Patrick Reed

Bach’s Well Tempered Claviers was a compilation of 24 Preludes and 24 Fugues with

written in all 12 keys. The multi-purpose of this compilation was to show off and write for the

relatively new ability of keyboard instruments to have tunings set for all equal temperaments (to

play in all key signatures), as well as writing different techniques of musical styles and keyboard

pedagogical studies.1 (cite textbook) Prelude VII fulfills many different stylistic techniques used

in the Baroque Era, and according to concert pianist Angela Hewitt it is one of the most

technically demanding pieces, as she says in her program notes, “This is one of the most difficult

Preludes for fingering and clarity of texture.”2 (1)

What makes this prelude stand out from others is the structure and its style, in which it

functions more like a fugue than the other preludes.

Prelude VII is divided into three sections: first section from measures 1-10, second

section from 10-24, and the third section from 24 to the end of the work. The general use of a

prelude during the Baroque Era was to help emphasize and establish the tonic key for the work;

for example, the prelude in a dance suite. Meanwhile, in Prelude VII, the entire work is a prelude

as the first section (1-10) and second section (10-24) function as two micro preludes for the third

section by way of establishing the tonic key and the melodic material that will be used as the

subject matter for the double fugue in the third section of the prelude. One aspect of the prelude

is to establish itself firmly in relation to other works of the Baroque Era is the use of the

commonly found key scheme used by Bach of I V i IV I.

1 J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca, A History of Western Music, 9th ed. (New York,
NY: W. W. Norton & Company, Inc., 2014), 459.

2 Angela Hewitt. “Well Tempered Clavier - Book One - Angela Hewitt.” Early Music Vancouver, 2007.
http://www.earlymusic.bc.ca/events/well-tempered-clavier-1-angela-hewitt/.
Patrick Reed

Looking at the first section of the work (m1-10), its role is to firmly establish the

objective of any prelude by establishing the key of E Flat Major. This happens by the constant

pedal E Flat in the first three bars, then the other E Flat and sustained notes in the next three

measures. The last two measures use the B Flat pedal tone to lead us into our key change to the

dominate key for the next section of the work. The opening 16th note figures in both voices are

in an imitative style similar to that of two main voices in a Trio Sonata, or two singers on an

operatic stage. The motif also serves as the basic and main idea for one of the subjects in the

double fugue found in section three, as the ascending-descending motion happens constantly

throughout the third section.

The second section of the work, from measure 10-24, is almost a complete shift in style

than what has happened so far and even after, as we get a more chorale, early Baroque

counterpoint style writing. This section reminds me of some 4-voice counterpoint vocal writing

from the late Renaissance or early Baroque period. What gives these qualities is the constant

imitation found in the parts with a rhythmic figure first displayed in the tenor voice of a quarter

to half note, which then happens next in the bass voice, then alto, and finally soprano. This

section of imitation almost feels like a fugue as the subject of the quarter half note motive is

constantly repeated; nevertheless, it varies enough to not count as a real fugue. However, that

motive does become the subject for one of the fugues used in the third section.

The end of measure 24 marks the end of the second section and the beginning of the final

section that includes the Double Fugue. Section one and section two both function as their own
Patrick Reed

mini preludes for the third section, as they both introduce us to themes used in the third section

as well as establish tonic in the first section and modulate and establish the Dominate as our new

tonic in the second section. In this third section we finish out the Baroque back key scheme of

shifting to the relative minor then briefly stopping on the subdominant before returning back to

tonic. The double fugue in the third section is a combination of the material presented in the A

and B section. While the Double Fugue is not 100% strict and the subject is not always written

the same, it draws close enough comparison to an actual Bach Fugue. Looking at measure 25 we

find the return of the main melodic motif of section two in the bass clef, with a free counterpoint

in the treble. Once we move on to measure 28 and measure 29, we enter the second subject of the

double fugue in beat four of 28. This subject is very similar to the material in second section,

with imitation happening again between two voices. Both subjects are now present and continue

throughout the work in excellent counterpoint, with some variation and changes of each subject

from time to time. The subject from the first movement grows and changes as the 16th notes run

and expands into longer durations throughout the section. Overall, the majority of this work

functions as a double prelude and a double fugue inside one large prelude. Bach does use styles

from his later works (fugue) but also calls back lots of imitation and similar writing from early

Baroque vocal 4-part counterpoint, similar to Monteverdi or late Renaissance composers. The

combination of those styles in counterpoint during the third section of this work as a double

fugue shows off the excellent counterpoint and writing of Bach. Looking at the Affective

Characters of Keys, Eb Major is seen as “pathetic, plaintive, maddening, disparaging, or

sorrowful.” However, when listening to this prelude, I find almost the opposite to be true, as the

writing—especially the fast running 16th notes and the extreme double fugue counterpoint—

adds a level of fast brilliance and joyfulness throughout the work. The only time in the piece that
Patrick Reed

I felt otherwise is in the B section because of the slow pace of the work. However, most of that

section is modulated to B Flat Major, making it hard to accurately pinpoint whether any of the

Affective Characters of Keys for Eb major are actually true in my perception of the piece.

Bibliography

Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music. 9th
ed. New York, NY: W. W. Norton & Company, Inc., 2014.

Hewitt, Angela. “Well Tempered Clavier - Book One - Angela Hewitt.” Early Music Vancouver,
2007. http://www.earlymusic.bc.ca/events/well-tempered-clavier-1-angela-hewitt/.