Invention No. 1 in C major, BWV 772

Why this piece

This is the culmination because neither hand is merely an accompaniment. Both carry independent melodic ideas, and the same short motif moves between them. The piece demands simultaneous awareness of two horizontal lines, not just a vertical sequence of chords—a major step toward mature keyboard playing.

Musical profile

• Key / tonal centre: C major
• Meter: 4/4
• Suggested version: Complete original two-part invention.

Representative harmony

Two independent contrapuntal voices outline tonic, dominant and sequential harmonies; no fixed block-chord progression is appropriate.

What to listen for

Mark the two-measure subject and later imitations. A chord-by-chord reduction is useful for analysis but should not replace playing either melodic voice.

What to learn

Learn each voice separately as a complete melody, singing or mentally hearing its shape. Mark every entrance of the opening motif and trace how it is imitated or transformed. Combine the hands slowly while keeping each line rhythmically exact. Practice occasionally emphasizing one voice and then the other without altering the notes. Avoid excessive pedal: clarity of counterpoint depends on articulation and controlled finger connection.

Practice checkpoint

Perform the invention with both voices intelligible, a steady pulse, secure fingering, and phrasing that reveals the dialogue between the hands.

Diagnostic drill · E40 — Two independent voices: miniature invention

Target: Independent melodic lines, articulation and voice-to-voice listening.

Use this only when it addresses the current bottleneck. Skip it when the skill is already ready.

Steps

1. Build an original two-bar subject in RH, in eighth notes: C4–D4–E4–F4–G4–E4–F4–D4 | E4–G4–F4–E4–D4–C4–D4–B3. Play it smoothly with a small lift at the phrase end.
2. LH first holds C3 for one bar and G2 for one bar. Next let LH answer with the subject transposed down an octave or simplify it to a four-note motif while RH plays a slow counterline.
3. Play RH alone, LH alone, then both. During a repeat, intentionally listen to LH as the melodic protagonist while RH continues at a quieter dynamic; switch listening focus on the next repeat.

Ear task: Sing one voice while playing the other.

Transfer: In Bach’s real invention, mark subject entries, sequence patterns and places where neither hand is merely an accompaniment.

Drill checkpoint: Perform a short two-voice passage with both lines rhythmically distinct and musically shaped, without one hand automatically dominating.