24 studies for solo instrument, based on Bach's Well Tempered Clavier. (TC only )
Set for ABRSAM grades 6,7, and 8 until 2010.
PREFACE from the book : The late development of the valved brass as chromatic instruments meant that the great Baroque and Classical composers did not write for brass in the same manner and quantity as they did for keyboard, violin, or flute. Pianists in particular have a great range of music of high quality from which to chose. At all stages, from novice to virtuoso, they can study works which may simultaneously advance technique, give a rewarding musical experience, and increase familiarity with the music of the great composers. I hope that the following studies, based on preludes from J. S. Bach’s ‘48’, will bring to brass players the combined rewards which pianists would hope to receive from studying the originals.
THE ‘48’ Two systems of tuning operated in the early 18th century. The older system, in which the 12 semitones were not tuned as equal divisions of the octave, gave perfect tuning in a limited number of keys. Beyond these keys tuning became unsatisfactory and composers tended to restrict their music to keys of no more than four sharps or flats. The newer system of ‘equal temperament’ divided the octave into 12 equal semitones, This gave slight but acceptable distortion in the tuning of some intervals, but meantthat the full range of keys could be used with equally satisfying results. Bach demonstrated his approval of the new system by composing and naming ‘The Well-Tempered Clavier’ in 1722. The work consisted of a prelude and fugue in each or the major and minor keys. 20 years later he produced a second set. Together they represent one of the great achievements in Western music and are universally known as the ‘48’.
PERFORMANCE NOTES Bach gave few specific performance directions in the ‘48’, so interpretations vary greatly. These studies should be played in a way which the student finds most beneficial and satisfying. Directions in the text are only suggestions, and there is great scope for variation of speed, dynamics, tongueing, and slurring.
Some of the preludes have been shortened, and in many places the continuous rhythmic patterns have been broken to allow for breathing. In the more difficult keys, particularly where there are many notes to each bar, the student should be carefull to carry accidentals to the end of the bar. Ernest Piper
