Bach’s Chorale Pedagogy

Abstract

Largely because of the proselytizing efforts of J. P. Kirnberger, J. S. Bach’s four-part vocal chorales (Choralgesänge) have come to be viewed as idealized microcosms of Baroque composition. For this reason, the Choralgesänge have enjoyed pride of place in compositional instruction for over two centuries. Yet recent archival discoveries have begun to problematize this hallowed pedagogical patrimony. A growing number of manuscript sources originating from Bach’s circle contain chorales melodies with multiple figured basslines. This focus on outer voices and thorough bass at the keyboard aligns quite well with C. P. E. Bach’s account of his father’s teaching, in which pupils first composed inner voices to a given outer-voice framework, and later learned to compose their own basslines. These findings suggest that our image of the “Bach chorale” should be broadened to include such Choralbuch settings with multiple basslines—a reframing that in turn has potential ramifications for historically informed teaching today.