This Toccata, written by Bach in G major, gives a bright and powerful impression, making it an extremely optimistic toccata. Slightly different from other toccatas, this one gains charm by maintaining a relatively steady tempo, close to a metronomic precision. Let's take a look.

Measures 1-56

Just by looking at measures 1-2, one can observe Bach's humorous side. The same note is written every two beats. This passage is clearly written with a concerto in mind, where a small ensemble of instruments alternates with a large ensemble. The section where many instruments play is a continuous descending triad in stepwise motion from the upbeat of beat 3 in m. 3 to the downbeat of beat 1 in m. 5. Immediately after this, a small ensemble or solo instrument begins. These pairs of large and small ensembles form the basis, progressing by continuously changing their forms and keys. Abrupt dynamic contrasts are required.

For instance, instead of shaping within the sections of the large or small ensembles, it is sufficient to simply create a dynamic difference between the large and small ensembles. In fact, this approach enhances the orchestral feel. This means, for example, there is no need to diminuendo the descending chords in stepwise motion; rather, play that entire section very loudly to create a contrast between that texture and the differing texture.

The keys for these large ensemble sections are: G major in m. 3, D major in m. 10, E minor in m. 21, B minor in m. 32, and G major in m. 51. To prevent the performance from becoming monotonous, performers should consider various factors such as which keys have higher tension, which are softer, or which are more subdued, when determining dynamics.

From measures 39-48, the same figuration continues. Here too, dynamics must be varied.

Measures 57-80 Adagio

The theme of this Adagio does not appear at the beginning. It finally emerges in measure 61. It is E G F# E D, from beat 1 to the downbeat of beat 3 in the alto voice of measure 61. Please look for this motif.

From measure 61 onwards, it is written in almost every measure. You may prioritize bringing out this theme, or you may prioritize the soprano. In any case, one voice part should prevail over the others, and care should be taken to ensure that all four voices do not have the same volume. The third beat of measure 78 may be played with a sense of conclusion. The subsequent measures 79-80 should be treated as a Coda.

Measures 81-177 Allegro e presto

This is a fugue. The subject is long, extending from the anacrusis D in measure 81 to the D on beat 2 of the fourth measure (relative to the subject's start, i.e., m. 84 beat 2). Variant versions of this theme also appear, which should also be considered as part of the theme. This theme modulates within itself. The keys listed below indicate the starting key. I will explain them.

• Measure 81 Soprano G major
• Measure 84 Alto D major
• Measure 88 Bass G major
• Measure 99 Soprano G major
• Measure 114 Soprano E minor
• Measure 117 Alto B minor
• Measure 118 Bass B minor (Stretta)
• Measure 123 Soprano G major
• Measure 126 Bass D major
• Measure 135 Alto D major
• Measure 142 Bass A minor
• Measure 154 Soprano G major
• Measure 158 Bass G major
• Measure 164 Soprano G major

Accompanying this, numerous 'fragments of the theme' appear. There are also many strettos.

In Bach's case, it is almost certainly true that the volume increases as the distance between the left and right hands widens. In this sense, measures 146-149 can be considered to have quite high tension.

Above all, proceed joyfully, optimistically, without breaking tempo, and with a steady flow.