A MIDI-edited version of Book 1 of Bach's Well-tempered Clavier (48 Preludes & Fugues).  Recordings are continually updated.

Bach, WTC 1 (MIDI edited and constantly updated)

BACH PRELUDE 1 C MAJOR WELL-TEMPERED CLAVIER BOOK 1

well-tempered clavier book 1

BACH FUGUE 1 C MAJOR WELL-TEMPERED CLAVIER BOOK 1

BACH PRELUDE 2 C MINOR WELL-TEMPERED CLAVIER BOOK 1

BACH FUGUE 2 C MINOR WELL-TEMPERED CLAVIER BOOK 1

REVISED 2024-4-20

The "subject" of this 5 part fugue is a musical expression of the four points of the cross, lying on its side.

BACH FUGUE 4 C# MINOR WELL-TEMPERED CLAVIER BOOK 1

Bach Prelude 4 C-sharp Minor Well-tempered Clavier Book 1

BACH PRELUDE 5 D MAJOR, WELL-TEMPERED CLAVIER, BOOK 1

BACH FUGUE 5 D MAJOR  WELL-TEMPERED CLAVIER BOOK 1

BACH FUGUE 6 D MINOR WELL-TEMPERED CLAVIER BOOK 1

BACH PRELUDE 7 E FLAT MAJOR, WELL-TEMPERED CLAVIER BOOK 1

BACH FUGUE 7 E FLAT MAJOR WELL-TEMPERED CLAVIER, BOOK 1

BACH PRELUDE 8 D SHARP MINOR, WELL-TEMPERED CLAVIER, BOOK 1

BACH FUGUE 8 D SHARP MINOR, WELL-TEMPERED CLAVIER, BOOK 1

BACH FUGUE 9 E MAJOR WELL-TEMPERED CLAVIER BOOK 1

BACH FUGUE 10 E MINOR WELL-TEMPERED CLAVIER BOOK 1

BACH PRELUDE 10 E MINOR WELL-TEMPERED CLAVIER BOOK 1

BACH PRELUDE 9 E MAJOR WELL-TEMPERED CLAVIER BOOK 1

BACH FUGUE 3 C SHARP MINOR WELL-TEMPERED CLAVIER BOOK 1

BACH PRELUDE 3 C SHARP MAJOR WELL-TEMPERED CLAVIER BOOK 1

Bach Prelude 6 D Minor Well-tempered Clavier Book 1

I’m into generating alternative interpretations of solo piano music in the classical repertoire. I got stuck on Bach’s Well-tempered Clavier (for various reasons) and never really got around to much else. Why MIDI?   Simple, really. There are many, many ways of thinking about music, “analyzing it,” so to speak, and ultimately arriving at a particular conception. “MIDI” is simply one among many ways to think about a piece of music , and sometimes it’s quite useful. In my case, it allows me to see—and easily to manipulate—the structure of a piece of music as a whole. That’s important, in fact absolutely critical in the music of Bach. It’s very hard and time-consuming work to generate a conception of “the whole” at the piano. Incredibly time-consuming and for me virtually impossible. So MIDI—because it permits massive changes in no time at all—has been very useful. It allows me to say: “there’s how I think this music should go,” which I wouldn’t be able to do at the piano.

Bach, WTC 1 (MIDI edited and constantly updated)

JOHN LEWIS GRANT