Fughetta on Wir glauben all an einen Gott, BWV 681, by J. S. Bach
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Get the practice plan for Fughetta on Wir glauben all an einen Gott, BWV 681
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- Hear it through at Slow (25 bpm). Open it in the reader, choose Slow, and follow the page with your eyes without playing. As it plays, count 4 to the bar.
- Learn the right hand of bars 1 to 8 on its own. Say the note names out loud the first time through, then play it three times without stopping.
- Learn the left hand of the same bars on its own. Keep it quiet and even: it is the floor the tune stands on.
- Put hands together at Slow, 25 bpm. Bars 1 to 8 only. Stop after every wrong note and play that bar again before moving on.
- Move up to Steady (38 bpm) once Slow feels easy three times in a row. Then learn the next 8 bars the same way: right hand, left hand, together.
- Play the whole piece (about 1 minute) from the start, at whatever speed keeps it going. A steady run with a few slips beats a fast one that stops.
About this piece
A short fughetta for hands alone from Clavier-Übung III, in the grand dotted style of a French overture, and arranged for piano from the organ original. Only sixteen bars long, it sets the Creed hymn's opening against sharp dotted rhythms and runs.
How to play it
Make the dotted rhythms crisp, holding the long note and tucking the short note late. Keep a stately pulse so the runs have room to land.
Reading it, and printing it
The score opens in Artform's reader, which shows the music as engraved notation and plays it back so you can hear the line before you try it. You can slow the tempo down, loop a passage that is not working yet, and print the page when you would rather have paper on the stand.
The file itself is MusicXML, which MuseScore, Sibelius, Finale and Dorico all open, so the notes are yours to keep whatever you read them in.
Edition: Mutopia Project #1377, licensed CC BY-SA. Converted to MusicXML by Artform and checked note for note against the original.
More free J. S. Bach sheet music
Who J. S. Bach was
German composer and organist of the late Baroque, born into a family that had produced musicians for generations, so much so that "Bach" was practically the local word for musician. As a teenager he once walked 250 miles to hear the organist Buxtehude play, then overstayed his leave from his job by weeks because he couldn't tear himself away. Most of his career was spent as a church employee in Leipzig, turning out a new cantata almost every week for years while raising twenty children and occasionally landing in jail after arguing with his employer. Out of that unglamorous working life came The Well-Tempered Clavier, the Brandenburg Concertos, and a command of counterpoint so complete that …
Learn the music behind it
Reading a piece and understanding it are different skills. If you want the harmony under this one, the chord trainer teaches chords the way songs use them, and the scale pages cover the fingering for every key.