&dAEDITOR'S PREFACE:

-- SOURCE:   This CCARH edition of the Two-Part Inventions follows J.S.  
Bach's autograph ms. of 1723, now in the Berlin State Library, BB Mus.ms.  
Bach P 610, as it is reproduced in J.S. Bach, &dBTwo- and Three-Part Inventions: 
&dBFacsimile of the&d@ &dBAutograph Manuscript, &d@1968 (repr. 1978) Dover Publications, 
New York, NY (itself a photographic reproduction of the facsimile edition 
published by C.F. Peters, Leipzig, no date). Stage1 and original Stage2 data  
entry were done from the Bach Gesellschaft edition, vol. iii, p. 1-18. I have 
generally preserved BG's placement of clef changes and cautionary accidentals 
(though these were corrected when they were wrong according to P 610), but I 
altered note beaming to conform with P 610.  


-- ORNAMENTS:   Each ornament is represented by a one-letter code. The codes 
for both common ornaments and unusual ones are described in the table below; 
unusual ones are also described in a footnote in the first file in which they 
appear (which is indicated in the table; r.h. = right-hand part, Track 01; 
l.h. = left-hand part, Track 02). The sources I used for classifying and
interpreting the ornaments are these:

   Putnam C. Aldrich, &dBThe Principal Agrements of the Seventeenth and 
&dBEighteenth Centuries: A Study in Musical Ornamentation&d@, PhD. thesis, 1942, 
Harvard University, 3 vols.

   J.S. Bach, &dB"&d@Explication &dBunterschiedlicher Zeichen..."&d@, the table of 
ornaments drawn up for his 10-year-old son in the &dBClavier-Buchlein vor 
&dBWilhelm Friedemann Bach&d@, reproduced in the Dover facs., p. vi. This table is 
also somewhat inaccurately transcribed in BG vol. iii, p. xiv (the second 
"Accent und Trillo", whose sign begins with a straight upward stroke, is 
transcribed with a beginning curve, confusing it with the second 
"Doppelt-Cadence"). A note of caution: As useful and popular though it is as 
a guide to Bach's probable intentions, this table is apparently but a brief 
extract from a longer table of 1689 by Jean-Henri d'Anglebert that was widely 
copied in Bach's time; and it is, of course, only a generalized table, not an 
absolute prescription for how to interpret each ornament in each particular 
context in which it occurs. I have transcribed the names and written-out
realizations of the ornaments in the "Explication" in the file DOC\EXPLICAT.

   Robert Donington, "Ornaments", &dBThe New Grove Dictionary of Music and 
&dBMusicians, &d@ed. Stanley Sadie, 1980 Macmillan Publishers Ltd., vol. 13, p. 
827-67.
                                                               
   Frederick Neumann, &dBOrnamentation in Baroque and Post-Baroque Music,&d@ 
&dBWith Special Emphasis on J.S. Bach, &d@1978 Princeton University Press,
Princeton, N.J. This detailed and exhaustively researched book is 
controversial, mostly because of its author's advocacy of flexibility and 
consideration of circumstance in the performance of Baroque ornaments: in 
particular, because of his assertions that trills and mordents may be not 
invariably begun on the beat but sometimes before, and that trills may 
sometimes begin on the main note rather than on the more conventional upper 
auxiliary. To the lay musician, these may seem to be reasonable and 
inoffensive conclusions, given the improvisatory nature of Baroque music; but 
it is over just such insignificant but reputation-defining scraps of ground 
that the battles of academic specialists are waged most tenaciously. In 
acknowledgement, therefore, of the strongly held views of other scholars, I 
identify in my footnotes the points where my interpretations are based on 
Neumann's by citing references to his work.



--TABLE OF ORNAMENT CODES: 
Common:
t = trill (written as "tr" or "t" with a squiggle)
w = trill (written as a squiggle or two, like a modern inverted mordent)
M = mordent
r = turn (on the beat)
d = delayed turn (off the beat) 
S = arpeggio 

Unusual:
t~ = long trill (more than two squiggles): Inv. 2, BWV 773, l.h.  
U = compound turn-trill-mordent (second "Doppelt-Cadence u. Mordant" in 
    "Explication"): Inv. 5, BWV 776, r.h.
T = compound turn-trill (second "Doppelt-Cadence"): Inv. 9, BWV 780, r.h.
N = multiple mordent: Inv. 9, BWV 780, r.h.
J = compound slide-trill (first "Doppelt-Cadence"): Inv. 9, BWV 780, r.h.
K = compound slide-trill-mordent (first "Doppelt-Cadence u. Mordant"): Inv. 
    11, BWV 782, r.h.


                                          &dB-- Steven C. Rasmussen
                                             &dBCCARH
                                             &dB09 August 1993