Little Preludes and Fugues: Piano Book

This Dover edition cuts through the intimidation factor that keeps many intermediate students away from Bach. Buonamici's sensible editing and emphasis on simple keys means students encounter genuine Bach counterpoint without unnecessary technical barriers. The variety within the collection holds attention across a full practice cycle, making it possible to assign these pieces as regular repertoire rather than occasional supplements.

These miniatures have the clarity of Bach's larger works without overwhelming the ear. Each prelude unfolds with mathematical precision while remaining deeply musical, and the fugues move with purpose and structural inevitability despite their compact form.

Beginning and intermediate pianists ready to engage with real counterpoint should start here. Teachers working with students who have solid hand position and can navigate simple key signatures will find these pieces appropriately scaled to build independence without frustration.

• Establish the subject line in each prelude before adding inner voices; Bach's preludes often feel muddled when all lines arrive at equal weight.
• Map the fugue subject through all voices before rehearsing ensemble sections; students need to hear where their entry point sits within the whole texture.
• Slow tempo work on hand independence pays dividends; these pieces expose the moment a student's weaker hand starts following the stronger one.
• Use the fingering suggestions as a starting point, not a directive; different hand sizes and technical habits may require adjustments, and working through alternatives builds problem-solving.

Assign one piece every two to three weeks as core repertoire in a lesson sequence, rotating between preludes and fugues to vary the technical and textural demands. A student performing one or two of these Bach pieces demonstrates serious musical foundation in a recital context, and the variety in the collection means multiple students can each choose something suited to their strengths.

• Tracking independent voices across both hands
• Recognizing and playing fugal subjects through different voice registers
• Maintaining even rhythmic pulse in polyphonic texture
• Reading in Baroque notation and performance practice conventions
• Hand independence at the keyboard
• Harmon understanding through figured bass context