Prelude and Fugue 1 - OpenWTC

Uploaded on Jan 2, 2015

Join us to create a new free edition of Bach's Well-Tempered Clavier Book I. You are kindly invited to review this score and report mistakes by leaving a comment on the score. More info at http://musescore.com/groups/openwtc


Pages 6
Duration 2:49
Measures 62
Key signature natural
Parts 1
Part names Piano
Privacy Everyone can see this score
License Creative Commons copyright waiver
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I believe I read somewhere in a forum that ossias were supported . It's not important to me this score can be found many places Bach himself if not his sons also left different copies. Did he know this music was so incredible ! Hasse,Grunewald,the dozens of others must have known this man was something. Things were so different then . The home music maker could not expect much beyond collections and how did non-professionals find good music then. I'd like to know when the first big music publishing houses started . It was surely different by the early 18oo's .Chopin was well compensated ,alas tastes were still cheap then as now .Im sure rage over a lost penny could sell if a Hadyn quartet did not fare as well .

In reply to by michael.cuthbert

During 17th and early 18th centuries, accidentals are valid for one note only (and not for the whole bar).
The rule followed here (for the WTC edition) is to indicate an accidental for each voice when it happens, even the same not is already displayed in an other voice (see bar 20, F sharp).
But here, the B is in the alto voice, at the beginning of the bar.

Stave spacing is rather wide for the needs of this Prelude. Can it be reduced to fit on two pages to avoid a terrible page turn?

Can the ossia of two eighth notes for the dotted-8th/16th be offered here? It seems important and is supported by one of the MS copies.

alto voice is awkward here. Better to shift to top staff earlier. Perhaps from beginning or after the first 8th of this line.

In reply to by AlvaroBuitrago

-editor- not here.
The rules are : when two voices (or more) are using together the same stave, stems down fot the bass (or the alto) and stems up for the tenor (or the soprano).
When a voice is stopped, no need of a rest sign for the empty bar IF the last sign was a rest sign.
And when a voice is alone in a bar, the main rule for the stems is working, according the median line.

Maybe better in treble clef. Is the Alto voice and then in bar four-five tenor and bass.
Bass clef tenor and bass silence