Praeludium in D minor, BWV 926
A praeludium for Wilhelm Friedemann - Bach the father-teacher.
BWV 926 appears in the Clavier-Büchlein for Wilhelm Friedemann Bach, the notebook Bach began for his eldest son around 1720. Unlike the smaller Little Preludes, this Praeludium in D minor is more expansive: it has a clear melodic line in the right hand against a rolling bass, and its harmonic language is richer, with chromatic passing tones and several brief tonicizations of related keys. The piece is a step up from the most elementary pieces in the collection, suggesting it was written for Friedemann once he had already mastered the shorter preludes.
The Clavier-Büchlein is one of the most personal documents in Bach's output - a father carefully sequencing material for a gifted child, scaling difficulty precisely, inserting his own newest ideas alongside arrangements of simpler pieces. BWV 926 sits near the pedagogical apex of that collection.
Balance the singing melody against the rolling bass.
The right hand carries a true melody here - not just figuration - and it needs to project above the left-hand accompaniment. Practice with the right hand alone at 70% tempo and give each melodic note a slight lean; then add the left hand at a quieter dynamic, listening to make sure the melody never disappears into the texture.
Before you practice.
01 What is the Notebook for Wilhelm Friedemann Bach?
The Clavierbüchlein für Wilhelm Friedemann Bach is a pedagogical collection Bach began in 1720 for his eldest son. It contains explanations of ornaments, short praeludia, inventions, and early WTC preludes - arranged from easy to hard.
02 How long does it take to learn Bach's BWV 926?
With focused daily practice, most early-beginner students can play BWV 926 hands together at a musical tempo within three to six weeks. The flowing broken chords are technically straightforward once the hand learns the shapes.
Mark the chromatic measures and slow them down.
Identify every measure where a chromatic passing tone appears - there are several in the middle of the piece - and loop each one at 65% tempo. The goal is to hear the chromatic note as a color shift rather than a stumble. Once each spot is clean individually, chain them together at 80%.
