Reinventing the inventions.

The fall afternoon is crisp and beautiful. The eager piano student bounces to his regularly scheduled lesson. After initial greetings and pleasantries are exchanged, the lesson begins. First, the student demonstrates his scales and technical exercises for the week. The teacher remarks on the wonderful progress the student has made. Next, the teacher asks, "Why don't we begin with your Bach Invention?" Suddenly, the mood changes, the student grows more serious and the pleasantry of the afternoon is about to end. Opening the book slowly to pages that barely have been creased, the student sheepishly begins the Invention. The first four measures sound practiced and include accurate articulation, steady rhythm and even a dynamic shade or two. Suddenly, the student's coordination is interrupted. It sounds as if the Invention had never been practiced. The student is expending energy equivalent to that required to navigate a South American river infested with crocodiles.

What is it about the Inventions that engenders so much initial interest and joy, but makes them so difficult to polish and perfect? Why do students who show a real aesthetic appreciation for the Inventions suddenly cringe when you mention the word? Why do competition performers frequently shrug and appear as though they have been cast into a pit of demons when asked to present the Invention they have prepared for adjudication?

Perhaps students have not awakened themselves to the true joys of learning and performing the Inventions. Maybe they have not considered that this entangled complexity of notes could yield poignant musical expression. Armed with a different perspective of familiar concepts through new ideas and techniques, teachers will be able to "Reinvent the Inventions" in their studio.

Background

The Two-Part Inventions of J. S. Bach were composed as teaching pieces. Written from 1720-1723, the Inventions were a part of the compositional output of the years Bach spent in Cothen. Every Invention contains two voices that exchange or converse with motivic material. Most are comprised of three or four distinct sections. However, each Invention has its own unique form of musical expression.

The Inventions are organized by key signature. Starting on C major, they ascend in pitch utilizing the key signatures that employ no more than four sharps or fiats. Bach, himself, described the Inventions as:

   A proper introduction, whereby
   lovers of the clavier and especially
   those with thirst for true knowledge,
   are shown a clear way Not
   Only (1) of learning to play cleanly
   in two voices, but (2) also with
   further progress to proceed with
   three obbligato parts correctly and
   well--at the same time not only
   receiving good ideas (i.e. inventions),
   but also utilizing them for
   the development of a cantabile
   style of playing, and for the procurement
   of a thorough foretaste of
   composition. (1)

How does one begin to approach teaching these pianistic pillars upon which the entire body of piano repertoire is built? The initial stage of this process is selecting the appropriate edition for each student.

Editions

The most readily accessible editions of Bach's Two-Part Inventions have a wide range of prices, but sometimes you get what you pay for. Anyone new to piano teaching might learn the hard way that ushering a student off to the store without first specifying a preferred edition can lead to unexpected frustrations. Some editions are so creative in their editorial markings that they could inadvertently create more problems than they actually attempt to solve.

There are a number of Urtext editions (meaning "original text" in German) worth the expense, such as Henle, Barenreiter, Peters and Wiener. Within an Urtext, the editor must maintain a particular sensitivity to the manuscript and also take into consideration aspects of historical authenticity and performance practice. As expected, these four Urtext editions do exhibit remarkable restraint in their editorial suggestions, as well as scholarly meticulousness with regard to the details of Bach's 1723 autograph manuscript. For instance, each Urtext details the origins of the various ornaments and notates them in a specific manner within the score. In the preface, each discusses at length the different sources from which the embellishments are taken and explains its system for notating the differences within the score. The Henle, Peters and Weiner use different printing styles to delineate the ornaments taken from the 1723 manuscripts versus those from other sources, such as The Little Clavier Book for Wilhelm Friedemann Bach, a manuscript from Heinrich Gerber or Anonymous 5. However, the Barenreiter includes only the embellishments from Bach's 1723 autograph within the score, but does footnote where the performer can insert the ornaments from other sources. Also, it does not provide suggested fingerings, unlike the other editions, so the Barenreiter actually is the "barest" of the four in its visual layout. Overall, none of these four Urtext editions overtly attempts to control the performer's interpretation by inserting dynamic markings, articulations or phrase markings clearly not from Bach. The scores are dean and unfettered from editorial insertions, the information concerning ornamentation is helpful and the historical background provided is more than sufficient for introductory material. It is, therefore, evident the editors were particularly concerned with historical authenticity.

Other editions, such as the Alfred, Kalmus and Schirmer/Busoni, are not considered Urtext editions, but do offer instructional information on ornamentation and performance practice. The Alfred certainly deserves commendations for its highly detailed preface. The information is helpful for anyone new to the Inventions. All editorial suggestions are marked in the score with light gray print, thereby differentiating these markings from those of Bach's. However, it still is imperative the teacher clarifies this to students because there is the tendency to bypass this detail. If one prefers a truly dean score without editorial markings, then using this edition only as a reference for musical possibilities is an alternative.

The more challenging editions are the Kalmus and Schirmer because both take a number of liberties in adding dynamics, articulations and tempo markings. They notate their suggestions in standard print, so it is difficult to discern what is really from Bach's original manuscript. The Schirmer/Busoni is the more extensive of the two in its editorial suggestions. In fact, it even writes out the ornamentation directly within the score, with many of the ornaments unconventionally realized. Consequently, the performer does not encounter any of the standard notational symbols for embellishments.

Normally, the Dover editions are considered to be one of the best buys because their scores are relatively inexpensive and respectful of original manuscripts. However, Dover does not offer the Inventions as a set, like many other editions do. Instead, it combines them with other large works of Bach. The advantage is that inquisitive students can explore the other repertoire. Unfortunately, there are no explanations for the realization of ornaments or performance practice, so the student must rely on other sources. Also, the print is rather small, making the reading a challenge for some.

Because Invention No. 8 is one of the first pianists study, the Clarfield/West Guy edition must be mentioned. This unique edition offers only this specific Invention, along with other selections from various stylistic eras. It provides three different scores for each piece: the Urtext, a Workout Score and an Artistic Version. Students must refer to these variant scores throughout the learning process and be particularly diligent workers to follow all the details. Though some of the artistic suggestions might require particular attentiveness from the teacher to avoid possible misunderstandings, the ideas still are quite helpful. Hopefully, the authors will eventually publish a complete volume of the Inventions, but for now, pianists can use this book for practice techniques.

The First Invention

Generally, the F Major, D Minor and G Major Inventions make good starting points for the study of the Inventions because 1) the motivic material is less complex and its melodic design is easier to comprehend and execute, 2) there are fewer ornaments to realize and 3) the harmonic structure and formal design are more apparent. As students begin their study, the Inventions, at face value, lack a certain appeal. After becoming accustomed to romantic music with thicker harmonies, wider ranges and more virtuosically exciting material, students often view the Inventions as little more than an exercise. Students need guidance to help them dissect, analyze and synthesize the beauty of the composition as well as the compositional process. Once students gain a glimpse of the inner workings of the Inventions, their interest is piqued and their motivation to explore them as works of art increases.

Analyzing the Inventions

At the initial lesson, the teacher might simply spend the time allotted introducing the Invention. To cultivate this process, the student should become acquainted with the motive upon which the composition is based. Additionally, he or she should be introduced to the concept of countermotive, or a motive that is consistently present in one voice, while the opening thematic idea is present in the other. Once students discover the motive, they should then look through the Invention and locate as many of the motives or portions of motives they can find. Asking students to draw arrows in the score identifying the motive provides good visual cues as they begin the complex process of unraveling the patterns.

Once the motives are delineated from the texture, students should define the motive's characteristics. For example, the motive for the A Minor Invention outlines the A minor chord, while the F major motive outlines the F major chord. For homework or practice assignment in the first week, the student should not play the Invention, but simply complete the analysis already begun in the lesson. Making a "working copy" of the Invention can be a good way to encourage students to come up with their own analytical markings for study without destroying the integrity of their printed scores. Students should be encouraged to examine the entries of the motive. What do they have in common? How do they differ from each other? What key center is established by the motive? Encourage students to develop their own notational system and analytical symbols. The purpose of this analysis is to create an understanding about the construction of the Invention.

Playing the Invention

After a thorough initial analysis is completed, it is time to begin the "hands-on" activity of playing the Invention. Most Inventions divide into three or four sections. Students most likely will need assistance finding and marking where these areas begin and end. At the end of each section, the voices will end their dialogue and join to create a cadence. Each division, other than the final one, will generally modulate to another key. Students should examine the cadences and identify the key to which it modulates. A good tool for determining the new key is to identify the new leading tone, which is located one half step below the new tonic.

Once the sections are defined, it is time to begin the process of coordinating the hands to play all of these new discoveries. Many teachers begin with a "hands-separate" approach. The student learns the full section with the right hand alone, then the left hand alone and finally puts the two hands together. Supposedly, the coordination of the new material for both hands is then "achieved." In the ideal world, this method seems very sensible, but with the Inventions, this approach often leads to frustration and lack of musical sensibility. Students coordinate some measures naturally, while stumbling through other more difficult measures. These problematic spots then become inherent in subsequent performances. Learning the Invention "hands separately," one measure at a time, will break the challenges of contrapuntal coordination into smaller parts that can be easily mastered.

As students begin their measure-by-measure study of the Invention, ask them to ignore the ornamentation until the overall rhythmic structure is internalized. Emphasize that the measure's metrical structure is of primary importance and should be solidified before the ornaments are added. Students can be reminded that decorations cannot be placed on a Christmas tree without the actual tree, and likewise, ornaments should not be placed in the musical texture until the underlying rhythmic structure is understood and mastered.

Decorating the Invention

Once the entire Invention is played with rhythmic solidity and stability, it is time to begin the process of adding ornamentation as notated by the editor. The process has four different features one must take into account. First, the initiation of the ornament must be considered. On what note will the ornament begin? Students who have practiced/he Invention without omaments may initially experience difficulty in this step. 'In the case of the trill, students may attempt to begin on the given note, rather than the traditional note above the given note. One might consider a slow working out of this process with "freeze-frame" practice on the note before the trill. Halting on the upper auxiliary of the note will yield instant results in reestablishing the pathways to the desired note. Secondly, the ornament's realization must be considered. What notes should be included in the ornament? Consulting the editorial markings will greatly assist in this process. Third, consider how the ornament will fit into the rhythm of the other "voice." Drawing this relationship on a separate sheet of staff paper leads to an easier visual recognition and smoother execution of this activity. Finally, how will the ornament end? In the case of the trill, should it resolve directly to the note or the note below the actual note of resolution? Extracting the ornaments from the musical texture will greatly assist students in the polishing process.

Memory

Memorizing the Inventions takes special attention and care. Additional memory techniques can be employed to make memorization of the contrapuntal material an easier task. Students should divide the piece into manageable sections. Memory activities should begin with each section and utilized until that section is completed. In many Inventions, the motive is presented in one hand, while the countermotive is presented in the other. Students might go through the section memorizing with both hands, but playing only the motivic entries or countermotivic material.

A cut-and-paste exercise can greatly aid the student with memory work. Make a duplicate copy of the score. Cut the measures apart one at a time, being sure to number the measures before you begin cutting. Take the odd-numbered measures and secure them to another sheet of paper, leaving space for the even-numbered measures in between. The student may then play the Invention with only the odd-numbered measures available for cues. Next, do the same procedure for the even-numbered measures. The student will strengthen the memory work utilizing these varying visual cues.

Working from the last measure and going backward can greatly increase the efficiency of memory activities. It is helpful to remember the cadences are located at the end of each section. These cadences provide a sense of resolve. Starting with the cadence and working backward provides the ending point of the phrase, making the beginning of the section rather obvious. Mindlessly memorizing from the beginning of a phrase or section without analytical awareness of the cadence yields a lack of harmonic direction and resolution.

Finally, encourage students to locate starting places in the Invention. There should be several of these that serve as secure and safe spots. Have the students mark these spots in the score and utilize lesson time practicing these predetermined starting points.

Expressive Import

Some musicologists might argue that the Inventions fall into a category of absolute music. Unlike program music, there is no story or plot readily symbolized by the music. Yet others would insist all music has a sense of expression and story or plot. Regardless of the side one might accept as correct, the Inventions do create a musically interesting event, full of dialogue, conflict, resolution, harmonic coloring and intense expression. However, students often have difficulty finding the deep expression in a composition that contains only, at the most, two notes at a time. There are several ideas that teachers might employ when trying to add the "expressive import" to these compositions.

First and foremost, all work should consider the musical elements of tone, color, dynamics and phrasing. Even as the motive is initially identified, it should always be demonstrated and played with the highest consideration given to the musical shape and phrasing. Musically, where does the motive go? Even in the measure-by-measure process, musicality should be emphasized, encouraging students to follow dynamically the musical line and emphasize harmonies that have greater tension.

Teachers can assist in this process by providing a harmonic accompaniment as the student plays the Invention. Making an accompaniment can be a simple process of blocking the chords in the middle register of the piano while the student plays the Invention in the upper register. The teacher should attempt to shade and color the harmonies with as much exaggeration as possible to lead the student into a more musical realization of the work.

Finally, if students can play Bach expressively and elaborate on the deeper musical meanings embedded in the Two-Part Inventions, they then will be able to play works from the classical, romantic and contemporary periods with a greater sense of skill, dexterity or technical prowess and musical understanding. In retrospect, one must remember that polyphonic music served as the basis for the development of homophonic texture. Embedded in every homophonic composition is the contrapuntal interaction between the two voices, which the Inventions so readily demonstrate. Studying the Inventions leads to technical growth, harmonic comprehension and musical appreciation for the compositional process. All these factors are applicable and necessary for the performance of any piece of piano repertoire. These applications of the material studied and mastered in the Inventions will lead students to "Reinvent the Inventions" in every composition they perform.

NOTES

(1.) J. S. Bach, Two And Three Part Inventions. Edited by Hans Bischoff and translated by Alexander Lipsky (New York: Kalmus Publishing, 1943): Preface.

BONUS BYTES

For a chart comparing various editions of the Inventions, go to www.mtna.org, click on American Music Teacher, then click on "Tell me more about Bonus Bytes."

Amy Stanley is assistant professor of music and coordinator of keyboard studies at the State University of New York at Geneseo. She holds B.M. and M.M. degrees in piano performance from Texas Christian University and a D.M.A. degree j%m the Eastman School of Music.

James Douthit is assistant professor of music at Bloomsburg University of Pennsylvania, teaching keyboard and theory. He holds piano performance degrees from Mars Hill College, Northwestern University and the Eastman School of Music. Active as a solo and collaborative performer, Douthit also is a frequent adjudicator and lecturer.