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Bach: Invention

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ID:91
Johann Sebastian Bach - Inventions :
Invention, No. 10
Invention  No. 10  in G Major by Bach piano sheet music
Key: G Major Published: 1723
Level: 6 Period: Baroque
piano sheet music Piano score: PS Urtext (526 kB)
piano sheet music Piano score: Czerny edition (465 kB)
piano sheet music Piano score: Autograph manuscript (676 kB)



Posts in the piano forum about this piece by :

xx Bach invention number 10
June 29, 2005, 05:18:28 PM by LVB op.57

I just started  Bach's invention number 10, which is one of my favorites, and I have an important question on interpretation here. I know the general rule in play 8th notes in Bach is to seperate them, while playing 16th notes legato, but when I play this piece that way, it kind of sounds mechanical. Another method I experimented with is connecting each set of triplets as one phrase. Any thoughts?


xx Fingering Question Bach 2part Invention 10
March 15, 2006, 08:56:23 PM by tac-tics

I'm off at Spring break, and I can't ask my teacher this week, but I have a fingering question in Bach's twp-part Invention no. 10.

At measure 26 in the LH, there's a D major arpeggio acending and descending, and immediately afterwards, it walks down the scale from C to A. My question is, what is an appropriate fingering to transition from the apeggio to the C?. Trying to cross my thumb under seems a bit difficult. Is there any better way?


xx bach invention no 10 in G major
March 11, 2009, 08:26:47 AM by bachfanatic

Hi everybody ! I'm new on this forum and I like very much. I'm sure there is a lot of things to learn here, since it seems that some of you are teachers. Maybe you could help me a bit.

Sorry for my english, I'm not a native speaker.

I'm currently working on Bach's inventions (one of my favourite composers!). In no 10 G major, there is some trills on bars 20, 21, 22 and 23 for the right hand and on bars 24, 25 for the left hand. I have the edition by Rudolph Steglich (Henle), maybe others editions says something different.

My question is : if you look carefully (those who have the Henle edition), the re is trill on the first beat of bar 20, another on the first beat of bar 21, another on the first beat of bar 22 and another on the first beat of bar 23. So how shall I play it ? I assume I have to interrupt the trill at some moments : this is not a long trill like in Invention no 4 in D minor (from bar 19 to bar 21 for the right hand, from bar 29 to bar 33 for the left hand).

It's something different here in No 10 : Bach rewrites to trill at each bar, so he means that I must interrupt the trill. Am I right ? If so, on which beat shall I interrupt the trill ? I have listened to some recordings : I think Glenn Gould trills only during the first of the bar. I think Koroliov doesn't stop his trill. His trill is the same as in No 4.

What does say your edition ? How would you play this passage ?

Sorry for such a long post.


xx Question about trills/mordants in Bach's Invention No. 10.
June 09, 2011, 03:07:24 AM by larapool

Hello!

I have the urtext (Henle Verlag) edition of Bach's inventions/simfonias.  I read this as I listen to recordings to see how various pianists play the pieces.  Strangely, though, a lot of the players skip 90% of the ornamentations in this piece, which I find strange.  Bach intended for them to be here - why not play them?  It's a very baroque addition and I feel the piece sounds incomplete without them.  I understand each pianist gives his or her own 'spice' to the piece (like Glenn Gould playing the piece too fast and not playing the long trills in the bars halfway through the piece...), but I wish more people would include them in their performances.

Also, an even bigger problem is that every recording that does play the trills plays them differently than I'm used to.  For example, there's a trill on a quarter note at the beginning of a piece, on an F#.  A trill is supposed to start above the target note, so in this case it should start on G.  However, everybody plays the trill on F#.  Why is this acceptable?  Is it because the trill is not several measures long, therefore it's more acceptable to treat it differently?

I've also seen somebody here ask about the long trills in this piece, and there was an image in it saying that, for the long trills later in the piece, you can start on the target note instead of starting a step above it.

I ask because I'm trying to understand how to play the trills and mordants correctly in this piece... but every recording seems to play the ornamentations differently from how I've always been taught them.  So it almost seems like I have to decide for myself how to play each individual ornament, and if they're trills, whether or not I should play them on the starting note!

Sorry for such a long post, but this is really confusing me!  I always thought I understood trills until this piece confused me..


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