Bach: Sixty-nine Chorales with figured bass (Ed. Hans Bischoff)
Bach: Sixty-nine Chorales with figured bass (Ed. Hans Bischoff)
Bach: Sixty-nine Chorales with figured bass (Ed. Hans Bischoff)
Bach: Sixty-nine Chorales with figured bass (Ed. Hans Bischoff)
Bach: Sixty-nine Chorales with figured bass (Ed. Hans Bischoff)
Bach: Sixty-nine Chorales with figured bass (Ed. Hans Bischoff)
Bach: Sixty-nine Chorales with figured bass (Ed. Hans Bischoff)
Bach: Sixty-nine Chorales with figured bass (Ed. Hans Bischoff)
Bach: Sixty-nine Chorales with figured bass (Ed. Hans Bischoff)
Bach: Sixty-nine Chorales with figured bass (Ed. Hans Bischoff)
Bach: Sixty-nine Chorales with figured bass (Ed. Hans Bischoff) Sheet Music Preview

Bach: Sixty-nine Chorales with figured bass (Ed. Hans Bischoff)

By Johann Sebastian Bach

Item: 00-PC-0003840
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Description
This collection of chorale melodies has an added bass line, and in many cases figured bass numbering beneath the bass notes. 48 pages.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Bach: Sixty-nine Chorales with figured bass (Ed. Hans Bischoff) comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Additional Details
Series: Kalmus Edition
Publisher: Alfred Music
Page Count: 48
SKU: 00-PC-0003840

More about this title

About the Composer: Johann Sebastian Bach

Johann Sebastian Bach (1685-1750) was a master of counterpoint and harmonic language whose chorale settings became the foundation of Western music education. His ability to craft four-part harmony that is simultaneously singable, pedagogically clear, and emotionally direct made these pieces invaluable for teaching composition, voice leading, and figured bass realization for more than 250 years.

Why we love this

These chorales distill Bach's harmonic genius into concentrated, solvable problems. A pianist working through this collection develops an intuitive understanding of functional harmony, voice leading, and the figured bass system all at once, without the distraction of elaborate counterpoint or structural complexity. Each chorale is short enough to absorb fully in a single sitting yet rich enough to reward repeated study.

What to expect

These pieces are serene and direct. Each chorale moves through a clear harmonic journey without ornamentation or virtuosity, trusting instead in the inherent beauty of clean part writing and logical progression. There is a sense of inevitability in how each phrase resolves, yet each hearing reveals new voice-leading details.

Who it's for

This collection serves pianists serious about understanding harmony and figured bass, music theory students preparing for score study, and instructors searching for authentic material to teach voice leading and Baroque practice. Intermediate pianists and above will find the technical demands manageable but the musical and analytical rewards substantial.

How to get the most out of it

  • Shape the figured bass line as a true inner voice, not merely accompanying accompaniment. Listen for how the bass notes create harmonic rhythm independent of the melody.
  • Practice realizing the figured bass without the printed melody first, then add the treble to hear how Bach's voice leading unfolds naturally from the harmonic foundation.
  • Experiment with tempo and meter; these chorales existed in many contexts. A slower tempo reveals the harmonic logic; a moderate tempo exposes rhythmic animation.

How to use it

Incorporate one or two chorales as opening pieces in student recitals, or as a thoughtful standalone concert featuring five to seven contrasting examples. In the studio or classroom, assign them alongside theory work to reinforce functional harmony in real musical context rather than abstract harmonic analysis.

Skills your students will build

  • Reading and realizing figured bass notation
  • Voice leading within four-part harmony
  • Functional harmony and harmonic analysis
  • Baroque stylistic conventions and ornamentation practices
  • Balancing melody with inner voices at the keyboard

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