Using this edition

The following is a list of all the parameters that are to be found in the score
(not all of them will be found in each piece):

* Tempo suggestions
* Structure and Phrasing
* Articulation and Note Functions
* Dynamics and Dynamic Shaping
* Ornaments and Figurations
* The use of Pedals
* Fingering and arrangements between hands
……………………………………………………………………

* Structure and Phrasing

In music of the late-Baroque period, and Bach’s works in particular, structure is paramount, and is supported by other parameters such as phrasing, articulation and dynamics.

These indicate an upbeat and the beginning of a new phrase:

These indicate the beginning of a new section:

These indicate a thematic entry:

 * Articulations and Note Functions

Although Bach notated articulations in scores and orchestral and vocal parts of his cantatas, passions, and concertos, the lack of notated articulations by Bach in his solo keyboard works is a constant source of frustration for musicians, with the sheer amount of logical possibilities often acting as a block to performers. When articulations are notated, they are often not precise (as can be seen by taking a glance at the beginnings and endings of slurs in example 4), and can be contradictory. To make matters even more confusing, articulations that are suitable for a clavichord or harpsichord, may not be suitable to the modern piano. For those reasons, some of the articulations suggested in this edition differ to the few articulations in the autograph score of the inventions. The guiding principle for the choice of articulation in this edition was the understanding of the different functions of notes, depending on their position in the context of a piece.

* Fingering and arrangements between hands

To help the less experienced pianists with the technical execution of these works, we have added fingerings that combine the “strong” fingers (1, 2, 3) with the “weak” fingers (4, 5) in a way that allows a flexible, relaxed way of playing. C. P. E. Bach in his didactic keyboard works, and in particular in his Essay on the True Art of Playing Keyboard Instruments  makes clear the importance of a good fingering: “… an average performer with well-trained fingers will best the greatest musician who because of poor fingering is forced to play, against his better judgement.”

* Dynamics and Dynamic Shaping

Dynamics can be understood as structural (Terraced Dynamics) and as dynamic shaping within the individual step of the ‘terrace’. Playing on a dynamically flexible instrument such as the modern piano, allows the performer to not only use terraced dynamics to clearly separate sections by designating a main dyamic per section (e.g. f, mf, p), but also to support the musical content of these sections with dynamic shaping, resulting in what Walter Blankenheim called a ‘living’ or ‘animated’ line. To notate a finer gradation in dynamics more precisely, this edition makes use of numbered indications (P1, p2, p3, mf, mf etc.).
The upbeat (one or more notes) has a sense of energy and direction, and therefore needs to be supported with a crescendo. The culmination is the goal towards which the music has been building up. The end of a phrase brings a relaxation, and therefore needs to be supported with a decrescendo. Culminations are marked in this edition with arrows (the direction depending on the voice and position on the stave).

Dynamic indications such as p or mf, and dynamic processes (crescendo, decrescendo), as well as structural sings and arrows indicating the entries of themes or subjects are indicated only in the first structural section in this edition, and have to be added according to the introduced ideas in subsequent sections by the performer.

* Ornaments and Figurations

Bach’s own table of the ornaments—as set out by him in the Clavier-Büchlein vor Wilhelm Friedemann Bach—provides an invaluable guide to the interpretation of his ornaments, and is readily available in a number of sources. However, not every ornament should be unquestionably interpreted following the guide and the established rules (such as beginning trills with the upper note), as in certain situations doing so leads to parallel fifths or octaves.
A difference between trills that begin with the upper and main note is made clear through fingering indications. For further clarity, the number of notes that can be played in short trills is indicated for convenience where required.

We hope that this edition will take some of the hard work out of the process of learning and practicing these works, and more importantly, bring joy and encourage students to become better acquainted with the music of J. S. Bach. May it also give young musicians ideas on how to develop their own interpretations through this interaction with Bach’s works on a creative level.

Kirill Monorosi (Sydney, Australia) and Inge Rosar (Saarbrücken, Germany) March 2021