Italicized motifs are marked with M to distinguish them from the two themes.

Composed in sonata form, the development section utilizes the opening syncopated motif and the rhythmic motif from the fourth measure.

Score examples courtesy of: Bärenreiter Verlag

No. 6 in E major

Bach's E major can be described as a relatively subdued key. When listening to E major pieces such as the Sinfonias, Well-Tempered Clavier, or French Suites, one does not feel much inner strength; instead, there is a mood full of elegance and a certain delicacy.

Articulation

Patterns combining 16th notes and 32nd notes, such as in measure 4, appear multiple times throughout the piece. For this measure, the articulation is: the 16th note staccato, the two 32nd notes legato, the subsequent 16th note staccato. This pattern repeats: two 32nd notes legato, the next 16th note staccato, and finally, the last two 32nd notes legato, connecting to the next measure. All other rhythmic patterns can generally be played legato (of course, many exceptions are possible, so the final decision rests with the performer).

Technical Considerations

The C# in the left hand at the end of measure 10 must descend to a D# 14th lower in the next measure. In this case, the pattern of three eighth notes in the left hand begins in measure 9 and continues until measure 15. Even if these are played legato, the wide leaps from measure 10 to 11 and from measure 12 to 13 will inevitably cause a break. While it might be acceptable for them to break, it is also possible to connect them with a momentary pedal. Please consider this as an option.

Balance of Two Voices

From measure 1, the notes in the right and left hands already appear alternately. In such patterns, playing both voices at the same volume can sound quite rigid. By playing one of the voices softly, for example, pp, the polyphonic order of both voices can be maintained.

Dynamics

Judging from the character of the piece, it is not a work that requires extremely loud dynamics. While the volume increases from the middle section onwards, in the author's personal opinion, measure 39, where the Neapolitan sixth chord is used, is likely the point of highest tension. Alternatively, measure 58 could also be played with increased volume.

Sequences

In addition to straightforward sequences like measures 9-10 and 11-12, for example, the three sequences in measures 33-34, 35-36, and 37-38 each have distinct harmonic characteristics. Measure 38, where they lead, features a Neapolitan sixth, so it can be considered a section of high tension. It is uncertain whether measures 29-32 can be called a sequence, but the character of each measure is distinct, so please give each its own expression.