Bach: The First Bach Book (Fing. Alexander Lipsky): Piano Comb Bound Book

This collection strips away the intimidation factor many pianists associate with Bach and offers accessible, genuinely musical pieces that reward careful attention. The variety of dance forms keeps students engaged across a full practice session, and the comb binding makes it practical for daily use without the frustration of pages flipping shut. Lipsky's fingerings are thoughtful and historically informed, guiding early pianists toward a natural hand position rather than forcing modern comfort onto Baroque idioms.

These miniatures possess a refined elegance rooted in 18th-century dance conventions, yet they breathe with directness and clarity. Each piece balances formal structure with genuine melodic charm, offering the satisfying sense of playing real music rather than exercises.

Young pianists in their first years of study who are ready to move beyond simplified teaching pieces and encounter authentic Baroque repertoire. Teachers seeking repertoire that teaches fundamental principles of harmony, phrasing, and voice leading without overwhelming beginning players.

• Observe the articulation implied by phrasing marks rather than relying on the sustain pedal; Bach's clarity depends on clean note separation and voice independence.
• Shape each melodic line as though singing it, allowing natural breathing points to guide your phrasing rather than playing in rigid four-bar blocks.
• Pay attention to the relationship between melody and bass line in pieces like the Menuets; they often engage in a conversation that becomes apparent only when both parts receive equal voice.
• Work hands separately until the independence of each hand's rhythmic and harmonic function is clear, then blend them with attention to the primary melodic strand.

Standalone recital pieces for young pianists preparing their first solo performance opportunity, or in pairs as concert filler between more substantial works. Early-level student recitals benefit from the variety and historical legitimacy these pieces bring to a mixed program.

• Voice independence and awareness of bass line as a harmonic anchor
• Baroque articulation and phrasing conventions
• Understanding of Baroque dance forms and their metric characteristics
• Hand position and finger independence at a natural tempo
• Recognition of harmonic function through analysis of cadences and phrase structure
• Sight-reading fluency in Baroque notation and ornamentation