Little Prelude in E minor, BWV 938
E minor's introspection - the most songful Little Prelude.
Among the Little Preludes, BWV 938 in E minor stands out for its singing, lyrical quality. Where several of its companions rely on busy figurations, this prelude has a more melodic right-hand line that rises and falls with the phrasing of a slow aria. E minor was a key Bach returned to repeatedly for music of gentle sorrow or inward reflection - think of the slow movements of the Brandenburg Concertos or the Erbarme dich from the St. Matthew Passion.
The piece navigates skillfully between E minor's natural and harmonic forms, and the raised seventh (D-sharp) appears at cadential points with an expressiveness that is disproportionate to the piece's length. For the young student, BWV 938 is a lesson in shaping a melodic line - something no broken-chord prelude can teach as directly.
Shape the right-hand melody as if singing it.
Before touching the keys, sing or hum the right-hand melody from start to finish, adding dynamics and phrase shaping instinctively. Then reproduce at the keyboard exactly what you sang - including the breath points and the slight swells on the longer notes. The left hand should support without overpowering.
Engraving based on the Mutopia Project edition , licensed CC BY-SA 3.0.
MIDI based on the Mutopia Project edition , licensed CC BY-SA 3.0.
Before you practice.
01 Is the Little Prelude BWV 938 suitable for a late-beginner pianist?
Yes. Its 50-bar length is longer than most other Little Preludes, but the technical demands are modest - the main challenge is phrasing the right-hand melody expressively while keeping the left hand active but subordinate.
02 How does Bach's Little Prelude BWV 938 compare to the E minor Invention BWV 778?
BWV 938 is simpler: it has a clear melody-plus-bass texture, while the E minor Invention (BWV 778) gives both hands equal melodic weight through strict imitation. BWV 938 makes an ideal preparation before tackling the invention.
Give D-sharp its expressive weight at cadences.
Every time the raised seventh (D-sharp) appears, think of it as a harmonic lean toward the tonic - do not rush through it. At 75% tempo you will hear how much expressive space surrounds that note. Loop the final cadential measure and experiment with a slight dynamic taper into the last chord.
