In the sequence based on the theme, beats 4-9 of the theme are repeated.

Score example provided by: Bärenreiter Verlag

Sinfonia No. 6 in E major

The E major Invention and Sinfonia are written with truly delicate colors. These two pieces alone convey Bach's sentiment towards E major. However, when these pieces are heard in lessons or competitions, many errors are often audible. When studying three-part polyphony, the most important thing to pay attention to is maintaining the polyphonic order, ensuring that each voice is sustained for its correct note value and that rests are observed. However, these details are often overlooked. We will first address this issue. Sections that are typically cut will be discussed later.

At the beginning, the subject starting in the treble clef, played by the right hand, is not the soprano. It is the alto. The soprano has a whole rest written. Therefore, differentiate the timbre of the alto from that of the soprano, which enters from the second measure. The alto should be played softly, while the soprano should be bright and clear. Assuming the alto subject at the beginning ends on the first G# in the second measure, making the subject short, the shaping should peak at the third beat of the first measure and then descend, so the first alto G# in the second measure should be pp. Similarly, the soprano subject starting from the second measure ends on the first beat of the third measure, so it should also be pp. This is the basic shaping.

From measures 3-5, differentiate the timbres of the soprano and alto so that they do not sound like a single voice. The first beat of measure 7 is both the end of the alto subject and the resolution of the chord (V-I), so it should also be played pp. A note that learners often cut is the alto G# in the second beat of measure 10. This note resolves to C# in the next measure, so absolutely do not cut it. In the third beat of measure 11, the alto enters below the soprano. Again, try to make sure they do not sound like the same voice. The same applies to the third beat of measure 12.

In measure 17, on the first beat, the soprano and alto are in octaves, but be careful not to apply too much force. The alto is at the end of the subject, and the soprano should also not start too loudly. This dotted half note in the alto should also be sustained firmly until the next A#. From measures 20-22, ensure that the bass and alto are sustained for their correct note values.

In measure 23, the first beat of the soprano is the last note of the subject from the previous measure, so it should ideally be played softly, fading away. However, this E should be played somewhat louder than usual. This is because this note is tied and sustained until the next measure 24, and it needs to remain in the listener's ear. A similar passage is the B on the first beat of measure 26. This B, in particular, descends to A, G#, F#, E, D#, so a certain initial volume is necessary to allow for a diminuendo.

In measure 34, after the fermata, count two beats of rest from the moment it cuts off before entering measure 35. In measure 38, sixteenth notes appear in the soprano, so play them softly, lightly, and without heaviness. From measures 40-41, play improvisationally.