavierbüchlein
1227:
1222:
1214:Klavierbüchlein
1207:
1201:
1200:
1193:Klavierbüchlein
1186:
1180:
1179:
1172:Klavierbüchlein
1165:
1155:
1154:
1149:
1148:
1131:
1125:
1099:
1091:Klavierbüchlein
1083:
1073:
1072:
1067:
1066:
1061:
1060:
1055:
1054:
1039:
1013:
996:J.P. Kirnberger
976:
961:
939:
936:
933:
932:
930:
901:
900:
890:
887:
884:
883:
881:
876:
875:
867:
866:
858:
857:
849:
848:
838:
835:
832:
831:
829:
816:
813:
810:
809:
807:
800:
797:
794:
793:
791:
780:
726:
700:
699:
692:
689:
686:
685:
683:
676:
673:
670:
669:
667:
660:
657:
654:
653:
651:
630:
627:
624:
623:
621:
543:
542:
529:
528:
499:
489:
487:Intended tuning
374:
360:
349:
287:
281:
240:
239:
203:
202:
193:
192:
189:, the third in
170:
169:
154:
106:
39:
28:
23:
22:
15:
12:
11:
5:
6434:
6432:
6424:
6423:
6418:
6408:
6407:
6403:
6402:
6379:
6378:
6376:
6375:
6370:
6365:
6359:
6356:
6355:
6353:
6352:
6343:
6336:
6329:
6322:
6305:
6303:
6297:
6296:
6294:
6293:
6286:
6279:
6276:major, BWV 998
6266:
6259:
6258:
6257:
6245:
6239:
6237:
6233:
6232:
6230:
6229:
6222:
6215:
6214:
6213:
6206:
6192:
6187:
6180:
6172:
6167:
6162:
6154:
6153:
6152:
6151:
6144:
6131:
6118:
6105:
6098:
6091:
6084:
6071:
6058:
6051:
6041:
6040:
6039:
6026:
6013:
6006:
5999:
5986:
5973:
5960:
5953:
5943:
5935:
5934:
5927:
5926:
5925:
5918:
5911:
5899:
5894:
5889:
5883:
5881:
5877:
5876:
5874:
5873:
5864:
5856:
5851:
5842:
5834:
5826:
5818:
5813:
5808:
5803:
5798:
5793:
5784:
5779:
5774:
5765:
5760:
5755:
5750:
5745:
5740:
5735:
5730:
5725:
5720:
5715:
5710:
5700:
5698:
5694:
5693:
5677:
5675:
5674:
5667:
5660:
5652:
5646:
5645:
5640:
5609:
5600:
5591:
5583:
5571:
5565:
5549:
5548:
5542:
5537:
5526:
5525:
5520:
5515:
5510:
5505:
5500:
5489:
5488:
5479:
5470:
5461:
5455:
5439:
5427:
5426:
5414:(Adobe Flash)
5405:
5404:External links
5402:
5401:
5400:
5385:
5365:
5362:
5360:
5359:
5347:
5304:
5288:
5272:
5201:
5183:
5167:
5151:
5132:
5120:
5103:
5087:
5058:
5043:
5027:
4997:
4990:
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4935:
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4854:
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4822:
4783:
4768:
4707:
4694:
4681:
4668:
4659:
4638:
4617:
4602:
4581:
4559:
4537:
4530:
4507:
4488:
4469:
4442:
4439:
4413:
4394:(2): 211–232.
4380:
4379:
4339:
4320:
4293:
4271:
4245:
4230:
4212:
4198:
4171:
4151:
4135:
4128:
4110:
4095:
4088:
4070:
4049:
4041:
4019:Sadie, Stanley
4009:
4001:
3979:Sadie, Stanley
3969:
3961:
3939:Sadie, Stanley
3929:
3908:
3896:Wilson, John.
3888:
3880:
3858:Sadie, Stanley
3848:
3840:
3818:Sadie, Stanley
3805:
3797:
3775:Sadie, Stanley
3765:
3757:
3735:Sadie, Stanley
3725:
3718:
3698:
3691:
3670:
3668:
3665:
3663:
3660:
3645:
3640:
3639:
3627:
3622:
3621:
3620:
3619:
3618:
3604:
3599:
3598:
3586:
3581:
3580:
3579:
3578:
3577:
3563:
3552:
3551:
3539:
3528:
3527:
3526:
3525:
3524:
3510:
3499:
3498:
3486:
3475:
3474:
3473:
3472:
3471:
3457:
3452:
3451:
3439:
3434:
3433:
3432:
3431:
3430:
3416:
3411:
3410:
3398:
3393:
3392:
3391:
3390:
3389:
3375:
3364:
3363:
3351:
3340:
3339:
3338:
3337:
3336:
3322:
3311:
3310:
3298:
3287:
3286:
3285:
3284:
3283:
3269:
3264:
3263:
3251:
3246:
3245:
3244:
3243:
3242:
3228:
3223:
3222:
3210:
3205:
3204:
3203:
3202:
3201:
3187:
3176:
3175:
3163:
3152:
3151:
3150:
3149:
3148:
3134:
3123:
3122:
3110:
3099:
3098:
3097:
3096:
3095:
3081:
3076:
3075:
3063:
3058:
3057:
3056:
3055:
3054:
3040:
3035:
3034:
3022:
3017:
3016:
3015:
3014:
3013:
2999:
2994:
2993:
2981:
2976:
2975:
2974:
2973:
2972:
2958:
2953:
2952:
2940:
2935:
2934:
2933:
2932:
2931:
2917:
2906:
2905:
2893:
2882:
2881:
2880:
2879:
2878:
2864:
2853:
2852:
2840:
2829:
2828:
2827:
2826:
2825:
2811:
2806:
2805:
2793:
2788:
2787:
2786:
2785:
2784:
2770:
2765:
2764:
2752:
2747:
2746:
2745:
2744:
2743:
2729:
2718:
2717:
2705:
2694:
2693:
2692:
2691:
2690:
2676:
2665:
2664:
2652:
2641:
2640:
2639:
2638:
2637:
2623:
2618:
2617:
2605:
2600:
2599:
2598:
2597:
2596:
2582:
2577:
2576:
2564:
2559:
2558:
2557:
2556:
2555:
2554:
2522:
2519:
2478:
2475:
2449:
2446:
2442:Charles Gounod
2407:
2404:
2334:Hans von Bülow
2313:
2312:
2309:
2306:
2303:
2300:
2297:
2294:
2291:
2222:
2219:
2161:
2158:
2139:
2136:
2121:
2118:
2093:
2092:minor, BWV 891
2084:
2069:
2068:major, BWV 890
2060:
2045:
2042:
2027:
2024:
1999:
1998:minor, BWV 887
1990:
1975:
1974:major, BWV 886
1966:
1951:
1948:
1933:
1930:
1915:
1914:minor, BWV 883
1906:
1898:
1897:major, BWV 882
1889:
1877:
1874:
1859:
1856:
1841:
1838:
1809:
1806:
1791:
1790:minor, BWV 877
1782:
1767:
1766:major, BWV 876
1758:
1750:
1747:
1739:
1736:
1728:
1727:minor, BWV 873
1719:
1691:
1690:major, BWV 872
1682:
1674:
1671:
1663:
1660:
1642:
1639:
1624:
1621:
1606:
1603:
1595:
1594:minor, BWV 867
1586:
1578:
1577:major, BWV 866
1569:
1554:
1551:
1536:
1533:
1518:
1517:minor, BWV 863
1509:
1494:
1493:major, BWV 862
1485:
1477:
1474:
1459:
1456:
1441:
1440:minor, BWV 859
1432:
1417:
1416:major, BWV 858
1408:
1389:
1386:
1367:
1364:
1348:
1345:
1326:
1323:
1298:
1297:minor, BWV 853
1283:
1275:
1274:major, BWV 852
1266:
1247:
1244:
1221:
1218:
1206:
1205:minor, BWV 849
1197:
1185:
1184:major, BWV 848
1176:
1164:
1161:
1137:, is found in
1124:
1121:
1118:
1117:
1113:
1098:
1095:
1082:
1079:
1047:parallel minor
1012:
1009:
968:and the third
953:and the third
947:
946:
926:
914:
913:
910:
825:
824:
788:
773:
762:
725:
722:
721:
720:
705:
644:
618:Werckmeister's
488:
485:
396:J.C.F. Fischer
386:
385:
378:
364:
280:
277:
269:basso continuo
153:
150:
47:Title page of
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
6433:
6422:
6419:
6417:
6414:
6413:
6411:
6401:
6391:
6387:
6374:
6371:
6369:
6366:
6364:
6361:
6360:
6357:
6350:
6349:
6344:
6341:
6337:
6334:
6330:
6327:
6323:
6320:
6312:
6307:
6306:
6304:
6298:
6291:
6287:
6284:
6280:
6277:
6267:
6264:
6260:
6255:
6251:
6250:
6249:
6246:
6244:
6241:
6240:
6238:
6234:
6228:
6227:
6223:
6221:
6220:
6216:
6211:
6207:
6204:
6200:
6199:
6198:
6197:
6193:
6191:
6188:
6186:
6185:
6181:
6179:
6177:
6173:
6171:
6168:
6166:
6163:
6161:
6160:
6156:
6155:
6149:
6145:
6142:
6132:
6129:
6119:
6116:
6106:
6103:
6099:
6096:
6092:
6089:
6085:
6082:
6072:
6069:
6059:
6056:
6052:
6049:
6045:
6044:
6042:
6037:
6027:
6024:
6014:
6011:
6007:
6004:
6000:
5997:
5987:
5984:
5974:
5971:
5961:
5958:
5954:
5951:
5947:
5946:
5944:
5942:
5941:
5937:
5936:
5933:
5932:
5928:
5923:
5919:
5916:
5912:
5909:
5905:
5904:
5903:
5900:
5898:
5895:
5893:
5890:
5888:
5885:
5884:
5882:
5878:
5872:
5870:
5865:
5863:
5861:
5857:
5855:
5852:
5850:
5848:
5843:
5841:
5839:
5835:
5833:
5831:
5827:
5825:
5823:
5822:Orgelbüchlein
5819:
5817:
5814:
5812:
5809:
5807:
5804:
5802:
5799:
5797:
5794:
5788:
5785:
5783:
5780:
5778:
5775:
5769:
5766:
5764:
5761:
5759:
5756:
5754:
5751:
5749:
5746:
5744:
5741:
5739:
5736:
5734:
5731:
5729:
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5599:
5595:
5594:Program notes
5592:
5590:
5589:
5584:
5582:
5581:
5576:
5572:
5569:
5566:
5563:
5561:
5556:
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5397:0-300-09707-7
5394:
5390:
5386:
5383:
5382:0-300-03893-3
5379:
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4961:
4957:
4955:
4948:
4945:
4939:
4936:
4933:
4929:
4925:
4923:
4918:
4917:Daniel Heartz
4913:
4910:
4906:
4900:
4897:
4893:
4882:
4879:McKay, Cory.
4876:
4873:
4863:
4858:
4855:
4851:
4850:0-253-33487-X
4847:
4843:
4837:
4834:
4831:
4826:
4823:
4820:
4816:
4811:
4807:
4803:
4799:
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4793:
4787:
4784:
4781:
4777:
4772:
4769:
4757:on 3 May 2008
4756:
4752:
4748:
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4740:
4736:
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4718:
4711:
4708:
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4606:
4603:
4599:
4590:
4585:
4582:
4577:
4573:
4569:
4563:
4560:
4556:(3): 401–407.
4555:
4551:
4544:
4542:
4538:
4533:
4527:
4523:
4516:
4514:
4512:
4508:
4503:
4499:
4492:
4489:
4484:
4480:
4473:
4470:
4465:
4461:
4457:
4440:
4437:
4427:: A possible
4426:
4417:
4414:
4409:
4405:
4401:
4397:
4393:
4389:
4385:
4378:
4377:
4374:
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4272:
4259:
4255:
4249:
4246:
4242:
4240:
4233:
4231:0-393-00259-4
4227:
4223:
4216:
4213:
4201:
4199:0-88284-831-3
4195:
4192:. p. 4.
4191:
4187:
4186:
4181:
4175:
4172:
4167:
4163:
4162:
4155:
4152:
4147:
4146:
4139:
4136:
4131:
4129:0-8108-4970-4
4125:
4121:
4114:
4111:
4106:
4099:
4096:
4091:
4089:3-89948-066-X
4085:
4081:
4074:
4071:
4066:
4062:
4061:Geiringer, K.
4056:
4054:
4050:
4044:
4038:
4034:
4030:
4029:
4024:
4023:Tyrrell, John
4020:
4013:
4010:
4004:
3998:
3994:
3990:
3989:
3984:
3983:Tyrrell, John
3980:
3973:
3970:
3964:
3958:
3954:
3950:
3949:
3944:
3943:Tyrrell, John
3940:
3933:
3930:
3925:
3921:
3920:
3912:
3909:
3905:
3901:
3900:
3892:
3889:
3883:
3877:
3873:
3869:
3868:
3863:
3862:Tyrrell, John
3859:
3852:
3849:
3843:
3837:
3833:
3829:
3828:
3823:
3822:Tyrrell, John
3819:
3815:
3809:
3806:
3800:
3794:
3790:
3786:
3785:
3780:
3779:Tyrrell, John
3776:
3769:
3766:
3760:
3754:
3750:
3746:
3745:
3740:
3739:Tyrrell, John
3736:
3729:
3726:
3721:
3719:0-87930-865-6
3715:
3711:
3710:
3702:
3699:
3694:
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3508:
3484:
3455:
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3414:
3396:
3373:
3349:
3320:
3296:
3267:
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3226:
3208:
3185:
3161:
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3108:
3079:
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3038:
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2979:
2956:
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2862:
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2791:
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2674:
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2621:
2603:
2580:
2562:
2553:
2551:
2546:
2544:
2540:
2536:
2532:
2528:
2520:
2518:
2515:
2510:
2508:
2504:
2500:
2496:
2495:Helmut Walcha
2492:
2488:
2487:Edwin Fischer
2484:
2476:
2474:
2472:
2468:
2464:
2460:
2455:
2447:
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2383:
2379:
2375:
2371:
2367:
2362:
2359:
2355:
2351:
2347:
2346:Clair de Lune
2343:
2339:
2335:
2331:
2329:
2325:
2321:
2317:
2310:
2307:
2304:
2301:
2298:
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2289:
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2287:
2285:
2281:
2277:
2275:
2271:
2267:
2263:
2259:
2254:
2247:
2243:
2240:21st-century
2238:
2231:
2227:
2220:
2218:
2214:
2212:
2208:
2191:
2189:
2179:
2175:
2171:
2167:
2159:
2157:
2155:
2137:
2135:
2131:
2126:
2119:
2117:
2115:
2085:
2083:
2079:
2074:
2061:
2059:
2055:
2050:
2043:
2041:
2037:
2032:
2025:
2023:
2021:
1991:
1989:
1985:
1980:
1967:
1965:
1961:
1956:
1949:
1947:
1943:
1938:
1931:
1929:
1925:
1920:
1907:
1905:
1903:
1890:
1888:
1886:
1882:
1875:
1873:
1869:
1864:
1857:
1855:
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1846:
1839:
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1833:
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1822:
1807:
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1801:
1796:
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1427:
1422:
1409:
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1405:
1399:
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1387:
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1377:
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1365:
1363:
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1357:
1353:
1346:
1344:
1342:
1336:
1331:
1324:
1322:
1314:
1308:
1303:
1284:
1282:
1280:
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1265:
1263:
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1252:
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1243:
1241:
1235:
1231:
1226:
1219:
1217:
1215:
1211:
1198:
1196:
1194:
1190:
1177:
1175:
1173:
1169:
1162:
1160:
1146:
1142:
1141:
1136:
1130:
1122:
1114:
1110:
1109:
1106:
1104:
1096:
1094:
1092:
1088:
1080:
1078:
1052:
1048:
1044:
1038:
1034:
1025:
1017:
1010:
1008:
1005:
1000:
997:
992:
990:
989:Arp Schnitger
986:
982:
971:
967:
956:
952:
927:
923:
922:
921:
919:
918:musicologists
911:
908:
899:
874:
865:
856:
847:
827:
826:
789:
786:
778:
774:
771:
767:
763:
760:
756:
752:
747:
746:
745:
743:
735:
730:
723:
718:
713:
709:
706:
649:
645:
642:
638:
619:
615:
611:
607:
606:
605:
601:
599:
595:
589:
587:
582:
578:
573:
571:
567:
563:
559:
554:
552:
548:
538:
534:
524:
520:
515:
512:
508:
504:
498:
494:
486:
484:
482:
478:
474:
469:
467:
464:(1653–1706),
463:
459:
455:
451:
447:
443:
439:
435:
431:
427:
423:
419:
415:
411:
407:
406:Phrygian mode
403:
402:
397:
393:
391:
390:Daniel Croner
383:
379:
369:
365:
353:
348:
344:
340:
336:
335:
334:
332:
328:
324:
320:
316:
312:
308:
304:
300:
296:
292:
289:Although the
286:
278:
276:
274:
273:alto recorder
270:
266:
262:
257:
255:
251:
247:
246:key signature
237:
233:
232:
226:
224:
220:
216:
212:
208:
198:
188:
184:
177:
166:
158:
151:
149:
147:
143:
138:
136:
132:
131:Zweyter Theil
128:
123:
122:
120:
112:
104:
103:
101:
93:
91:
87:
83:
79:
75:
71:
67:
63:
59:
58:
50:
45:
41:
37:
35:
19:
6346:
6310:
6224:
6217:
6194:
6182:
6175:
6157:
5938:
5929:
5868:
5859:
5846:
5837:
5829:
5821:
5628:(1): 15–30.
5625:
5621:
5615:
5604:
5587:
5579:
5559:
5558:J.S. Bach's
5551:
5550:
5528:
5527:
5491:
5490:
5483:
5474:
5464:
5442:
5429:
5428:
5417:
5408:
5407:
5388:
5373:
5350:
5307:
5297:
5291:
5281:
5275:
5204:
5195:
5186:
5177:
5170:
5161:
5154:
5135:
5123:
5110:
5106:
5090:
5078:. Retrieved
5074:
5061:
5046:
5036:
5030:
5024:Schott Music
5000:
4980:
4976:Walker, Alan
4970:
4953:
4947:
4938:
4921:
4912:
4904:
4899:
4875:
4857:
4841:
4836:
4825:
4796:
4786:
4771:
4759:. Retrieved
4755:the original
4726:
4720:
4710:
4702:
4701:Bach, J. S.
4697:
4689:
4684:
4676:
4671:
4662:
4653:.bachdigital
4641:
4632:.bachdigital
4620:
4609:
4605:
4596:.bachdigital
4584:
4575:
4571:
4562:
4553:
4549:
4521:
4501:
4497:
4491:
4483:bach1722.com
4482:
4472:
4464:the original
4459:
4424:
4416:
4391:
4387:
4356:
4352:
4342:
4333:
4323:
4311:. Retrieved
4306:
4296:
4288:eunomios.org
4287:
4262:. Retrieved
4257:
4248:
4235:
4221:
4215:
4203:. Retrieved
4190:Alfred Music
4184:
4174:
4160:
4154:
4143:
4138:
4119:
4113:
4104:
4098:
4079:
4073:
4064:
4026:
4012:
3986:
3972:
3946:
3932:
3923:
3917:
3911:
3903:
3898:
3891:
3865:
3851:
3825:
3808:
3782:
3768:
3742:
3728:
3708:
3701:
3681:
3674:
2547:
2524:
2511:
2482:
2480:
2457:
2435:
2429:
2419:
2399:
2393:
2373:
2363:
2345:
2337:
2332:
2327:
2322:had on him.
2319:
2314:
2283:
2278:
2265:
2262:contrapuntal
2260:had neither
2252:
2250:
2215:
2192:
2165:
2163:
2152:
2123:
2112:
2071:
2047:
2029:
2018:
1977:
1953:
1935:
1917:
1900:
1879:
1861:
1843:
1825:
1793:
1769:
1752:
1741:
1730:
1713:
1676:
1665:
1647:
1644:
1626:
1608:
1597:
1580:
1556:
1538:
1520:
1496:
1479:
1461:
1443:
1419:
1403:
1391:
1381:
1369:
1359:
1350:
1340:
1328:
1312:
1300:
1277:
1261:
1249:
1239:
1223:
1213:
1208:
1192:
1187:
1171:
1166:
1138:
1132:
1102:
1100:
1090:
1086:
1084:
1040:
1001:
993:
969:
965:
954:
950:
948:
915:
906:
897:
872:
863:
854:
845:
742:temperaments
739:
733:
716:
708:Mark Lindley
647:
602:
590:
585:
577:harpsichords
574:
555:
522:
516:
500:
476:
472:
470:
465:
458:major thirds
449:
445:
433:
430:figured bass
421:
417:
408:, plus five
399:
394:
387:
318:
315:Johann Speth
313:of 1690 and
310:
307:Georg Muffat
290:
288:
264:
258:
235:
229:
227:
180:
175:
145:
141:
139:
135:Zweiter Teil
134:
130:
126:
116:
115:
97:
96:
94:
77:
56:
55:
54:
48:
40:
33:
6302:collections
6203:discography
6135:No. 22 in B
6122:No. 18 in G
6109:No. 13 in F
6030:No. 22 in B
6017:No. 21 in B
5430:Sheet music
5331:(BWV 863),
5321:(BWV 858),
5296:"Book 1 of
5280:"Book 1 of
5250:(BWV 851),
5246:(BWV 851),
5242:(BWV 850),
5238:(BWV 850),
5234:(BWV 849),
5224:(BWV 847),
5220:(BWV 847),
5216:(BWV 846),
5212:(BWV 846),
5016: [
4550:Early Music
4388:Early Music
4359:(1): 3–24.
4353:Early Music
2503:Glenn Gould
2242:open source
2199:minor and B
2128: [
2076: [
2052: [
2034: [
1982: [
1958: [
1940: [
1922: [
1866: [
1848: [
1830: [
1798: [
1774: [
1631: [
1613: [
1561: [
1543: [
1525: [
1501: [
1466: [
1448: [
1424: [
1396: [
1374: [
1333: [
1305: [
1254: [
1228: [
1145:arpeggiated
1065:→ E → F → F
777:Mathematica
610:signet ring
581:clavichords
511:accidentals
384:(1595–1674)
382:John Wilson
350: [
254:accidentals
82:harpsichord
6410:Categories
6075:No. 4 in C
6062:No. 3 in C
5990:No. 7 in E
5977:No. 4 in C
5964:No. 3 in C
5871:, BWV 1128
5791:(doubtful)
5772:(doubtful)
5708:(doubtful)
5492:Recordings
5345:(BWV 868).
5270:(BWV 866).
5112:Gramophone
4460:jencka.com
4307:LaripS.com
4180:Bach, J.S.
3926:: 279–285.
3667:References
2477:Recordings
2467:transposed
2410:See also:
2380:wrote his
2352:issued by
1097:Title page
1031:See also:
787: 924.
614:numerology
537:enharmonic
491:See also:
436:(1718) by
424:(1719) by
343:saltarello
339:passamezzo
283:See also:
279:Precursors
86:clavichord
5849:, BWV 768
5596:from the
5196:MAPLE lab
5145:harmonies
4924:, p. 678.
4862:"Hess 38"
4743:0027-4666
4408:0306-1078
4373:0306-1078
4290:(Report).
4082:. Carus.
2437:Ave Maria
2324:Beethoven
2221:Reception
823:variants.
414:ricercars
319:Ars magna
248:of seven
211:chromatic
34:Westworld
6316:♭
6273:♭
6138:♭
6125:♯
6112:♯
6078:♯
6065:♯
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