The Fugue in G minor, BWV 578 is one of the best known fugues by Bach. Although usually called "Little" we should not underestimate its artistic quality. Because of its length, medium tempo, clear texture, and fairly easy pedal part, this piece might be accessible to organists with modest organ playing skills. It is written early in composer's career, most likely while he was an organist in Arnstadt around 1707. In this article, I will show you how to master this wonderful composition.
The first thing you should do before practicing it is to analyze the structure and tonal plan of this fugue. Since it is a fugue, it has rather strict requirements which Baroque composers usually followed. The fugue is a piece of imitative polyphony in which the composer reveals the possibilities a theme has to offer.
Now look at the theme or subject at the beginning of the fugue. It is 5 measures long. Now try to count the other appearances of the theme in the fugue and label them on your score with a pencil. Look at each voice. Remember that the theme can be not only in the home key of G minor, but in other related keys as well. Write down the names of the keys on the score. This will be the tonal plan of this fugue.
In addition, look especially at the melodic line which appears in the soprano voice after the theme enters in the alto. This is a countersubject. Sometimes composers used different countersubjects with every appearance of the theme. This is not the case with this fugue. Interestingly, this countersubject is constant and Bach uses it with every subject (sometimes a little bit altered).
Now that you know the basic formal and tonal structure of this composition, you could start practicing it on the organ.
Subdivide the piece into smaller fragments. These could be of the same length as that of the theme or you could subdivide it according to lines. Always start and finish playing the fragment on the down beat. That way the fragments will be connected with each other.
Write in fingering and pedaling in Fragment 1. Make sure you avoid finger substitutions, placing a thumb on a sharp key (except where there is no other option) and use toes only pedaling. This type of fingering and pedaling helps to achieve the desired articulation for any piece of the Baroque period - the articulate legato or as the contemporary sources called it - the ordinary touch.
This type of articulation means that there should be small breaks between each note. However, the notes should not be too detached. It should be executed in a singing (cantabile) manner.
Because each voice is very independent, it is best to practice each voice of that fragment separately, then in two-voice combinations, later in three-voice combinations, and finally, all four voices together. Practice slowly and use pedal preparation. Repeat each combination several times until you can play it precisely and without mistakes at least three times in a row. Then take another combination and do the same thing. When you master fragment 1, take fragment 2 and start over.
When you master all separate fragments, start combining them and play in longer episodes. This type of practicing takes some willpower but in the end you will progress much faster.
Upon learning this fugue, you may find it so beautiful that it would be worthwhile even to memorize it.
By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" http://www.organduo.lt/organ-tutorial.html in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.
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