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EDITIO S

SELECГIO s FROM ТНЕ ОТЕВООК

FOR . А МAGDALENA влен

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EdHc-d Ьу CJ,.ristos Tsjtsaгos

о. SCH1RМER, ItlC.
II!MМo~"'nD
J '--' J. J. J. J.'-1 V J. J..:, .I'\.
PERFORМANCE
'EDITIONS
,

J.s. влен
SELECTIONS FRO MТНE ОТЕВООК
FOR ЛNNА МAGDALENA ВАСН
Edited Ь) Christos Tsit::;aros

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 CONTENTS

PAGE 1 ТRЛСК 4'AGE 1 ТRACK

3 HISTORJCAL NOTES
4 PERFORMANCE NOTES

&Ш
m
L-J
--
Polonaise in G (\'Iino(", B\\'V Appendix 11 9

fl 22
M arch in О M ajor, B\VV Appendix 122

(AltmI~l~
pCrform ~nce)

!\1enuet in G J\.'lajor, В\\'У Append ix 1 14 Me nuet in С Minor, В'\' \' Appe ndix 121

~ ~ 1': ,~ ".-
]2 Ш ~;pJJ7JI ! j ·1 с 1" 24 [1] ? ~ I i I1 I ГГ 17"lr ' · 1
«

&Шi)
(ЛllrnLZlе
performancc)

Mcnuet iл G Minor. в\у\' Appendi:.: 11 5

]4 25

MaN: h in G l\1ajor, B\\'V Appendix 124

16 Ш -t-!, t;
{n
( ! r I (!:..J..- 1 "
1_ _1
'EIiP
~' 26
Menuet in G Majo r, B\VV Appendix 116

1\1 ше Не in D Мзjоr. В\\'\' Appendix 126 Polonaise ill G Мiлоr , в\у\' Appe ndix 12 5

18 Ш %~41lt173N3 ' ~ II .§:$ 23 53 1!

Polonais e '" G l\1inor, 6\\'V Appendix 12 3

i\lenuet in А 1\'l ino r. 8\\'V Appendix 120

20 Ш} ц
30 1 ~

32 ABO UT ТНЕ EDlTOR

 HISTORICAL NOTES
ТНЕ MOST FAМOUS КЕУВОЛRD NOTEBOOK
hen Johann 5ebastian Bach (l б8 5 - 1 750)
W mamed his second \vife in 1721, he \vas
already ал established organist, со ип and сЬатЬег
musician, and Kapellmeister. H is пе\\' bride, Ф е
twenty-year-old Anпа Magdale na \<\filcke, сат е
from а prestigious family cf musicians and \va$
herself an accomplished singer. In fact, she ,,'зs
employed а! the Сбthеп court, ,vhere her husband
served as court conductor. After their marriage,
the couple started right э\\'эу
ОП а keyboard notebook
(Clavier-Buchlein in Gепnап)
for Annа Magdalena's р га с ­
Ьсе. Еуепеиаllу they collected
t\\'O separate books (begun in
1722 and 1725), \vhich are
knoV\.'Il today as the N otebook
/or Аnnа Magdalena Ва с1!.
Апла Magdalena's musiсiал­
ship and work еtШс proyed to
Ье а уаl иаЫе 355e t t o the
family; for, in addition (о Ьеiлg
Bach's principal copyist, she
also provided орроrtuлitiеs, in
ра" th rough her Keyboard Notebook, for те
v..'hole famil y to make music together.
То а rnusic student 300 years ago, а -eyboard
notebook occupied а central pla ce in one*s music
Hbrary. 5uch а notebook held " 'orks Ьу 2 nиmber
of compos~rs. including c ne's ОКП teacher. ТЬе
pieces demonst rated stylistic \'згiеtу in те form
of dance 5uites, preludes, fugues, and chorales.
Dие to the high cost of printed music, the student
would tran scribe most of th e pieces in сЬе
notebook Ь у hand . Students \\.·ouId also \yrite
their own compos itions in their keyboard
notebooks, since composition fo rmed а critical
раГ! of their musi c t raining. For сЬе most part,
th csc ЬооЬ ,vеп: in tended fог use ill tlle Ьоте,
по! as professional publications.
1.5. Bach likely had his o\\"n keyboard notebook as
з child, Ьис it evidently has not survi \/ed. Ас а
fairly early age, howe\'er, nе co\'eted hi s brother 's
notebook, \vhich Ch ristoph had painstaking l)'
collected \\,Ьеп Ье \\'as а pup i! of РасЬе!Ье !
(а co mposer kп о\\' П today largeJy for his Ca l l0 7I i1Z
О) . Christoph's book included 5е\-erзl pieces Ьу
his famous teacher, Ьис after Johann Sebasrian
had copied it-"'hich he did Ьу Ь:шd and in
comple te se crec}'- his b rother im..-nediately
con fiscated it.
Аппа Magd alena's notebooks occupied з рег·
fect!y ordinary place in her musical life, Ьи с
the contents m ake them
ехtгаогd iпзгу. T he fi\Oe shoft
harpsichord su ites that ореп
the set еуепсиа ll у Ьеса m е
Bach 's FrellcJt Suite~, so
named for the collection of
short, stylized dance forms
that originated in France.
In addition (о other pieces
\\тitten Ь)' Bach, the note-
books include \vorks Ь у
Соиреrin, 5tolzel, Petzold,
and Нasse.Ann 2 "1agdalena's
talent 2s а singer is e\'ident in
the num erous songs and
a.-ias, inclu ' tЬe "A.-ia" from те Goldberg
\ L:uia:!icжs, purpo:--...edly her fa\Oori te composition
Ьу Ье" Ьusban~ ТЬе pieces \\'еге hand-\\'ritten
Ьу Johann SеЪг..stiап, Annа Magdalena, ог опе of
tbeir sons. Ь ис se\-eral of \\' hom Ь есате successful
com posers. А пиmЬес of the pieces have по
зuthо г attrib uted to them, but sc holars belie\'e
mзt Anrla Magdalena о г опе of tlle children
\vrote тапу of them.
The notebooks undoubtedly occupied а central
place in the ВасЬ family's musical life, and Annа
Magdalena was ргоЬзblу quite proud of т ет .
She еуеп created а decorative fron t соуег for
her collection. She gathered the music о\-ег the
course о Е fifteen years, and, al though sсhоlзгs
estimate that the original notebook held as т апу
as 75 pages, sadl)' о пl)' 25 геmз in today. We сап
onl)' imagin e \vhat is mlssшg from history's most
important keyboard notebook.
-Dепisе Pilmer Taylor
 PERFORMANCE NOTES
Т
his edition con tains selected s !югt dances
Егот the second of the t\-VO notebooks that
comprise the Notebook [or Аnnа Magdalella Bach.
Тhese include the Menuets апd Polonaises, the
Musette in D Major, and the t\\'O Marches in
G and D Major. А!I аге short galal1t pieces in
the French high-Baroque sty!e, characterized Ьу
а light, often two-voiced tел.'turе and уоса!lу­
inspired melodies. Most of the dances аге in Ыпагу
form, \-vith each of the t\\'O sections repeated.
Style and Interpretation
Several stylistic considerations led те to the
editoria! choices in this edition, as \\·еll as to the
interpretation of the pieces in the accompanying
CD, !\'lost importai1t \yas the character оЕ each
daпce as expressed Ьу а combination of musical
ele ments including tempo, articulation, and
dynamics. 1 have found Саг! P!lilipp Етапиеl
Bach's Essay оп th e Тrие Ан о[ Playillg Keyboard
Illstruments to Ье the most reliable and il!uminating
guide to the appropriate interpret ation and
performance of the French gаlлпt style so prevalent
in these dances. Тhi s, not only because it contains а
\·егу detailed account of specific, eighteenth-
century instrumenta! performance practices, but
because е Р.Е. Bach, !ike Аппа Magda!ena, \yas
уегу fond of Фе French galallt sty!e.
'П his chapter оп реrfогшапсе, in particular,
с. Р.Е. В асЬ а -а lhe ability through singing
ог p!aying to rnа.'е the ear conscious of the
true 'affect ' [chara er, от se ntime nt] of а
composition," as the рriшму characteristic of а
good performance. Accordin о him , t\yO
prerequisites for such а с = 2.;Jd expressiye
performance are the correc- timing and уо ! иmе
with which а !! notes and ет ellislli-ncnts ме to
Ье produced . 'П the same chapter, he establishes
connections b etvveen tempo and articu!atio , ал
indicates ап indispensable \\'ау of promo in", а
trlle musica! understanding of the character of the
pi ~ce-!i ste rjing to other so!oists :шd ensembles_
[п keeping \vith 18th- се пtuг у p e rform ance
practices, 1 ha\'e va ried the repeats ill each piece
iп th t: гесогdiпg th at ассоmрапiеs t!1i s el'lition.
Somc рг i п с i р ! еs of \ ' аг i а ti о п 1 fol[o\\'el'l iП С !lId е:
• The use of different dуп атiс s ог articll!ation in
the repeated section.
• ТЬе al'll'lition of new, ог the modification of
existing ornaments.
• The use of а m e!odic variation containing
passing tones, modified rhyt hmic figu.es or
interva!s, as \уеН as harmonized cadences.
Natura!ly, students аге not obliged to уагу the
repeats. However, if they choose to do so, 1 \vould
strongly encourage them to in"ent or improvise
their own variations.
Тетро and Articulation
ТЬе tempos adopted in the recording are based оп
ту personal taste and musica! concept. 1 inyite
students and teachers to experiment with а variety
of different tempos and moods. The same is true
for the articulation, phrasing, and dynamics. Опе
of the more rewarding aspects of studying these
exquisite miniatures is the discovery of the
expressive possibilities they offer, the wide gamut
of emotion they сопуеу, and the evocati"e р о\уег
and time!ess humanity they епсоmраss.
Опе \уау students сап better understand the
"affect" of each piece, as \ уе!! as the most
appropriate m eans оЕ ехргеssiоп in performance,
is Ьу considering the type of dance represented Ьу
the piece, and the re!ationship between its time
signature and rhythmic va!ues,
'П his book Keyboard Interpretation from the 14th to
tll e 19th Century, Howard Ferguson mentions that
the most important point in determining tempo is
the prevailing texture and harmonic m ovem ent of
а piece:
''А piece that is Еи!l of l'Iemi-sеmiquаvе:-s
[sLxteenth notes] or "егу complicated
omamentation, or опе that has harmonic
shifts оп еуегу quaver [eighth note] , is likely
to require а comparati"ely slow crochet
[quarter note ]; while а piece th ~t has по note
sma!ler than quaver [eighth ], little
omamentation, and а change ofharmony опlу
опсе е\'егу minim [half note], \vill need а
crochet [quarter] that is comparati\'ely quick."
In choosing appropriate аrti соlа tiоп for tl1e dan ces Iп genera!, both mU5i cally and technica1!y, а
in this еditiоп , опе та у look to the character as staccato tou ch is appropriate fo r longer note
\\'е1l as the tempo of each dance as а guide. ln the \'alues, such as eighth notes. Take, for exam ple, the
opening t\vo-measure moti\fe оЕ the Menuet in G openi ng measures of the Musette in D Major,
Major, BWV Appendix 116, [ог example, the BWV Appendix 126. The broken octaves <п the
string-like character of the first half of the moti уе left-hand accompan iment suggest а stacca to
suggests legato eighth notes, \\'hereas the leap ing touch, v\rmch is mU5ically effecti\'e al1d alsD
gesture of the second half implies а staccato tou ch technically helpful, preventing the hand [гот
оп the last ~yo repeated G 's. tensing '\vhile playing the broken octaves оуег а
p rolonged period (especially [ог younger players).
Мenuе' in G M ajoy; В \\'\' Appendix 11 6, n1m. 1-2 The right-hand 16th-note patterns would Ь е
played legato, \\'ith ап ene rge tic impulse to
produce the desired brilliance.
r Mиs ette in D Major, в\·\,\' Appe:ndix 126, тт . 1-4

These leaping gestures аге found again in the

opening phrases in the Menuet in G Minor, BVVV
Appendix 11 5 and G Major, B'VV Appendix 114.

Further examples of the importance of relatillg

character and rhythmic \fa lues \vhen choosing
tempos and articulation аге found in the March iл The eighth notes in тт. 13-1 6 of the Musette
G Major, B\W Appendix 124, and the March in тау Ье played in а variety of ways, а11 equa11y
О Major, BWV Appendix 122. Both аге in cut
justifiable, depending ироп th e desired musical OJ'
time, and, with few exceptions, th e shortest harmonic effect. The examples below illustrate
rhythmic value is ап eighth note. T hese facts several possible choice5.
suggest that the tempo in both pieces should Ье
quite fast. ТЬе quick p ~ce, coupled with the Mиsette in D Major. В,·"" Appendix 126, тт. 13-16
brilliant and spirited character of each piece, ~A ~ ~
implie5 тоге detached, non-legato articulations, as
indicated in the excerpts belo\v. ~
;/:
~
цt r 1u ЕЕ Щf F' 1-t r е
.
п ,. r-.

.
CJ "'.
1

Ma rch in G M ajoy; B\V\' Appen dix 124, шт. 1-2 Ех. В

~ i; IEP
~g~. ~
10" · IF'. @'- 1
TJOJ
., .

Ех.С

wt ·nР tfet H"11tP 1оШtщ

=
March in D MajoY; B\V'\' Appendix 122, шm . 1-2 1

~~ ёC
е::: :;:
Questions concerning articulation and phrasing

1;; : ; j Ьесоте vastly тоге problematic when ,\\'е apply

som e of the 18th-century rules and conventions
to реrfоrmзпсеs оп modern instruments \\rith
heavier actions. ln the recording of the Polonaise
А, с. Р.Е. Bach states, "ln ge neral, the briskness of
in G Мiпщ BWV Appen dix 11 9, [ог example,
allegros is expressecl Ьу detached notes and the
1 ha\'e included t\VO diffe rent versions: опе, а тоге
tenderness of adagios Ьу broad, slurred notes." But
legato perfor~ance befitting а modem instrument,
he а1 50 adds, "1 use th e word, 'i n genera1,'
and another тоге perc1.lssi\'e performance in the
advisedly, [ог 1 ат \vell а ...уаге that аН kinds
dеtз сhеd таппег reminiscent of а harpsichord.
of execil ti on тау арреа г in апу tem po."
Although both interpretations аге valid fo r
This clarification is particularl y significa nt [ог
different reasons, it \\'ould Ье тоге rea listic ·to
tеасl1егs эш1 performers \V 11O might other\\rise
expect а less-experienced piano student to р,ау
feel compelled to adopt а то ге ri gid stance to
this Polonaise in the legato шапn ег, for th at
articulation based оп а ~i\'en ru! c ог сопvспtiоп.
intcrp re tation шзkеs fe\ver demands о п а
student's technical skills.
Phrasing and Dynamics
'П th e hands of а kло\\' lеdgеаblе teacher, the
absence of dynam ics and slurs in the music of
Bach and his contemporaries тау sеп'е as а
springboard for studепts to de\'elop the sюll of
making \\'ell-informed choices regarding phrase
stru cture, for m , and melodic and harmonic
analysis. Ву in terrelating those as pects ,,'ith
сетро, articulation: and character, the student
\у ш gain the experience necessary to handIe
similar and тоге advanced pieces from the same
style period.
Several general consicleratiol1s about the music
\vill influence dynami c choices. Some аге listed
here as а guide:
Directim, 01 the Melodic иnе
Оftел, оле са п епНуеп the shape of ascending
melodic patterns \vith ап еуеп and subtle
crescel1do, and descending ones \vith а
diminuendo. This, Ьо\'\'еуег, is Ьу по means а
general rule, and опе should Ье eautioned
against exaggerated nuanees.
Dissonances
АН dissonanees, sueh as appoggiaturas and
accented non-harmonic tones, should Ье stressed.
Fhrase Structure
ln тапу eases, short sub-p hrases сап Ье
distinguished Ьу varying dynam ie levels
sligh t1y-for example, using ап eeho effect
\vhen а short motive is repeated. ln other
instances, а larger phrase сап Ье built Ьу the
аррliсзtiоп of а broader and тоге continuous
dynom ic аге оуег ал entire period.
Fonn and Underlyillg HarnlOl1ic Plan
The Ылагу dance form, with its eharacteristic
11: r~v lll v--+rll
harmonic structure, pro\rides excellent
оррогtuлitiе,S for dynamic variation. Part ог а 11
of each repeat сап Ье executed \vith different
dynamics. The performer should also consicler а
variety of other harmonic elements, such as
stable and unstable harmonies, chromatic
cho rds, and eadenees.
In short, there i5 virtually по hard and fast гиlе in
the selection оЕ dупа miсs and phrasing, and the
р !ауег ог teacher is illvited to make choices using
\\'ell-informed musieal intuitio l1 .
Pedal
The и5е сЕ pedal in Baroque music is ал агеа
оЕ contгo\'er5Y аmолg teache rs алd performer5.
I Ьеliе\'е that i! should Ье left to !he performer's
discretion to иБе touches of pedal in order to
highlight selected expressive points, \\'ith due саге
not to ОЬ5сиге the Нпеаг texture. For the less
experienced player, ho\\'e\ler, the use of the pedal
combined \\rith the intricacies ('If textu re and
fingering in this music тау Ье out of reach and is
best postponed for а later time.
Fingering
The fingerings in the present edition аге based оп
three таiл fa ctors:
• musical content, \\'ith special cmphasis оп
articulation and сетро;
• technical aspects;
• the estimated proficiency of students likely to
Ье studying this repertoire.
Since these short dances аге likely со Ье the
novice ог younger pianist's first encounter \yith
Вагочие mU5ic, 1 ga\re the last fa ctor special
consideration in making fingering choices
throughout the book. 1 aimed not only to
facilitate the perfo.mance of gi\len articul ations,
but а150 to promote smooth transitions Ьеnуееп
positions, in order to create а тоге connected
pl1ysical 5ег.sаtiоп of the larger Нпе. Ho\vever,
since these pieces сап а150 sеГ\'е as satisfying
literature for o!der and adult students, 1 Ь а\'е .
occasionally included parenthetical alternate
fi ngerings that <lге тоге sophisticated ог that
j
require а larger hand span.
Finally, teachers and students а ге е в соuгаgеd Lu
use fingerings that аге 5uited to their О\\' п
techn ical needs while facilitating the projection
of their musical сопсерв.
Ornamentation
The realization of ornaments in the present
edition is based оп the "Explanation of divers
signs, sho\Ying hov.' to play certain огпаmепts
nea!I),," ,vith ,vhich 1.5. Bach's Notebook 10r
Иfilllеlm FriedemCНill begins, and the ensuing
applicatio. с.Р.Е . Bach's Essay он the Tnte Ап о[
Playillg Keyboard [Ilstntmellts sheds add itional
light оп the соггеС"! геаlizзtiоп оГ ornaments and
offers some possibIe \'э.гiапts. The dances in
the present \'olume feature onl y so me of
the огпэmепts listed in (Ье applicatio, as \уе ll
as the Schleifer (slide) . ,vhich is described in
еР,Е, Bach's Essay.
Follo,,'i ng is а brief description of the omaments
H.lf ог Short Тг;!! (Halb- о' Prall-Triller)
This огпзmепt , mепtiопеd Ь у СР.Е. Bach iп the
chapter tit!ed ~ Embel1ishments" in his Essay,
occurs о п desccnding step\v ise rhree-note legato
patterns. According to Bacl1, "lt represents in
тiпiаturе ап enclosed, unsuffi..xed trill, introduced
Ьу either ал appoggiarura ог а principal note."

~Р''У'"'F'm ' о, t~
foul1d il1 (Ье Notebock 10r Amza Magdale"a Bach.

The Тгill "" _ tr J

еР.Е. ВаС}l mentions Фас "Trills enliven mclodies
and therefore аге iпdi sре nsаЫе."1Ъе trill invariabIy
begins оп Фе tone аЬо\'е the principal note.
Tl1e Longer Тгi1l \.\Iith ог \ "'itI1O ut Suffix
с.Р.Е. Взсh mentions that "The suffix. is omittcd
[гот successive trills and fr~m trills fo ll o"'ed Ьу
опс ог тоге short notes " 'hicI1 аге сараЫе of
replacing [the suffix notes] ."
March in G Major, В\-\'\' Appcndix 124,
As \Л'itharticu] ation, it is песе ssа гу со Ье
sоmс\vhзt flexible " '1th ornamentation \\'hen
teaching !ess expcrienced students. с.Р.Е. Взсh
was qLlite sensiti\'c to thc technicallimitations оС
а no\'ice pla)'er, stating, "lt is possible, ...vhen
necessary, [о omit 2ny ... om ament, e\·en ... trills,
and arrange matters 50 thэt easier ornaments тау
Ье substituted Еог them." For examp le, th e ha!f ог
short trill сап Ьесоте э useful altcrnati"e to the
usual execution of trills in step\vise desceI1ding
passages, such as tho5e (п [Ье follo\\'ing excerpts:
Menuet in G Маjщ В\\'\' Appendix 114, mш . 30·32
тт. 20·22
~~

4 , il
l п soте cases с11 е suffix is \vгittеп out iл the
Mfmuet in G Minor, В\\"-' Appcnd ix 11 5, шm. 9-10
music, leaving по doubt about its use.

Meпuet in А Minor. ю ,'\' Appendix 1 2О, тт . 2] ·23

--,. . . - --:-::::
In the recording accompan)'ing this edition, 1 Ьа "е
choser. to р!ау the simplified \'ersioll iп а11 pl aces
\vhere I ha\'e suggested this а ltегпэti·. . е \'ersion.

Tlle Mordent ~

СР.Е. Bach descnbcs те mordent as' ... ап csscntia!

'"Ti-ills оп !ong notes аге played \\'ith tl1e suffix
оmamепt \\'ЬЁ СЬ connects ПОСб, fШs them оие, апd
regard.less or subsequent step\\'ise descent о! ascent."
makes them ьпШапс. " 1п the dances se!ected here
Menuet in А Mi1lor. В\\Г'\' Appendix 120, тт . 27-2 8 from the Noreoook for Аnпtl MagdalellQ ВщJ~, ,,'е
encounter only те short mо гdепt.
gg t±:::

{= :
"
1 :: 11 Thc Арроggiэtuга

с.Р.Е. Bach mentiol1s that "ApPQggiaturas <lrc

among the most cssential embellishments. Thc:'
e nh<lnce the harmony as \\'сll as thc melody [апd
they I modify chords \\'hich " 'ould Ье too sin,ple
'.\'itllOut tllem."
Regarding th e duration of appoggiaturas, Bach
explains, " ... they ta ke from а folIo\ving toпе of
duple length о пе half of its va lue, and [usually ]
t\\'O th irds fro m опе of triple length."
March in G Major. B\V\T Appendix 124, mт . 12-1 3
Menuet in G Major, В\\'\' Appendix 114
This minuet is similar in cha гacter to the Мепие!
in G Major, B\VV 11 б. ТЬе first four measures
сап Ье grouped effecti\'ely iпtо а si ngle large
ph rase wit h а sweeping dy namic сигуе th at leacls
to the high G in т. 4. This is the only minuet in
the series in which the В section begins оп th e
Tonic chord.

Menuet in G Minor, В\\'" Appendix 11 5

The quietly sad and tender character оЕ th is
minuet, v,/ith its descending, step\vise melodic
gestures, requires а deli cate touch and skillfu!
Мепuе! in G Major. В"\'\' Appendix 114, тт. 7-8 phгasing (о shape the melodic conto ur. In т. 31,
1 opted for з simpler, t hree-note ornament,
despite Фе fact that а four-note trill arguabl y
.i
{~ ; :
I i
,vould Ье stylistically т оге correct.

i
1; с
~

: r March in G Major, В\УУ Appendix 124

Although not explicitly indicated from t he start,
two voices сап Ье traced in (Ь е right-hand part
Veгy importantly, с. Р. Е. ВасЬ mentions that, with in the орепiпg measures. In keeping '\vith the
regard to their execution, ".. .appoggiaturas аге voicing iп тт . 2-3, опе соuЫ en\'ision ап up\\'ard
loucler than the follo\\'ing to ne ... " ап important stem оп the first eighth note in the opening
expressi\'e detail often overlookecl Ьу less measure. If this march \уеге orchestrated, the
experienced players. repeated eighth-note G 's in the lo\ver voice could
Ье assigned to а peгcussiv e instrument-perhaps
ТЬе Schlcifer (Slide) --- а taтbourin-and the uррег voice: to а melodic
Used rather rarely, the slide helps to ЫI in а leap опе, such as а flute ог violin. Т\уо elements арреаг
and consists of two notes that аге played before in the left-hand part also. Rhythmic repeated
the principal опе. eighth notes in тт . 1~ 2 imitate the right-hand
part and expand in тт. 10-11 and 14-15.
Меnue! in D Minor. В'"'' Appendix 132, mт. 5-6
А contrasting moving Нпе begins in т . 3 and
alternates throughout \\'ith the first element. ' Е
огсhеstrзtеd, these could Ье assigned to percussi \fe
and stringed instruments as \уеl1. En\'isioning а л
orchestration such as this mау lead students to а
; I то ге vibrant interpretation of this li vely piece.

Musette in D Major, В\·\'" Appendix 12б

The duple meter and the absen ce of

The Individual Pieces
Polonaise in G Minor, B\VV Appendix 119
Majestic in character, this polonaise cal1s for
experimentation \\fith а va riety of dynamics,
articulations, an d tempos. А portato touch оп
q ua rter notes \vill emphasize the rhythmic
element, whereas а mixtu re of sta ccato and legato
articulations fo r eighth and sixteenth notes will
lighten th e se rio us characte r of the piece
some\vhat. Noteworth y аге the \vedg~ st-:lccato
marks оп th e quaгter notes in mт. 11 and 13,
denoting а hea\'ily accented, sharp attack.
ornamentation in this piece suggest а quick
tempo. Опе сап imagine Фе left-hand part played
Ьу the тusette, Фе Fren ch bagpipe, resul ting in
the so-called "drone" effect. А staccato articulation
ОП most eighth notes in t he piece will соп\'еу the
"drone" and somewhat nasal quali ty that wou ld
result if the piece were played Ьу а co mbination
of period wind instruments and а tambourin.
Menuet in А Minor, B\·\ТV Appendix 120
ТЬе can on-like imit<l.tions at the beginning of this
m inuet с а п Ь е con \'incingl y rendered Ь у
exp ressively accenting the anacrusis (upbeat) а!
th e beginning cf each sua-ph rase (for exam ple,
beat З , т. 2).
1 have recorded this minuet ГNicе to illustrate
tl1e use of both measиred and unmeasurecl trills
in mm. 21 , 23 , and 27. For Фе left-hand trills in
mm. 22 and 24 , 1 used а simplifled trill similar
to tha t mentioned еагНег. This five-note trill
undoubtedly \уiП prove easier for the novice player.
March in D Major, B\VV Ap pendix 122
The сhапn of this march 1ies in the rhythmic
vita li ty that results from the metric accent in the
left hand and th at of th e syncopation in the right
hand. C risp staccato eighth notes in both hands in
тт . 8 and 21 \vill evoke а trumpet sound
accompanied Ьу а military drum. Because of thc;>
quick tempo and the intric ate coordination
bet\veen the t\\'O hands, 1 \vould favor using the
same finger оп th e left-hand repeated notes in
those measures.
Menuet in С Minor, B\\ТV Appendix 12J
Beautiful ascending )jnes and ап аЬипdзпсе of
chromaticism make this minuet опе of the тоге
interesting and origina! of Фе entire group. It is
possible to divide the opening ascending phrase into
antecedent sub-phrases, which сап Ье articulated
with а sUght emphasis оп Фе second beat.
Slffil1arly, lt 15 posslble to group тт 17-2 2 into
three t'\vo-measure phrases, еасЬ опе dераrtшg
from а sligr,t1y higher dynamic 1eve1. The final
phrase (mт. 23-24) effectively re1eases the
tension built ир Ьу the chromaticism of the three
previous phrases.
тт . 17·24
~::::; ~ 1'::: 1:= а::: 1; _
!;
~:'::; ,= 1:=:, :1
Мспие! il1 D Minor, B\ V\.r Append ix 132
The sup ple, sinuous ri ght-hand me10dy blends
perfect1y with the angu1ar left-hand lines, \vh ich
often move in contrary motion to the melody. The
В section, with its broad leaps of а te nth signaling
а character change from seriousness to optimism
and light, should Ье executed \vith а generous,
well-balanced sound.
Menuet in G Мзjоr, B\\ТV Appendix 11 6
ТЬе repetition of the t\\'o-measure motive in the
beginning of the piece suggests the use of terraced
dynamics. At the same time, the octa\'e leap in
тm . 2 and 4 imply ап agile dancing gesture Фа!
is best achieved using а light staccato touch. The
В section provides wonderful opportunities for
fine dупзmiс shading, with its shift to different
registers and its inventive harmonic scheme.
Po lonaise in G Minor, В\"", Appendix 125
The two opening unison phrases and the doubIe
notes in the ensuing measures sugge.st ап
imposing piece full of regal grandeur. The exceгpt
below suggests possible articulations.
mm.1 -4
'П the repeat of the initia1 motive (mт . 9- 10). the
opposing lТtotion of the lcaps bet\.veen the third
beat and Фе preceding eighth note is а splendid
surprise, \.yorth highlighting \vith а strong
expressive accent оп the third beat.
Ап inve ntive approach (о the left-hand
articulation will add Hfe and interest to the
sequential character of тm. 17-19.
Роlопаisе iп G Мiпог, B\VY Аррепdiх 123 ТаЫе of Suggested
The bold character af the iлitiаl right-hand statement
Тетро Ranges
features the typical Polonaise rhythmic motive.
lt retums in the left hand in rnm. 9-10 and тау
Ье еП\1ал,f'n Ьу tlsing а
staccato-legato аrtiсul зtiоп. Title Suggcsted М.М . Range
ШШ . }·2
РоlО1шisе
in G Minor,

~iВl, I
BWV Appendix 119.... . ... J = 66-76

Melluet i,1 G Major,

ln contrast, the same rhythmic figure in mт . 3 B1W Appendix 11 4 . ... ..J = 104-120
and 7 saunds тоге natural played legaco.
Menuet in G Minor,
виrv Appendix 115 .. . J 80-96

March in G Major;
The parenthetical fingerings in тт. 16- 17 ensure Appe!!dix BWV 124 · . .. .. ... J 44-54
а уегу smooth legato between the t\VO voices in the
right hand. Far the left-hand li ne in тт. 15- 16, Mu.sette in D Major,
the articulation sho\vn Ьеl0\"" \\,Ш proYide а виrv Appeпdix 126.. ... .. ..... J = 69-80
great deal af rhythmic interest and stability,
suggestive of а stringed iпstruшепt, such as а Мепuеtin А Minor,
ио/а da gamba. BWV Appeпdix 120 . .. . . .. . . . J 84-96

March in D Major;
B1W Аррendа 122 · ........ J 63-72

Мепuеt
in С Minor,
BWV Appendix 121 · .. ... . .. J = 76-96

Мenиес in D Minor;
ВИ1V Appendix 132 · ........ J 104-11 2

Menuet in G Majm;
виrv Аррendа 116 ... J 108-1 20

-Christos Tsitsaros Polonaise in G Miпor,

BWV Appettdix 125. .) 60-72

References Polonaise in G Minor;

Саг! Philipp Emanuel Bach. Essay о" the Тrие
B1W Appendix 123 .....•.. .. J 60-72
А п о! P!aying Keyboard I"sc",,,,encs (Ne\v Yark:
WW. Nortan & Са тра пу, !nc. 1949, edited and
translated Ьу William 1. Mitc hell)

1.S. Bach. N ocebook for Will1e/m Friedemann Bacl!

(1720) Ncue Ausgabe Siimclicl,er 1>Verke
(Wolfgang Plath-Br).

HO\vard Ferguson. Keyboard Iпtеrрrеtаtiоr. from

che 14ch со cl1e 19ch Сеnttlгу (Ne\\' Yark and
London: Oxfo rd Un iversity Press, 1975)

Кагl Geiringer. Johmm Sebastian BacJ!.

TI1e Cu {millatiol1 о[ a/l Era (NC\v York: Oxford
Univcrs ity Press, 1966)
 11
Polonaise in G MinQr
Composer Unk110\\'n
BWV Appendix 119

1) I 1 .- 2
"~ 2 2 1
(3)
2 ..
5
1 ~
2
~!
1

,
2

,
I
--=
.. , I I Т
,
1 5 3 I 1 4 2
5

5 1 3 4 2
,~ 2 1 3 5 4 1 4 2 1 l 3 2

<
• ....- ---== -
• •
1 3 2 5 2 - I
4
1
4

9 2 3 4 1 2 3
I 2 1 3 3 1 f f f 2

• - I -.,;- •
I

5 1 4 3 1, 1,
3 2 2 2
3 3

13
I
5
f
4
f f 2
3 5 2 .. 5 2 1
г-;:::::::;
3
1 1

• - ~

4 3 I 2 1
2

Copy right © 2005 Ьу G. Schirm e r, Iл е. (ASCAP) Ne \v York, NY

International Copyright Secured АН Rights Reser\'cd
\Varning: Unauthorizc d repcoduction оС this pubIication is
prohibited Ь у Fedcral law and subject to сгiшi паl prosecution.
 12
Menuet in G Major

Christian Petzold
BWV Appendix 114

... 5 1 2 ,(
• 1 - ::. ,.5 1 2

4 2 3 4 5)
( 121

f} . -(7.
.. п п.

1
3
5

;1 3 4
J

5
... 3 1 2
f
f (3; )
I

~ ,. ~ ,.
t ··
~

1
5

9
r .. • ,.
j .~

,. ,. ,.
l
-(7. ~.
о

2 4 2 4

... 3 1 2 3 1 2 3

r I

,. ~

t
~

·
2 1 2 1 I 1
5
 13

17 4 3 4
f'- ~ 11- ~ 1 ~ .- 1 3
" ,
"-'"'"
J

:
3 4

21
3 1
- 1 3 ,
"

: - 11- Н .... 11- ~ Ь ....

l' 3 1 2 I 4 2 1 1 2
5

25
5 1 2 1 5 1 2 1 5 2 1 2 3
,
,
~ I

~ : 11
t - -G- .... - f'-

3 2

434 3 ]4 3

29
=00= 0' F ШJ
J J
5
2
3 , 1 3 1
'"'

.
"
•
: : I
, I
-- -z: :

1 3 1 4 I 1 1
5
5 4 2 2
- 14
Menuet in G Minor
Christian Petzold
BWV AppeHdix 115

с .f'-
4
...- • ...- , 2 ~

..
. ('-~~

2 I 4

t2 1 3 2)
2 1 2 1
J

jjfJ .I
5
3 2 , 2 3

о п .f'- ...- •
~

3
5
4 3 5 , 3 I
5
1 ,

3 2 3 2 2

ШТ оr гс е [
J J
9 4
.f'- ~ • ...-4 1 2 ~

\
) .f'- ~ ".
\. I
2 1 4

(2 1 3 2)
3 2 3 2 1 2 1

13
Е!Е 4
2
• 1 3 ...- '1

r t ~.

, h~ ~
• •
\.
I 5 2 s 2
3 4
 lS

17
r-. I 4 2 1 1
• ~ f'- _ ~ f'-
- #-
- #-

<
п.
,

2 3

(2 3)
21 4
1 5
f> , 2

U
, г I

f'- #-

I 2 .
,

25 525 4
~ I 1 4 I I I I I I 3,

<
-
M~: -,9-'
• f'-
. ,
1 3 2
3

3232 3 4

Шj U ос EFF r f ог Ь!;" а
5
29
1 1 ., .... 1 3
2
1

<
-, I .z::т:

I I 3 4 I
4 2
1&
March in G Major
с. Р . Е . Bach
BWV Appendix 124
4
, 2 3

" 5 1 2 1 2
~ Y1 l~ 1 , 1 2 ~t-, ~п i. 1 3
5
"'~",,
I 1 l'

. . . -
3 5

4 3
• -#- .:. • 1 2 1
5
2 1
4

-,- l

,
Т
3 14. - 2 4

i! ,
7 4 4 2
3 2 4 2
tr 3 Г
"
I '-'

. ~

' 3 2 4 4 2 2 4 5
--
3 2

(3) (2)
10 5 2 5 5
, н
I 1

~
3
~ ~ ~ ~ ~ -.i -.i -.i
4
.... 7f .... .
 17

-~ 5
/3" u = =
"""
, ~
(3)
2
5
(2)
1 ~ l
1

~ , ~

,.
2 1 5 3 4
"

16
.\ 1 2 3 5 3 u 4
•
=f
#-
: -
1 2 1 , 5 3

19" и (3
2
2
1
3
2
1)
1 4
• 1 3,......:. ь; 1 4 1 4 ,
,
о) ;..J , -.r-.r -.r
'" "СУ

..
4 3 '1 --t5 3 l' , 4
18
Musette in D Major
Composer unknown
BWV Appel1dix 126

(2) (1 4 2 1)
,.,» 5
~
• ~
• 3_ 2 ...... 3

~ -
,...-, .---"\ .---, .---,
.
11
5
11 11 . 3 2 -:-
4 ~.
3
(2
,
4)

(1 4 1)
5 5 (2)
5
1
» ~
• ~ ~ 3 2

~
..,

-"
5
,........,
-.. . - ..- 3
,
- I

9 5
~ " 2 ~ ~ ~ 1 3 1 3'r----

- - -
r--i

L-J l-J L- L-J L..-.,; L- l.....- ~,

5

(3) (3)
13 4 4
5
5 4 2 5 4 2
 19

I7
"~ 4 5 2 I 4 J I J 2

U
-I • ... ~
J

~
~

... ... .. I 3 2 5 2 с:::::.-

3

21
"" .,. .- .,. .-
- ...
-
и •
,.---, ~ -----, ~-

... ... ... ... - ---...

25
" .,. .- .,. .-
- -
... •
<

...
,.---,

... 1I 1I
- - I
20
Menuet in А Minor

Composer unkno\vn
BWV Appendix 120
1\ I 2
<.--::1 5 ,
' ------
I

. ,. ~ ,. 1- ~---- r~ r~ !'- ~ ,.

,
5 2 1 2 2 4 3

5
~ ( 4 " 4 , /
~

" I
, I

-
"
2 3 3

10
3 2 2 5 1 2 1 2

• -=

2
, I
3
I I ... 5

14
f\ 1 ;. -------- ,. ,. .---------...-
5
-" - 1 3

--..т

_. L~ !'- ~ ~
~. '~ ~~~!'- 1'- __
- ~

2 1 2 - 4 3 2 5
 21
.\ 2 I 2
,r ~ .' с_ е' ,1-- ; ±- ~
F
f-

19
4
"
I tr
" .. ~ - ;.
32
tr
Н ...
" I
..
tr . 1.

2 4 3 I ~ 4 3 2 ~ 2

13 1 J 2 1 J 2)
J 2 1 2 1

R'Т!' F
EEJ I I
24 3 5 3 2
j>- 1 ~ 5 1 tr

tr ,
.
I
2 4 I
3
, ...
 22
March in D Major

, с. Р.Е . Bach
BWV Appendix 122

u 4 3 1
- .- -
........ ........
<
~-

I
4
-, I -,
3
, I 2 4

4
ti .2,- -":' 3
-~
2
5

<
•
~ ~ ~

... 5
I I у ~ I -.1 ...;- I -.1
5

3 2

Щ Г i гr
7

. .. ., 2 5
;,..
tr
---
4 I 4 1 2 3
"
~

I
<

:2
4
•2 ...
4
~ 1 3 5 2 1

10 4
.- I # Н_ #- Н_
#- "-
1 3 4
.;. 2

--.
, .f'- .- - .fII.- #-
- #-

4
 23

J:!
3 1 1 3 1 2 ;. 1 2 1 3 •
...
5
2 1 2

•
{ f'-

.....- , 2 2
J.I

2
5

16 3
5 4 3
() ~ 1 ;. f'- ... • 1 3 2 5 2

{
о)
~ I I

•
I 3 3 1 3 5 3
> 4 2 3
(2) 5

19
() J.I 3 1 1 . ... 3 1 2 3 1 2 4 1 2 ~
5
~' .

{
о)
~

•
2 3 4 3 '5 "t
(5)
-.1 -.1 -.1 -.1 -.1 r 2 '1
24
Menuet in С Minor
СОП1роsе l" unknown
BWV Appendix 121

l~Z • •
: . ~ r г r i;- r
, 12

--.
, 2 1 3 2 . .
4 3
- tr
~' А
3
-------

4 4 I 4 1 3
(2nd: 5)

5
-- 4 ,. 2
___
1 3 ..-----.. 4
.. , 2 1 3 2 1 3 4

• -...J

3
• 3 4 3 •

(1 3 4 3 2 1)
9 4 3 5 4
3~ 2

..
2 1 2 2

~
~.
1

, з1 1 , 11 21
,
I 1
5 4

(1 3 4 3 2)
14
, , 1 2 3 3.2- 4 2 1 2 1, 4

--. 1 ....
·0
I I

I 4 I 5 I I ........ I ,
3 3 3 4 3

19
, 1 2 1 4 1 2 1 ~3
5
;;. 1 L4

--. I

Т 3 , ,
3 2 3 4 - 3
 Menuet in О Minor

Composer l1nkno,vl1
BWV Appel1dix l Л
(3) -
2 3 5
1, 5 1, 3 2 1 2 1 I 3 1 3~ I

1
IП'" •

I , 2 I 5 Т 2 -.1 I
5 4 3
(2nd: 3 2 1)

, ,
~o" гс:
6
-- 3 2 1 3

...
1 2 3

2 1 4 • 1 2 •5

10
....
5
.. ~- 5 .---...
1 Г J
1-' I
,
5 3 2 I..-J 1 5 1 2
4 5 2
(2nd: 1)

(5 4 2 I 2)
14 4 3 2
1 1
4
1 ~~ ,,1 4 2 3

н_ I ~

I
, 3 5 1 2 1 3 2 1- -.5 2 1 2 1 2 -.г
2
5
26
Menuet in G Major

C ompose l" ul1kn O \V!1

BWV Append ix 116

"
I
I

I
3 I • - -
I I I

I I I I I I I I

I ,4_
- , I 4
2

5
"
з
- ! 4

3 3 4 4 5 2
4

9
н ! 3 ! 4
-
I I

I 1 I I 1 I I I I
-
. ~

I I 4

13 (2 3 4)
н 5 5 3 4 5 ! 3 4

гi
"-r
.,
3 , I
2
3 I I
2
-
l~
J
~ >1 • • 1

.
{
1 I

• , •
'1 12 • 1 2 ~
'. 2 I
5 3 2
4

21
>1 •
• • 3 1 2 3 .~1 2 J 2 3 •
,
{
I J I

• •

3
2 - з 2

25 4
5 3 1 3
~ з 4

, - •
,

5 1 4 1 4 3 2 1 2 -.1
з

29 4
>1 1 5 1 3

, - - - -
{
I

-
2 I 1
2 4 4 4

33
fI >1 • ..
{
f.) I I I I I

I I I I I I I I I I

I 1 4

37
fI >1 5 5 3--"4 1 3
•
-
{
f.)

, I I I
3 2 4 3
2 2
2~

Polonaise in G Minor
с. Р.Е. Bach
BWV A ppel1d ix 125

, 2 4 4 3
(2)
I
, 4
4 3

• •
4 2 2 3 ; 4 2 3 '.,
(4)

5 4
3
. .1. 4 t
3
I
2
3
I
2
[
,
3
4
[ 3
2 1
, 4 4 -
( ')
[

-Ц
Г
I "[ I
(3 1 ,
4 5
2
4
1 ~ )

. =
I4[ 3 '2
3
2 4
2· I 2 2 3 5
(4)

5
6 4 4 4 2
1 I I 2 I

'1 '7

• ~
, r--

4 , "5
I[ 3 2 1
"'!5 5 4 , 1
4

5 4 4
9
2 3 2
,
5
,;; 2 3
,
5 3
~ j 'j\
3
'rl
2

•
~I'- ~
,

#-fL ~ ..
,
---
3 , ,. 3 , ,
5
... ,
 29
.j
12 3 2 3
1..--=::::1 1

2 3 1 5 2 1 3
3

2
3 1
3 4 3 4 5
15
D lr г J
2
11 Г l
2
1 1 1 3 5 4

....., I
I I b::-J 6u
- "- 1 #- h_ ~

5 ~. ,:О; 1 4 3 1 3 1 2 1 2
~,
, 2 1

18 1з5 1 3 5 3
"Fi1 I==n 4 .~
-=п 4 1 4

• " •

-. -~ b~
-- f-
2 1 ~
2
1
3
r ~1 -r--------r-

21
I ~_

~ ..... 1 1 1 l

• '-J:::I I

r-=
L '1

r--
• , •
I
I .
зu

Polonaise in G Minor

с.Р.Е. Bach
BWV Appendix 123
5545545-
5
2
5
2
4
1 )
5
1
4
1
5
1 2... 1 1 2,. 1 1 1 1 1
(~ J;;j 1)1) 1Л1]"'j1J:j

(1 3
1
~)
1

-
4 I !!] ..". I 5
(5)

5 3 4 2
1 1 2 3 1 4 3
4
J г=;'А
2~
г---;, j ы} JЛ)
/'}

tJ
I

'---1 I.....J r
-
1)

I 11" ..;- I

434
1 1 1
7
1Л1ЛJ.J:j }2 4
ц}

~ .f*-
1 ~

f*-
--
з 1 2 1 4 L ~J ~
1 2
3 4

5 4 5 3
(~ )
~1)
3 1
2 4 (1) 4

тn
(1) 4 з
10
lг-l
2 2 2 1
~l
-
.-
I

"
"
~.
•
"L L S ~
,
3
, 4 3 4 1 4 1
 ,
/З
'г Т ~ J J
I I 2
2 3 3

2 з 4 3 2 з 4 4 2 4
4 2 (4)
( 1)
(34
U
5 з4
,- 4

nn
4 3 4 1 2 1
3
15 2 4 3
Г (4) ~
- - Т

I I ~ .......
~2 IL ~
21 2L
1 2 1
<
I I I Т I

--..
1 l r 2 4 ~ 2 1 3 4 1 2 4 1 5
3 4 5

4 5
5
1 ,
5 4
1
5
1 1 1
181\ ,
4
1
3
1
4
1, j J-;i) JЛ)
iТ
,
lj 1:УI (1 3 ~) (1 3 j)
1 1
•
I I I 4 1 !f~ -,; I
4 2 2 4 5 -
(, )

5545545-
2 1}2 111 j4 5 3 4 2
1 1 1 2 3 4 3

21/\ , 1 J==:J 1 Jj J 1:9 J 19

l~
'Н
2
А j J7i)
,

iJ '-J L.....J ~

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 ABOUT ТНЕ EDITOR,
CHRISTOS TSIТSAROS
Christos Tsitsaros, ~ontri bu ting CO tl.lpOSer
arranger for the Hal Leonard Student Piano
Libтary, is
Associate Professor of Pi ano Pedagogy
at the University of Illinois. Не was Ьоrn in
Nicosia, Cyprus, and receivecl his first fопnаl
instruction at the Greek Academy of Music. At the
age of 13, Ье ,,'оп first prize in the National
Competition of the Conservatory of Athens. In
1979, he moved to Poland \vhere he studied а! the
Frederic Chopin Academy in Wагsэ\v under the
guiclance of Prof Jan Ekier. Аs а result of \viпniлg
the Gina ВасЬаиег lnstitution Competition in
Athens (1981), he continued his musical studies
in Paris and graduated fгош те Ecole Noпnale de
Миsiqие de Paris \ . . ,ithin а уеаг, obtaining the
Diplome Supeтieur d'Ехеcutiоп \\'ith distinction .
VVhile in Paris, Ье studied \\lith pianists Aldo
Ciccolini and Jean-Claude Pennetier. In 1986, а
scholarship from the А. G. Leventis FOl1ndation
enabled him to study "ith Gyorgy 5ebok at the
School of Music of Indiana University in
Blooтington, Incliana. ТЬе ге Ье received ап Artist
<lпd Diploma and а Master of Music degree (1989),
and subsequently entered the School of Music of
the University of IIl inois \уЬеге Ье attained а
Doctor of Musical Art:s in Piano Performance
(1993). 50ОП after, he joined the faculty of the
Piano Pedagogy di\'ision of the University of
Illinois at Urbana-Champaign. Ог. Tsitsaros i5 also
quite active as а CClmposer, h aving won the
composition competition of the National
Conference Оп Piano Pedagogy, \vh ich launched
ап ongoing relationship \vith Hal Leonard
Corporation. ln 1998, Centaur Records released
his first 'compact-disc album containing selection$
of his original piano works, and in 2001, Ье \\'а$
artist-in-residence at the H e lene Wurlitzer
Foundation in Ne\v Mexico. Не has participated in
various \\!orkshop5 and conferences as а performer
and lecturer, and has appeared as soloist, recitalist,
and chamber musician in Еигоре and the United
State$. Не gave his New York debut recital at Weill
Carnegie НаН in 2001 .