Performance Record of J.S. Bach – Invention No. 3 in D Major, BWV 774

Overview: A performance record of J.S. Bach’s Invention No. 3 in D Major (BWV 774), recorded in September 2025 by Reiji at age 9. This interpretation highlights structural parallels with Invention No. 4, while exploring how overtone resonance suits the major-mode passages and subharmonic resonance suits the minor-mode ones. The analysis reflects careful attention to cadences, trills, and rhythmic groupings across the two works.

Note: All content on this page is originally explained by Reiji in Japanese. The English version is translated by AI and structured by a parent, with Reiji's final approval.

Reiji's Words and Ideas

• This piece (Invention No. 3) shares several similarities with the following Invention No. 4.
• In No. 3, measure 54 ends with a deceptive cadence (V–VI). Likewise, in No. 4, measure 49 (counting from D minor) also follows V–VI, showing a similar progression.
• In measures 26–31 of No. 3, there are two long notes that are not written as trills in the score. When performed as trills, they resemble the two long trills in No. 4.
• In No. 3, measures 47–50 in the right hand group notes into threes and sixes; in No. 4, measures 34–37 in the left hand use groups of threes, then expand into groups of six from measure 38 onward.
• Despite these parallels, treating both works the same causes overtone imbalance: No. 4 (minor) fits subharmonics, while No. 3 (major) aligns with overtones. Forcing one toward the other creates clashes at the third scale degree.
• Therefore, my approach was to emphasize overtone resonance in the major-mode sections of No. 3 and subharmonic resonance in the minor-mode passages.

* These are personal reflections by the performer.