Learning Bach's Invention in C Major

This page is for Tonebase Players ( Levels 2,3,4,5) who are learning to play this beautiful piece by J S Bach. The discussion here is solely on this piece. If you are interested in discussing your strategies and practice methods please feel free to share as you deem fit. All ideas are welcome.

 

Higher level players -there are many many here on Tonebase -  who are fluent in this piece are extremely welcome to provide advice. 

I will start (my level - 2/3 maybe ? ). Heard the piece played by several renowned artists.  Read the piece a few times after that on day 1 then proceeded to do the same for a few more days - what I call the really coarse method.  Recorded the really coarse version as a checkpoint to see if the strategy is working - record again in 4 days and see if anything has changed.  After deciding this piece is perhaps playable in a few weeks/months I have adopted  a strategy and describe my  process. 

1. 1st line RH only ( actually split into 1 measure first then string the rest to a line) -use a metronome at 60 bpm to the quarter note. Play and memorize right away. Close the line and see if there is recall. 

2. Same as 1 but for LH. 

The final tempo is 120 bpm to the quarter note( it is really fast for my level - so  dropped to half speed) 

 

3. Proceed to line 2 in the score only after line 1 is reasonably accurate. Skip ornamentation in the begining.

 

4. Then play both hands together accurately - just the first line. This is quite tough in the beginning. For the first few hours nothing seemed to work.  When I hear the recording I can tell right away that something is off.
 

So far in about a week of practicing this piece everday there is a bit of progress. Quite noticeably from the recording. Need to baseline it in the next couple of days.

If there is interest in this topic I am happy to share anything I read about or come across that may be useful to anyone else learning this piece.  Feel free to post anything that you may think may be useful to others in their learning journey. If there is no interest in this topic I am happy to delete this page promptly. :-)

72 replies

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    • hot4euterpe
    • 3 wk ago
    • Reported - view
     said:
    I don't hear any sound from printed page - without touching the key. This is a skill I will pay in gold to acquire - lol!.  But alas this is in an innate skill ! either one is born with it or one has to deal with a lack of it. lol!. In my case it is the latter. 

    Good news! this is not an innate skill. No one is born able to interpret notation into sound. You develop this through a combination of sight-reading and ear training skills (often called musicianship). Some develop this skill more quickly than others but it is a trained skill not an innate one.

      • hot4euterpe
      • 3 wk ago
      • Reported - view

       It is something that is often taught additively as one advances in skill at their instrument. For those that study at university there is usually a musicianship 100 and 200 level requirement. Much can be achieved with fundamentals though. Learning to sing a scale and an arpeggio to solfege syllables is a common start.  Once you can sing / hum steps and skips (2nds and 3rds) you can do basic sight-singing! Many amateurs in choirs pick up these skills. If you have any inclination, joining a choir is a great environment for developing musicianship abilities.

      • Peter_William
      • 3 wk ago
      • Reported - view

       yes. Thanks a lot. all ok. I have been doing a bit of solfege singing on the C maj scale over the past few days, like I wrote to Andrew above. Need to focus on sight singing over the next few months to see if the situation improves substantially. Choir is definitely a possibility since a member had asked me a couple of years ago when I was tinkering on the Church grand piano when no one was around and he had just come in to collect some of his music. :-)

      • Andrew_Smith
      • 3 wk ago
      • Reported - view

       Ditto to all Dustin has said; also you shouldn't expect to be able to see a score -- of anything other than a baby beginner piece -- you have never heard and hear it in your head. That is ultra ultra advanced.

      You haven't really responded to/written about -- not that there is any obligation, of course! -- the procedure of mental practice I described. Have you/will you try it? (I don't care, I'm just curious and want to understand what the conversation thread is leading to for your playing)

      Last, two weeks per invention to memorize each one? No way, you'd have to be very advanced. 

      • Peter_William
      • 3 wk ago
      • Reported - view

       ah yes! thats the gold I was referring to. Hearing it in the head without ever having  played it. That would be nice, but I guess this is mostly impossible even for advanced players. I have re established contact just yesterday with my very good friend a conductor- FRCO and will definitely ask him - I suspect he does. He conducted Handel's Messiah a few years ago in the big church here. :-). 

      I am all for mental practice but at the moment the best way seems to be at the keyboard.. ( " the 2 bar hands together calculus method "). Going out of town for a few days again so will post right after. Oh yes I have assembled a bunch of videos on Solfegge singing I have a hunch it will be helpful. Let's see after the experiment. Also when I tested myself (blind testing) my differentiation of the 2nd and 3rd intervals seem to be faulty - while the 5th, 6th, 7th and Octave seems to work quite peachy. There is also some confusion on the 4th. The first order of business is to practice this for a few days and see if it improves.

      I jinxed it again ( spoke about a latent idea of embarking on the 15 preludes :-) ). Yes agreed - absolutely impossible to get through a new one in 2 weeks ! This one is already 3 weeks old and not even 1/2 complete.   Let's see how long it takes to play from memory with notational accuracy at least. sigh!

      • Andrew_Smith
      • 3 wk ago
      • Reported - view

       Thanks for your reply, Peter. My last comment on this: 

      The mental practice can take like only 5 to 10 minutes if you are just wanting to get a few measures, or even one measure, more secure. So it's not an either/or proposition. It can just be one of several things you do within a practice session.

      • Peter_William
      • 2 wk ago
      • Reported - view

       ah yes .. was out in the mountains away from piano for past few days. Will try it out. As soon as a I hear a great section from any concerto I locate the score and then rush to the piano - since it is right here. Did that with a glorious set of notes from the Emperor concerto (L Bernstein + Zimmerman - version) and it was so much fun!.. Now with having learnt how to control the sound on the grand piano it wont bother anyone even whilst they are talking in the adjoining room. But I should try it out away from the piano also.

      • Andrew_Smith
      • 2 wk ago
      • Reported - view

       Hi Peter -- well, that wasn't my last comment on mental practice, ha ha. I get a newsletter in my email from this excellent instructor and writer of The Musician's Way, one of the best books/guides to practicing (and more) I know. He, Gerald Klickstein, is a classical guitarist who also knows a lot of piano rep. An email arrived today and had a link to his post below. 

      Anyway, here is a post of his about mental practice. Not all of it is applicable in your case, but perhaps it is helpful and you might also want to check out his other stuff and links. 

      https://www.musiciansway.com/blog/2022/12/the-power-of-mental-plus-physical-practice/

      • Peter_William
      • 2 wk ago
      • Reported - view

       Thanks a lot. The article is very informative citing Heifetz ( violin legend). It is definitely applicable for advanced pianists/musicians who sing/vocalize scores.  All pianists will most likely find great benefits in just practicing singing ( solfegge) as after a while ( unknown time) one will be able to sing the notes in the mind away from the instrument. At that point the playing level and musicality will undergo a rather dramatic transformation for the better.

      I  am adding solfegge singing into my daily piano practice - little by little. 

      • Andrew_Smith
      • 2 wk ago
      • Reported - view

       Glad you got to read it; thanks for you reply and happy playing!

      • Peter_William
      • 2 wk ago
      • Reported - view

       ok finally I got a short recording of first page - hands together. Slow tempo only - dogged persistance with memorization.

      A tiny bit of progress after a long time.! lol!

      https://youtu.be/vu33bLKZH_A

      • Andrew_Smith
      • 2 wk ago
      • Reported - view

       Thanks Peter -- you are certainly making progress.

      Have you tried some of David Chang's "logical notation" (I think that's the name) method of building each measure perfectly (or, "perfectly"), then moving on/forgetting about it until later then coming back to it and building bigger chunks? You can find it on TB or just Youtube him explaining it. 

      Other than that, I would say maybe concentrate more on LH? And it looks like you could use a bit different fingering in LH in places, like where instead of using thumb-thumb-thumb, there is some crossing over/different fingers. Which edition are you using?

      But you are obviously making progress so don't let any advice from me bog you down. 

      Cheers!

      • Peter_William
      • 2 wk ago
      • Reported - view

       Thanks ! 

      I haven't seen that particular video of the virtuoso but saw his absolutely stunning playing ! :-) - first of a Chopin etude video at devastating speed and then of this very piece.  My paltry method is what I called above " the 2 bar hands together calculus method".  This is just a variation of learning poetry in my school days . Our curriculum had lots of poems to be memorized from Wadsworth all the way to Shakespeare.  The method worked so well that  even now after 50 years my recall of some of them is near instantaneous.  On experimentation I have a further simplification of it which works even better for me " it is 1/2 bar 2 hands together".   (shh!  - I don't want to jinx it .. I actually sped up significantly listening to David Chang's version yesterday evening and playing along with it and moved up the tempo for the first page up a lot. ). So far I was only doing the super slow tempo method in the video above. 

      I also did this

      1. Wrote every finger number in on the way to memorizing the first page both hands. ( the 2nd page is not done - but will happen at some unknown time less than 4 weeks from now.. The first page took me about 6 weeks to get into memory )- but I think I have some learnings for acceleration. 

      2. I found the memorization jumped up a lot when I experimented with " 1/2 bar hands together" extremely slowly and softly - no intentional dynamics/articulations at the moment. The idea is just get every note both hands read in correctly and fixed in and test recall without looking at the score. A few years ago another wizard ( Jocelyn Swigger ) gave a talk on TED which was absolutely stunning. Later I found she was a piano professor (never met her but that TED talk had some great gems on memorization. It was a talk for the uninitiated so I listened to it out of curiosity but it stuck. The visual part of looking at the hands whilst playing is totally lost when one looks at the score so you will end up handicapping your memorization ability if you only read the score and get fluent at it.

      3.  Picked random spots to start from - basically toss and turn the piece - like a rubiks cube and see what happens. lol! 

      4. Totally ignored the complex ornamentations as that will be added in last after the entire piece is memorized ( some unknown time in the future ) 

      There are mistakes that I knew instantly but need to rework those lines into memory correctly. The biggest takeaway for me from this experiment for the past 4 weeks (off and on) so far is that I will now start memorizing every piece right away. The first hour.. ( at least 1 bar ) and will not waste any time  just reading pieces badly!

      Thank you again!

      • hot4euterpe
      • 2 wk ago
      • Reported - view

      Pan metron ariston!

      • Peter_William
      • 2 wk ago
      • Reported - view

       Brevity is the soul of wit.

      • hot4euterpe
      • 2 wk ago
      • Reported - view

       It certainly is but I am unclear if you are suggesting I was being witty or if you are indicating that you are Polonius? I am not sure either are what you intended!

      I was just giving a gentle reminder that moderation and balance in all things will tend to lead to more reliable progress in complex studies.

      • Peter_William
      • 13 days ago
      • Reported - view

       ha ha ha ! By now you should realize that I will never be Polonious ( The advice to both Laertes and Ophelia is very pertinent though ) . Your compact Greek statement sounded like a musical phrase -(  I didn’t learn Greek lol). Yes I figured you looked at the long post above and thought these guys need to play more and talk less. lol..  On the musical matter your advice is absolutely on point— do small pieces first carefully rather than try a big piece . I have already made such a big mistake for 2 years prior. 😂 

    • Peter_William
    • 12 days ago
    • Reported - view

     Apologies for digressing into literature ( should be on another platform. This is not the right place :-) ) but getting back to the musical matter at hand.

    I got a chance to be at the piano practicing a few hours yesterday and this morning and wanted to ask you if there would be any value on posting

    - just the second page - hands together (slow tempo).

    I thought it would take several weeks but something has changed .. with the "1/2 bar.. " method but wanted to see if you would take a look at the video. Yes/no answer is fine..

    Thanks as always for taking a look at the video and suggestions.!

      • Andrew_Smith
      • 12 days ago
      • Reported - view

       I don't mind at all taking a look -- for me it's only a few minutes, whereas for you it's practice plus making video. 

      Cheers,

      • Peter_William
      • 12 days ago
      • Reported - view

       ok thanks a lot!. I will post 2nd page video in  a few days. 

      • Peter_William
      • 10 days ago
      • Reported - view

       came across 2 wonderful classes here on TB from a terrific Piano Professor and watched them. Every level of pianist (beginner to Advanced ) will absolutely benefit from ideas in these courses. It is not so easy to find.

      Since you play Rachmaninoff am wondering what courses here have you watched/liked ? 

      • Andrew_Smith
      • 9 days ago
      • Reported - view

       Hi Peter -- um, I think I've mostly browsed tutorials; ironically haven't looked at a lot of tutorials about pieces I actually play, though I did look at Boris Gitburg's of the Rach g minor prelude when I was learning it, and checked out a tutorial on the Minute Waltz.

      I did the tracks lesson for Moonlight Sonata but still need/want to memorize the piece. 

      Henry Kramer's lesson on Chopin etude. Op 10, no 2 (which I don't play -- it would take a year!) was excellent. 

      • Peter_William
      • 9 days ago
      • Reported - view

       you are going to like this one. Type into the search box

      "Norman Krieger". He is the chair of Indiana University Piano Department. The lecture is absolutely wonderful. Role of the relaxed wrist, arm weight, playing with body weight all explained as clearly as daylight. Then examples from legends - some he has personally worked with ( Adele Marcus) - references to Rubinstein, Argerich, Hoffman and even Tatiana Nikolaeva!.  There are 2 lectures and both are gems!. Enjoy!

      If you never had a teacher, this is the teacher one would need to watch! :-)

      Let me know what you think. Best regards

Content aside

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