o cravo bem temperado de abordagens pedagógicas e os …leatham.com.au/teach/bach-preludes.pdf ·...

CARVALHO,LarissaPaggiolide.(2016)OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.97‐115.

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DOI:10.1590/permusi20163305

SCIENTIFICARTICLE

Bach’sWell‐TemperedClavier:PedagogicalApproachesandtheDifferentStylesofPreludes

OCravoBemTemperadodeBach:abordagenspedagógicaseosdiferentesestilosdeprelúdios

LarissaPaggiolideCarvalhoUniversityofNorthernColorado,Greeley,Colorado,[email protected]

Abstract:ThepresentarticlediscussespedagogicalaspectsaimingtocontributetoteachingandlearningBach’sPreludesoftheWell‐TemperedClavier.SectiononepresentsareviewofthepreludeasamusicalgenreandthedifferentstylesthatinfluencedtheWell‐TemperedClavierPreludes.Then,thereisananalysisofselectedpreludesthatwillexemplifythevarietyofstylesfoundinthisworkofBach.Keywords:TheWell‐TemperedClavier;preludestyles;pedagogicalapproachesinthemusicofJ.S.Bach.Resumo:OpresenteartigodiscuteaspectospedagógiosquecontribuemcomoensinoeaaprendizagemdosPrelúdiosdeOCravoBemTemperadodeJohannSebastianBach.PrimeiramenteéfeitaumarevisãodoprelúdiocomogêneromusicaledosestilosqueinfluenciaramosPrelúdiosdeOCravoBemTemperado.Emseguida,éfeitaumaanálisedeprelúdiosselecionadosquevirãoexemplificaravariedadedeestilospresentesnessaobradeBach.Palavras‐chave:OCravoBemTemperado;estilosdeprelúdios;abordagempedagógicanamúsicadeJ.S.Bach.Dataderecebimento:03/12/2015.Datadeaprovaçãofinal:18/03/2016.


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1–Introduction

This research proposes a discussion of pedagogical aspects that could benefit studentsworkingonJohannSebastianBach’sPreludesoftheWell‐TemperedClavier.ThesePreludesencompass a wide range of styles, being important pedagogical tools when usedappropriately. They offer opportunities for refining basic skills such as phrasing clearly,voicing, choosing articulation, tempo and the different affects found in the Baroque Era.Theseworkscanalsobeusedtohelpstudentsdevelopanimportantskillwhichisdecisionmaking.Thefactthattherearefewindicationsinthescore,ifanyatall,createstheneedtomakedecisionsontheirown.Thepresentresearchcannotencompassallthestylesavailablefordiscussionintheseworks.BothpreludesandfuguesoftheWell‐TemperedClavierwerebasedonpopulargenresofthetime such as trio‐sonatas, concertos, lute pieces, inventions, ariosos, dances and Frenchovertures.Oncestudentsarefamiliarwiththetypeofmusicthatwasinfluentialinaprelude,therearemanymorechancestoachieveasuccessfulandconvincinginterpretationofBach’spreludes.

2–ThePrelude

Apreludeisapieceofmusicthatprecedes“somethingelse”,afugue,forinstance,oritcouldbetheopeningortheintroductionofasuite.Itnormallyhasthefunctionofpreparingthelisteners’earsforacertainaffectthroughthecomposer’schoiceofkeyandtimesignature.According to LEDBETTER (2014), early instrumental preludes developed fromimprovisationworkingasmeanofcheckingthetuningandthetonequalityoftheinstrument–thelute,forinstance–andwouldalsobeawarmupfortheplayer.Theneedfornotatingthese improvisations came to provide models for students but the free style remainedcharacteristicofthisgenre.


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Thesewere fundamental features of preludes up to the sixteenth century. Later on theybecameamoreorganizedform.Atthetime,apreludeor“praeludium”wasmoreoftencalledintonazione (tuning), intrada (entrance), ricercare (to search) or even toccata (to play).Preludesfromtheearlysixteenthcenturycouldlookjustlikeafantasiaorcouldbesemi‐measured.Sometypesofpreludes,tryingtokeepitscharacteristic“freestyle”couldhavenomeasures at all, being called unmeasured preludes. MORONEY (2014) states that LouisCouperin, JeanHenryD’Anglebert,NicolasLebègue,GasparddeLeRoux and JeanPhillipRameau are some of the most significant composers of unmeasured preludes forharpsichord.AccordingtoLEDBETER(2014),thepreludereacheditspinnaclewithBachwhodevelopeditinbothcompositionalqualityandrangeofstyles,mannersandform.TheWell‐TemperedClavierisagreatexampleofhowmuchvarietyispossibletoachieveinthisgenre.Thetwosetsof24preludesand fugues–Book1dating from1722andBook2 from1742–hadpedagogicalobjectives.Bachusedthesepreludestodemonstratetechniques,fingeringandcomposition,exploringthetitle“prelude”sinceitwasusedsofreely.Hewasalsoexploringtheentirerangeofmajorandminorkeysonlypossibleduetotherecentlycreatedsystemoftemperament–asweuseonkeyboardinstrumentstoday.Priortothe“new”system,piecescouldonlybeplayedincertainkeys.Othercomposersexploitedthisnewtuningsystemandcreatedcollectionsofpreludes;JohnWilsonwithhiscollectionoflutepreludes,writteninthe1640s,andJ.C.FFisherwithhispreludesandfuguesfororganaresomeexamples.Bach,however,wasthemostsystematiccomposertoexploitthisnewtonalsystem,beingthefirstonetowriteinall24majorandminorkeys.

3–Influenceofdance

BachwasheavilyinfluencedbydancessinceFrenchculturewasastrongpresenceinmostplaceswherehelivedandworked.LearningFrenchlanguage,musicanddancewaspartofformaleducationatthetimeforhighbornGermans.AsateenagerhevisitedthecityofCelle


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–aminiatureVersailles–manytimesprobablyencounteringFrenchplays,danceandmusicperformedbyexcellentFrenchartists(LITTLEandJENNE,2001,p.3‐4).FamiliaritywiththeFrenchmannerswasveryimportantespeciallyforsomeonelikeBach,whohadbeenintroducedtocourtandparticipatedinitsactivitiesmanytimes.AccordingtoLITTLEandJENNE(2001,p.7),averyspecificbehaviorwasexpectedinsuchmomentandGerman courts would hire French dancingmasters to help courtiers on the pathway toelegance:

Inadditiontoteachingdancingtheyinstructedcourtiersindeportment,suchastheproperwaytobowtoasuperiororaninferior,howtodohonorsinpassing,whattodowhenintroducedatcourt,whattodowithone’shatandsword,andsoon.Therewerepreciseruleswhich,whenfollowed,resultedineleganceandtheappearanceofgentility,theheightofcivilizedbehavior.

Frenchsocialdancewasnotonlypartofcourtactivitiesbutalsopresentatformalballsandimportant events of the middle‐class and aristocrats. Student dramas in Leipzig alsoincorporatedthisstyle.Placesthatwerebiggerculturalandartisticcenterscouldsupportevents that demandedbigger productions such as theballet andopera. Celle, Berlin andDresdenweresomeofthoseplacesabletomaintainafullorchestraofFrenchplayersforanentireseasonandBachundoubtedlysawFrenchdanceswhenheattendedoperasinthoseplaces–Frenchdancesoraballetscenewouldbetypicallyperformedduringtheinterludesbetweenacts.LittleandJennealsosaythatBachknewpersonallyorknewtheworkofthreefamousFrenchdancingmastersinSaxony.JohannesPasch,PantaleonHebenstreit,Jean‐BaptisteVolumierweredancemastersandthelattertwo,Bach’sgoodfriends,werealsomusicians,performingatcourtandcomposingdancemusic(LITTLEandJENNE,2001,p.14‐15).Itisinterestingtonotehowmusicanddancewerebothpartofthesecomposers’trainingandhowintrinsicallyconnectedthetworealmswere,tothepointthatonepersonalonecouldteachdance,writemusicforitandstillplaythismusiconaninstrument.Bachwascertainlyveryfamiliarwith


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Frenchdanceandmusicand,morethanthat,thesewerenotonlyimportantelementsinhismusic—theywerealsopartofhisworld.

4–Otherstyles

TheWell‐TemperedClavierencompassesahugevarietyofstylesrangingfromthestileantico,based onwhite‐key Renaissancemotets, to themostmodern French court styles.Whenstudyingaparticularpiecefromthesesets,itisveryimportanttoknowwhattypeofmusicweareworkingwithinordertogiveittherightcharacter,tempo,articulationandstyle.AccordingtoWATERMANandANTHONY(2014),theFrenchoverturefoundinsomeofthepreludescomesfromtheLully’sballetoverturesoriginatedinthe1650s.ThisstylequicklybecameapatternalsoinFrenchoperaandballetovertures.Germancomposersincorporatedthestylethatwasalsousedinopeningsofsuites.Thisformcomprisesofaslow,majesticopening,markedbydottedrhythmsandsuspensions,withalivelyfugalsecondsection.Thetoccatastyleoftenfoundinthisworkswasoriginallyapiecethatdisplaysmanualdexterity,alwaysforsolokeyboardinstrument.IntheBaroque,thesepiecesbecamelargescaleworksinfreeformnormallyincludingoneortwofugues(CALDWELL,2014).

5–SelectedPreludes

RegardlessthefactthatBachonlywrotefewsetsofdancesuitesforthekeyboard–thesixFrenchSuites,sixEnglishSuites,thesixPartitasandtheFrenchOvertures–otherworkswereheavilyinfluencedbydancestylesevenwhennotgivendancetitles.SomeofthePreludesoftheWell‐TemperedClavierbasedondancesaretheFminor,Book2(gavotte‐like)andtheC#minor,Book1(loure‐like).ThePreludeinEbmajorfromBook1issarabande‐like.AccordingtoTROEGER(2003,p.64),dotted rhythmic figures, varied harmonic rhythms and full texture are elementscharacteristic of the sarabande.Often, there are streams of notes coming out of a chord


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evokingaluteaccompaniment.Inatypicalsarabande,theaccentuationoftenhappensonthesecondbeatbutcanalsohappenonthefirst.Inthiscase,theemphasisonthefirstbeatis given through ornamentation in measure 4, arpeggiation in measures 5‐7 and acombinationofbothinmeasure8.

Figure1:PreludeinEbminor,WTCI,mm.1‐8.Thispreludepresentscharacteristicsofasarabande.

The3/2timesignatureimpliesaslowertempothantheoneswithsmallervalues(2/4,3/4and6/8).Itisimportanttomentionthatthedottedquarternotescouldbeplayedasdoubledottednotes,givingamoredramaticcharactertothepiece,whichwouldbeveryappropriatehere.Besidestheperformancepracticeapproachtodoubledotsandtheimportanceofthedanceelementtothispiece,thispreludewouldbealsoahelpfultoolforstudentswhoneedtoimproveonlisteningandmatchingthesound,especiallyinthiscase.Here,thelongnotesrequirecarefullisteningthroughthesoundasitdecays,inordertomatchthesoundofthefollowingnotes.A good preparatory piece for this preludewould be the Sarabande inGminor from theEnglishSuiteNo.3–theconceptofasarabandecanbemoreeasilyunderstoodinthiscontext.Thisspecificsarabandeisashorterpieceanditstimesignature(3/4),aswecanseeinfigure


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2,ismorecommonlyfoundinlessadvancedpieces;therefore,studentsaremorefamiliarwiththisnotationthanwiththeoneintheprelude(3/2meter).Besides,thissarabandehasthesametypeofchordaltextureofthePreludeinEbminor,whichwouldalsohelptoclarifytheconceptofthedance.Inthiscase,emphasisonbeatsareachievedthroughlongernotevaluesonthesecondbeatofmostmeasuresaswellasornamentation–trillsandarpeggios.

Figure2:SarabandeinGminor,EnglishSuiteNo.3,mm.1‐12.SuggestedpreparatorypieceforthePreludeinEbminor,WTCI.

SimilartothepreviouspreludeistheoneinEminorfromBook1.Aswecanseeinfigure3,thisoneismorevocal,in4/4meterwhichimpliesamoremoderatetempo,beinglikeanariawhereasingerwouldbeaccompaniedbythevioladagamba.Agreatwaytopracticethisprelude, after learninghands separate,wouldbe toplay the lefthandpartwithonly thechordsintherighthand(beatsoneandthree).


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Figure3:PreludeinEminor,WTCI,mm.1‐4.Presentscharacteristicsofanaria.

ThePreludeinC#major,Book1,islikeagigue.Itrequiresgreatindependenceinbothhandssinceitsmaterialexchangebetweenhands.Fastandlight,therearenochordalpassagesinthis piece, but a continuous stream of sixteenth notes. This particular one fits into thecategoryofgigaIIdescribedbyLITTLEandJENNE(2001,p.168)asapiecetypicaloftheinstrumentalstylewithjoyfulaffect,longphrases,imitativetextureandlackofcadences.

Figure4:PreludeinC#major,WTCI,mm.1‐15.ThispreludeisgigaII‐like.


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Rotationisessentialinthispreludeandexercisescouldbedonebyisolatingmeasures3‐5and10‐13toworkwithhandsseparateonrotationinintervalsoffourths,fifths,andsixths;theseintervalsarefoundthroughoutthisentirepreludeinbothhands.Thefirstmeasureofeach phrase (mm. 7 and 9) requires rotation in awider interval – the augmented sixth.Blockingthesemeasuresandthenusingrotationtoplaythenotesaswrittenwillhelpthestudent to achieve a comfortable and secure approach to these passages. In addition,blockingthehandwiththeeasierpart(lefthandinmm.1‐7andrighthandinmm.9‐15)andplayingitalongwiththeotherhandcangivemoreawarenessofintervalsandmoresecurity,especiallyinsuchanunusualandsometimesuncomfortablekey.AnothergigueisthePreludeinAmajor,Book2.ThisonefitsinthecategoryofgigaI,withconsistenttriplegroupingsthroughoutthepieceandimitativecounterpointastexture.The12/8timesignatureandthekeyofFmajorsuggestsamoderatetempoandanatmosphere(affect)ofconstancyandgenerosity(SCHUBART,1806).

Figure5:PreludeinAmajor,WCTII,mm.1‐6.ThispreludeisgigaI‐like.

Thispreludeisagreatpiecetoworkoncontrapuntaltextures.Despiteitsthreevoices,itisnotverycomplexsincethecounterpointisimitative,notpresentingmanydifferentsubjectsasinatypicalBachfugue.Furthermore,itsslowertempomakesiteasierforthestudentto


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hear through thedifferent voices. Practicing each voice separately is a good strategy forshapingthephrasesandespeciallylisteningtothesoundasitcontinuesthroughafterlongnotevalues.ThefamousPreludeNo.1inCmajor,Book1,isagoodexampleofafree,improvisatorystyle,aliteral“prelude.”Thispiecerelatestotheoriginoftheearlyprelude,workingasapieceor“something”thatyouplaytowarmupyourfingers,tryouttheinstrument,itstonequality,andtuning.

Figure6:PreludeinCmajor,WTCI,mm.1‐5.Thispreludepresentsafreeandimprovisatorystyle.

The arpeggiated chords in figure 6 all fit comfortably in the hand and the same type ofarticulation(legato)iskeptthroughoutthewholepiece.Itwouldbeaverygoodpieceforbeginner or early intermediate students to improve their touch and soundby practicinglegatoandevenness.Wristflexibilityandrotationshouldalsobeaddressedtohelpwiththesmoothness of legato along with alignment of the forearm and fingers to improve tonequality.Another important aspect that would be very useful when working with intermediatestudentsisthechoiceofdynamics.Becausetherearenodynamicmarksinthispiece(and,overall,inanyofJ.S.Bach’sworks),thestudentcouldbechallengedtochoosehowtoshape


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phrasesbasedontheharmony.Whenworkingonphrasing,studentscanpracticeblockingthechordstodevelopamoreclearsenseofthechordprogression.Theteachercanhelpbyaskingquestionssuchas“wheredoyoufeeltension?,”wheredoyoufeelthemusicrelaxes?,”or“wheredoyouthinkwegethome?”Listeningand feelingthemomentsof tensionandrelaxationinthemusicisamoreaccessibleapproachforstudentswhoarenotveryadvancedordonothaveastrongtheorybackgroundandwillstillhelpthemtomakemoreappropriateandconsciouschoices.ThePrelude inCmajor fromBook2 isalsowritten in the same free‐improvisatorystyle,almostlikeanunmeasuredprelude.TherhythmsBachwritesrightintheopening,measures1‐5offigure7,notrepeatedinpatterns,suggestanattempttonotate,withmeasures,afreeandimprovisatorypieceofmusic.ThispreludeismuchmorecomplexthantheCmajorfromBook1,withcontrapuntalwritingthatneedstobecarefullyaddressedandpracticedwitheachhandseparatelyandwithaclearideaofwherethemanyoverlappingphrasesbeginandend.

Figure7:PreludeinCmajor,WTCII,mm.1‐5.Itpresentsfreecontrapuntalstyle.

ThePreludeinBbmajor,Book1,istoccata‐like.Thisisabold,virtuosopiecewithbrilliantpassage‐works/runs in long, continuous lineswith sixteenthnotes. It is a greatpiece forworkingonevenness.Practicinghandsseparateinthiscaseisnotidealsincethecontinuous


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lineissplitbetweenhands,andpracticingeachhandalonecouldcreateunwantedaccents.Eachgroupoffourthirty‐secondnotes,asinmeasures1thoughthesecondbeatofmeasure3(seefigure8a),shouldbeblockedinawaytohelpthestudentunderstandtheharmony,seeinggroupsofnotesinsteadofeachnoteindividually.Afterbecomingcomfortablewithgrouping,andmorefamiliarwiththenotes,thestudentshouldbeabletomakedecisionsonhowtoshapethispiece.

Figure8a:PreludeinBbmajor,WTCI,mm.1‐3.Thispreludeistoccata‐like.

Since there are no indications in the score, the student needs to choose dynamics andwhetherornottotakesometimeinspecificplacesbasedontheharmonyandstructuralpoints of the piece. The short cadenza‐like passages found throughout the second page,demonstratedinmeasures11‐15offigure8b,ofthispreludearegoodexercisesforlearningtheconceptof“cadenza”.Workingonshapingcadenzasinshortpassageslikethiscanbeaveryusefultoolinpreparationtoplayinglingerconcerticadenzas.


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Figure8b:Cadenza‐likepassagesinthePreludeinBbmajor,WTCI,mm.10‐15.Thispieceisrecommendedinpreparationforconcerticadenzas.

ThePrelude inCminor fromBook2 isanexampleof two‐part invention.Handsseparatepracticeisidealsincehandswillbetradingrolesbetweenhavingthemelodyandprovidingaccompaniment. Rotation exercises in thirds would be helpful to apply in each handseparately.Sinceeachbeatofthefirsttwomeasuresiscomposedofchordswithaneighbortone,oneshouldplayonlytherealnotesofthechordwhenapplyingrotation.Alsoimportantistoworkontherotationandalignmentor“armsupportingthefingers,”isolatingthetwo‐beatpattern–asinmeasures3‐4.


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Figure9:PreludeinCminor,WTCII,mm.1‐4.Thispreludepresentscharacteristics

ofatwo‐partinvention.

It would be good for the student to be familiar with some of the two‐part inventions.InventionNo.4inDminorwouldbeagreatpreparationforthispreludesinceitinvolvesthesametypeofrotationbetweenwiderintervalsandtheexchangeofmaterialbetweenhandsinashorterpiece,asdemonstratedinfigure10.

Figure10:Two‐partinventionNo.4inDminor,mm.1‐15.SuggestedpieceaspreparationforthePreludeinCminor,WTCII.


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AccordingtothegreatpianistandinterpreterofBach,AngelaHEWITT(2002),thePreludeinBmajorfromBook2soundslikeaconcerto.Itsbrilliantopeninginthefirsttwomeasuressuggestsatuttifollowedbythesoloistinmeasure3.Laterinthepiece,measures12‐15forinstance(seefigure11b),itseemstherearetwosoloistsalternatingwiththetutti,perhapsaviolinandaflute.Thispreludehasdifferentsections,somesoundinglikelittlecadenzasinthemiddleoftheconcerto,otherssoundinglikesolosortutti.Thestudentshoulddefinitelytakeadvantageofthisaspecttocreatedifferentcolorsandcontrastwithinthepiece.

Figure11a:PreludeinBmajor,WTCII,mm.1‐7.Concerto‐likeprelude.Itsopeningmeasuressuggestatutti(mm.1‐2)andasoloist(mm.3‐7).


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Figure11b:PreludeinBmajor,WTCII,mm.11‐15.Thisspecificpassageshowsatexturethatcouldrepresenttwosoloists(intheuppervoices).

Findingthedifferentsectionswillenablethestudenttoidentifymaindifferencesintexturesandpatterns.Sincethispiecewaswrittenwithmanysequences,itisveryimportanttofinditsmainpatterns.Forinstance,measures3isamodelformeasures3‐7(seefigure11a)thus,practicingeachmeasureandstoppingonthedownbeatofthenextoneisagoodstrategy.Thecadenza‐likepassages(mm.17‐23)shouldbepracticedwithbothhandsasiftheywerebeing played by only one instrument. This is a very challenging prelude for its virtuosocharacterandconstantflowofsixteenthnotesinatleastoneofthehands,withtheeventualadditionofathirdvoiceinmeasure12.AnotherstyleoftenfoundinBach’spreludesfromtheWell‐TemperedClavieristheFrenchOvertureStyle.ExamplesofthisstylearethePreludeinDmajorfromBook2andthePreludeinGminor,alsofromBook2.AccordingtoSCHUBART(1806),thekeyofDmajorisakeyofjoy,triumphandrejoicewhichenhancestheFrenchoverturecharacter.InthecaseofthePreludeinGminor–keyofdiscontentment,resentmentanddislike–thedoubledotsshoulddefinitelybeappliedsinceitincreasesthedrama.Acarefulstudyofthevoicesseparatelyisnecessarysincetheyfloatinbetweenhands,aswecanseeinfigure12,beingveryimportanttoknowwhereexactlyacertainvoiceendsorbegins.


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Figure12:PreludeinGminor,WTCII,mm.1‐4.Thispreludepresents

characteristicsoftheFrenchoverturestyle,characterizedbythepracticeofdoubledots.

6–Conclusion

ThePreludesoftheWell‐TemperedClavierarepiecesthatpresentagreatvarietyofstyles.Itisundeniably important tobe familiarwith thesedifferentstylesbeforeapproaching thePreludessothatonecanachieveawell‐informedinterpretation.Bach’sLittlePreludes,theFrenchand(sometimes)EnglishSuites,andalsothetwoandthreepartinventionsofferthevarietyofstylesthatweneedinordertoplaythesePreludeswithspontaneity,characterandstyle.A student does not need to have played an entireFrench suite in order to understand aPreludefromtheWell‐TemperedClavier.LearningsomeofthedancesoraspecificonethatrelatestothestyleoftheassignedPreludecanbeahelpfulandclarifyingwaytointroducethe concept of style to a student. Often, the dance movements from the suites, or thetwo/three‐part inventions, are shorter pieces of music and technically less demanding,makingthemagoodpreparationtothesePreludes.


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InadditiontoteachingstudentsaboutthemanystylesofBach,thesePreludesarefascinatingpieces of music, effective repertoire and performance material. After working on thesePreludes,thestudentwillhaveabetterunderstandingofBach’slanguageandwillbeabletomakemoreconsciousartisticdecisions.

References

1.ALFANO,Donald.(2014).“LearningBach’sShortPreludes:ASequentialApproach”.ClavierCompanion.http://www.freewebs.com/newhavenchapter/Bach_Short_Preludes_JanFeb14.pdf.(AccessedDecember7,2014).2.CALDWELL,John.“Toccata”.GroveOnline.http://0‐www.oxfordmusiconline.com.source.unco.edu/subscriber/article/grove/music/28035?q=toccata&search=quick&pos=1&_start=1#firsthit.(AccessedDecember7,2014).3.HEINEMANN,Ernst‐Gunter.Well‐TemperedClavier.HenleVerlag.http://www.henle.de/us/detail/index.html?Title=The+Well‐Tempered+Clavier+Part+I+BWV+846‐869_1014.(AccessedDecember7,2014).4.LEDBETTER,David.“Prelude”.GroveOnline.http://0‐www.oxfordmusiconline.com.source.unco.edu/subscriber/article/grove/music/43302?q=prelude&search=quick&pos=1&_start=1#firsthit.(AccessedNovember26,2014).5.LITTLE,Meredith;JENNE,Natalie.(2001).DanceandtheMusicofJ.S.Bach.Bloomington,EUA:IndianaUniversityPress.6.MORONEY,Davitt.“Préludenonmesuré”.GroveOnline.http://0‐www.oxfordmusiconline.com.source.unco.edu/subscriber/article/grove/music/22290.(AccessedNovember26,2014).7.SCHUBART,Christian.(1806).IdeenzueinerӒesthetikderTonkunst.Wien.http://www.wmich.edu/mus‐theo/courses/keys.html.(AccessedNovember30,2014).8.TROGER,Richard.(2003).PlayingBachontheKeyboard:APracticalGuide.NewJersey,EUA:AmadeusPress.9.WATERMAN,George;ANTHONY,James.“FrenchOverture”.GroveOnline.http://0‐www.oxfordmusiconline.com.source.unco.edu/subscriber/article/grove/music/10210?q=French+overture+&search=quick&pos=1&_start=1#firsthit.(AccessedDecember7,2014).


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Musicscoresandvideo

1.BACH,JohannSebastian.(1895).EnglishSuiteNo.3.Ed.ErnstNaumann.Leipzig:BreitkopfundHärtel.2.BACH,JohannSebastian.(1853).15Sinfonias.Ed.CarlFerdinandBecker.Leipzig:BreitkopfundHärtel.3.BACH,JohannSebastian.(2007).TheWell‐TemperedClavier.v.1.Ed.Ernst‐GünterHeinemann.Munich:G.HenleVerlag.4.BACH,JohannSebastian.(2007).TheWell‐TemperedClavier.v.2.Ed.YoTomita.Munich:G.HenleVerlag.5.HEWITT,Angela.(2008).BachPerformanceonthePiano.DVD(LectureRecital):HyperionRecords.

RecommendedReading

1.BADURA‐SKODA,Paul.(1995).InterpretingBachattheKeyboard.OxfordNewYork,EUA:ClarendonPress.2.LEDBETTER,David.(2002).Bach’sWell‐TemperedClavier:the48PreludesandFugues.NewHaven,EUA:YaleUniversityPress.

Noteabouttheauthor:LarissaPaggiolideCarvalhoisadoctoralstudentinpianoperformanceattheUniversityofNorthernColoradowhereshehasworkedonresearchentitled“EdmundoVillani‐Côrtes’WorksforViolinandPiano:AnalysisandPerformanceGuide”.Larissahasgraduatedfromthe Universidade de Brasília in 2008 with a bachelor’s of music degree in piano and ateaching license. At the University ofWyoming, hermaster’s research was dedicated toHeitorVilla‐Lobos’BachianasBrasileirasNo.4.Duringtheschoolyearof2013‐2014,Larissawashiredasadjunctteacherofclasspianoattheinstitutionwhereshecurrentlystudies.Shehasbeenworkingactivelyasasoloandcollaborativepianistandalsoservingasateacherand researcher.Larissahas recentlydefendedherdissertationand, inMay2016,will beconferredherdoctorofartsdegreewhichshehasearnedwiththesupportofscholarshipsfromtheUniversityofNorthernColoradoandCAPES.

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