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WTF Bach

WTF Bach

Di: Evan Shinners
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A proposito di questo titolo

 Hear the music of J.S. Bach with new understanding! For music lovers, to professional musicians, Let Evan Shinners, (aka W.T.F. Bach) guide your mind through a contrapuntal journey. Subscribe at wtfbach.substack.com for the full experience.

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Episodi
  • Ep. 120: A Double Canon (4 Parts from 2 Lines)

    Ep. 120: A Double Canon (4 Parts from 2 Lines)
    Jan 19 2026

    A double canon from Bach’s Orgelbüchlein! A bit late, but Bach’s take on this Christmas tune is really wonderful. See how both melodies combine to make a double canon:

    German mystic, Heinrcih Seuse, author of ‘In Dulci Jubilo’

    English composer R. J. Pearsell’s setting of the melody.

    Spread the Love, Doubly Canonic:

    N.B. I’ve been wanting to make this rebrand for a while: The title of this podcast is no longer “The WTF Bach Podcast” but simply, “WTF Bach” — I hope this doesn’t cause any problems, if you run in to any issues as all, please alert us! Thanks!

    Want to help this resource? Here’s how:

    We encourage our listeners to become a paid subscriber atwtfbach.substack.comFree subscriptions are also beneficial for our stats. You can make a one-time donation:

    https://www.paypal.me/wtfbachhttps://venmo.com/wtfbach

    Supporting this show ensures its longevity. Thank you for your support!



    Get full access to W.T.F. Bach? at wtfbach.substack.com/subscribe
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    23 min
  • Ep. 119: Special Guest! Paul Jacobs

    Ep. 119: Special Guest! Paul Jacobs
    Jan 15 2026

    I had the great pleasure of speaking with Mr. Paul Jacobs. On the 250th anniversary of Bach’s death, July 28th, 2000, Jacobs played Bach’s complete organ works in one giant 18 hour concert— he was 23.

    Our conversation spans how to memorize, scholars vs. performers, pianists playing the organ, pop music, music for consumption, ‘social media musicians,’ music as a substitute for God, The Art of Fugue (harpsichord or organ?) and more…

    Become Your Best Buxtehude:

    Some links mentioned in the chat:

    Organmaster Shoes

    The Robertsbridge Codex

    Schumann’s advice for young musicians

    and of course, Paul’s website.

    Want to help this resource stick around? Here’s how:

    We encourage our listeners to become a paid subscriber atwtfbach.substack.comFree subscriptions are also beneficial for our numbers.

    You can make a one-time donation:

    https://www.paypal.me/wtfbachhttps://venmo.com/wtfbach

    Supporting this show ensures its longevity. Thank you for your support!



    Get full access to W.T.F. Bach? at wtfbach.substack.com/subscribe
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    1 ora e 13 min
  • Ep. 118: How to Practice! (+ Advice for Teens)

    Ep. 118: How to Practice! (+ Advice for Teens)
    Jan 8 2026
    Update: Just got five promo codes to download Time Guru (the cool metronome app mentioned in the episode.) Send me a message or let me know down below you’re interested and I’ll share the codes! Happy PracticingLet’s get our good new habits in early in the year! In this episode, I read practical advice from three organists/organ method books. The organ method books are in a class of their own— highly entertaining reading.We begin with Francis Routh’s Teach Yourself The Organ (1958.) His asterisk marking the complete works of Buxtehude as ‘fairly easy’ is representative of this amusing book:Harold Gleason’s method book of 1962 makes up the bulk of this episode, the complete advice is pasted below.We feature some of Fayth Freese’s excellent article from The Diapason. I recommend the full read. And here is the advice to teens I made for the Harrison School for the Arts in Lakeland Florida. I cannot emphasize enough how music should be a joyous process at this age, never an abusive one.From Gleason (bold type is my emphasis)HOW TO PRACTICE:* Make a schedule for daily practice. Devote a definite amount of time to technique, to new music, to perfecting music already studied, and to memorizing. Devote at least one hour a day to piano practice. Later the student will need to reserve time for perfecting the many skills required for playing the church service.* Practice as if the piece were being memorized (see the section on Memorizing).* Study the music before beginning to practice. Note the key signature, time signature, note values, fingering, pedaling, structure, special problems, and general style. If the fingering and pedaling is not given or is inadequate, it should be carefully worked out according to the principles given in the sections on Fingering and Pedaling.* Memorize and always use the same fingering and pedaling. Incorporate the articulation, phrasing and interpretation into the practice.* Try to avoid playing wrong notes or incorrect time values from the first time an exercise or piece is practiced. If a wrong note or rhythm is played, do not immediately correct it. Go back to the beginning of the phrase and repeat the passage correctly a number of times.* Concentrate on the work at hand and avoid mechanical, unthinking practice and repetition. Always practice after a lesson.* Practice slowly in the following sequence: right hand; left hand; both hands; pedal; right hand and pedal; left hand and pedal; both hands and pedal. Begin the slow practice of short sections for both hands and pedal while working on separate parts.* When the phrases and sections of a composition have been mastered at a low tempo, play it all the way through. When this has been accomplished with complete muscular control and accuracy, the tempo may be gradually increased. Return to slow, detailed practice of sections which are not secure, and repeat this process at succeeding practice periods.* Always practice at a steady tempo. Do not play easy places fast and difficult places slowly.* Devote the most attention to difficult passages.* In contrapuntal music, play one or more parts and sing another part.* In passages of a technical nature, the practice of four-note groups in the various rhythmic patterns is helpful in developing speed and control.* Stop practicing and relax for a few minutes at the first sign of tension.* When practicing technical exercises for manuals and pedals, and when first learning a piece, use clear, quick-speaking stops of 8’ or 8’ and 4’ pitch (Gedackt 8’, Principal 4’).* As soon as the notes in a composition have been mastered, work out an appropriate registration.* The drawing of stops and the use of combination pistons and reversibles should be carefully practiced and synchronized, in order not to interfere with the performance of the music.* Above all, the student should learn to listen and hear that the parts are sounding together, are released together, and that the touch, rhythm, accents, and interpretation are actually being realized as intended.How’s Your Contrapuntal Journey Fugueing?HOW TO MEMORIZE:The principal reason for playing from memory lies in the fact that it will result in a better performance, both technically and musically. The perfectly memorized work becomes a part of the performer and gives him complete freedom of expression.When a piece of music is practiced correctly and efficiently, it is also being memorized, and good practice habits will lead to a continual improvement in the ability to memorize.After a composition has been thoroughly learned with the notes, the complete process of memory should be undertaken. Concentration and interest in learning are indispensable to the memory process.There are four types of memory which are used in music. Three of these types—aural, visual, and motor memory—depend on our senses or imagery. The fourth, and most important type, is known as cognitive memory. It is based on knowledge and is the memory...
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    30 min
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