Notes:
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| WTC II | Early versions (E) | London Autograph (L) | Altnickol Tradition (A) |
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| Mvt | BWV | Date | Features | NBA V/6.2 | Features | Later Revisions | Main Features |
|---|---|---|---|---|---|---|---|
| Pr.C | 870a/1 | early 1720s | 17 bars | 307; 310-311 | based on E, extended to 34 bars; composing the new extensions on the score (bb.15-19 & 28-35); many details also altered | replacing bb.15-19 with improved texture; minor harmonic alterations | newer than L; bb.15-19 reworked once again; numerous minor details also reworked |
| Fg.C | 870a/2 | early 1720s | ¢, 34 bars (68 in 2/4) | 308-309; 311-313 | based on E, extended to 83 bars by composing the new extension (bb. 69-83) on the score | early revisions made only to bb.69-83 | newer than L; bb.69-83 are reworked |
| Pr.c | copied by Anna Magdalena; minor corrections only | no later revisions | derived from the same exemplar as L; later revision of b.12 | ||||
| Fg.c | ca. 1738? | many minor variants | n/a | copied by Anna Magdalena; minor corrections only | pitch correction at b.9: T,1/2 | derived from the same exemplar as L; minor variants only | |
| Pr.C# | 872a/1 | ca. 1738 (but possibly originates in 1720 or earlier) | C major; non-arpeggiated chord texture | 344-345 | revision based on E (potentially carried out while copying): all the individual chords in bb.1-24 systematically arpeggiated in sophisticated fashion; minor textual modification to fugato (bb.25-50) | added ornaments in bb.29-30 | newer version than L; having more inspired tenor line in bb.1-24; change of figuration at b.34 |
| Fg.C# | 872a/2 872b | early 1720s ca. 1738 | 19 bars, C major 30 bars, C major | 358 352-353 | revised version based on BWV872b, worked out here - improved texture and the inserted new section bb.25-29 (containing 2 augmented entries) | later addition of demisemiquavers in bb.8 - 29 | newer than L; further furnishing with demisemiquaver figures in bb.15-16, 19-20 and 26-27 |
| Pr.c# | presumably an revision score based on the same exemplar as A., improving many minor details while copying out - thus Bach eliminated some of the trace of an earlier readings | added accidentals (melodic revision) in bb.20, 22, 30, 44 and 47. | derived from the same exemplar used for L; fully written out appoggiatura notation; some ornaments added subsequently | ||||
| Fg.c# | as above; number of variants are fewer | a few added accidentals (notational updates) only | derived from the same exemplar used for L; updated and revised again by Bach (e.g., bb.26 and 54), giving mixed state of readings | ||||
| Pr.D | as Pr.c#; noteworthy inspired readings are thickened texture at bb.20 & 40; chromatic shade at b.27; melodic shape at b.36: B,4 | a few minor notational corrections only | derived from the same exemplar used for L; subsequent pitch revision at b.52: B,3/2 and added ornament at b.45: B,2 | ||||
| Fg.D | as Pr.c#; notable early revisions includes the introduction of semiquaver figuration at bb.22 and 44 | early revisions only | derived from the same exemplar used for L | ||||
| Pr.d | 875a | early 1720s | 43 bars | 346-347 | copied by Anna Magdalena from the exemplar which was extended to 53 bars (see NBA V/6.2, pp.348-349); many ornaments are added on to this score | inserting two new sections (bb.10-17; 37-38), becoming total length of 61 bars; improved figuration of bb.18-25, 43-49 | stemming from the lost autograph containing almost identical revisions entered in L (except those in bb.18-25 and 40) |
| Fg.d | ca. 1738 | simpler figuration in places | 356-357 | copied by Anna Magdalena (but her exemplar was presumably revised by Bach based on E) | octave shift up at the stretto entry, bb.13-14 | derived from the revised autograph (similar to L post correcturam) | |
| Pr.Eb | ca. 1738? | 6 bars fragment | XIV (facsimile) | composing score revealing Bachs various compositional tactics | early revisions only | more mature version, using semiquavers in b.46; later revision, inserting a new voice in b.5 | |
| Fg.Eb | ca. 1738 | in D major; stricter contrapuntal writing in bb.30,47-53 | 354-355 | fair copy by Bach in Eb major; free contrapuntal writing in bb.30, 47-53 | early corrections only | very similar to L, but possibly earlier (e.g., b.58: B,1/4) | |
| Pr.d# | fair copy by Bach; some passages are presumably revised while being copying out | one accidental (b.23, S/1/4) added | basically the same version as L (but older in minor details: fewer ornaments, etc.) | ||||
| Fg.d# | fair copy by Bach; some passages are revised while being copying out (e.g., b.18: B,3/2; b.19: B,2/3; b.36, A,1-2; b.43: T,1-2; b.45, 4b t) | early revisions only | based on the exemplar of L, containing many earlier readings; separate later revisions in minor details (b.14: S,2) | ||||
| Pr.E | copied by Anna Magdalena with a few errors remained uncorrected | spurious revision at b.50, B. | updated version of L (e.g., final cadence) | ||||
| Fg.E | copied by Anna Magdalena | a few minor details | almost identical with L | ||||
| Pr.e | fair copy by Bach; many ornaments are presumably added here | no later revisions | derived from the exemplar of L; later inserting demisemiquavers at bb.3, 4, 12 and 22 | ||||
| Fg.e | 71 bar version; some minor details presumably revised while copying (e.g., b.68, S,4/2); some ornaments added | no later revisions | 86 bar version (revised on the exemplar of L); added ornaments and slurs; later pitch revision of b.27: A,4/3 | ||||
| Pr.F | first page copied by Anna Magdalena, then Bach took over (and presumably revised some minor details at this stage, e.g., b.50, T and b.66 ornament) | added performance marks (slurs) | derived from the exemplar of L; later revised by Bach? (b.28) | ||||
| Fg.F | Bach presumably revised the minor details while copying (fuller application of accidentals and thicker voice texture at bb.86-87) | accidental in b.74, A,2/2 | derived from the exemplar of L; Bach revised some details independently in bb.90-93 (added slurs and notational refinement) | ||||
| Pr.f | thinner voice texture towards local cadence (bb.39, 54-56); stricter thematic figuration at b.50; less well-defined L.H. figuration at bb.20-23; bb.63-65 | replaced leaf (a fair copy?, very close to A) | thicker and more fully realised texture; detailed R.H. figuration at bb.57-58; added ornaments in bb.1-2 | ||||
| Fg.f | stricter thematic figuration at b.53; somewhat adventurous voice-split in b.22 | replaced leaf (but music is basically the same) | minor improvements making the musical discourse richer and more powerful (e.g., faster figuration in bb.50 & 61 and suspensions in bb.78 & 83) | ||||
| Pr.F# | Bach presumably revised the minor details (adding ornaments and the use of more refined rhythmic notation at bb.6 & 73) while copying from his exemplar | no later revision | derived from the exemplar of L; later updated and revised by Bach independently; pitch revision of b.71: B,1/2 | ||||
| Fg.F# | Bach presumably revised the minor details while copying (adding ornaments and making concession for the sake of playability at b.52, L.H.) | no later revision | derived from the exemplar of L, which was later independently revised by Bach; many slurs added presumably by Bach | ||||
| Pr.f# | calligraphic, but possibly a composing score, showing many traces of fascinating process of revisions | unauthentic addition of accidentals | unclear source of origin, partly older than L, partly newer; revised independently by Bach | ||||
| Fg.f# | Bach presumably revised the minor details while copying from an exemplar | no later revisions | derived from an earlier state of autograph; later addition of ornaments by Bach in b.20f. | ||||
| Pr.G | 884/1 | ca. 1738? | simpler figuration; the lack of ornaments | 350-351 | copied by Anna Magdalena (her exemplar must have been a revision score) | no later revisions | derived from an earlier state of autograph; later updated to the state of L |
| Fg.G | 902/2 | ca. 1720 | 60 bars; much simpler texture | 332-333 | 72 bars; copied by Anna Magdalena from a revision score | some ornaments added | notationally more mature than L, but fewer ornaments |
| Pr.g | Bach presumably revised the minor details while copying from his exemplar (b.20-21) | no later revisions | derived from an earlier state of autograph; updated and revised independently (b.13: T) | ||||
| Fg.g | Bach presumably revised the minor details while copying from his exemplar (thickening texture at b.22; improving rhythmic texture at bb.44, 48, 82; written-out ornament at b.83, etc.) | no later revisions | derived from the same exemplar as L; later updated and revised, improving character at cadence, bb.45 & 49; and other melodic details | ||||
| Pr.Ab | a rough revision score, showing some interesting revision process | thickened texture at bb.10 and 70 | newer than L (esp. bb.53f completely overhauled) | ||||
| Fg.Ab | 901/2 | early 1720s | in F major, 24 bars | 326-327 | extended to 50 bars and transposed to Ab major | a few corrections and revisions | close to L p.corr; a few newer readings (e.g., b.32: S) |
| Pr.g# | Bach presumably revised the minor details while copying from his exemplar | harmonic revision at b.6, B,2/1 | derived from an earlier state of autograph; updated and revised independently by Bach | ||||
| Fg.g# | a fair copy by Bach with few revisions | no later revisions | basically identical with L | ||||
| Pr.A | a fair copy with some minor improvements at copying stage | added accidental at b.28, B,2/3 | derived from the same exemplar as L | ||||
| Fg.A | Bach presumably revised some details (b.16: B; b.26: S) while copying from an exemplar | early corrections and revisions only | derived from the same exemplar as L; updated and revised independently by Bach (bb.3 & 8) | ||||
| Pr.a | some chain-reactive corrections on thematic figure, suggesting Bach's composing process | early corrections only | derived from an earlier draft, later expanded to be the later version; separate further revisions by Bach (bb.24 & 30) | ||||
| Fg.a | the revised version of A possibly worked out at copying stage; characterised by bolder, more powerful figuration at bb.6, 15 and 17. | no later revisions | an early version entitled Fugetta, later updated and revised by Bach | ||||
| Pr.Bb | Bach revised some details while copying (e.g., bb.34, 45 & 63); further revisions took before 1742 | late, spurious revision on notational matter at b.7: S,4. | derived from the same exemplar as L; later separate revisions by Bach | ||||
| Fg.Bb | the version characterised by inspired treatment of melodic shapes at bb. 19: S and 38: B,1 | pitch revision at b.78, S/6. | derived from an earlier state of autograph, which was independently revised later (e.g., bb.5-6, 88-90); further separate revision (b.88: S) | ||||
| Pr.bb | Bach revised some minor details while copying | pitch (accidental) revision at b.16: B,2/2 | derived from the same exemplar as L, which was partially revised by Bach (b.82: S,2) | ||||
| Fg.bb | transcribed from 3/4 metre while copying: variants (b.31: S; b.33: T), corrections, revisions stem from this activity | updating detailed figuration in b.76: S,1; added accidental at b.79: A,1/3 | derived from the same exemplar as L written in 3/4 metre, which was partially revised by Bach (pitch = b.22: T,3; b.77: T,1/2; performance marks; chromatic shade bb.92-93: T) | ||||
| Pr.B | Bach revised some minor details while copying (possibly including b.2: B) | added rests only | derived from the same exemplar as L, revised subsequently (b.35: T and possibly also b.45: B,1); added ornament of b.43: B,2 | ||||
| Fg.B | a fair copy containing a trace of early readings at b.42, B | removed ties over bar-lines, bb.51-52 in S; pitch revision of b.59: S,1/2 | derived from the updated exemplar of L (excluding the pitch revision of b.59) | ||||
| Pr.b | transcribed from the version written in a half note-value, while introducing many inspired variants (worked out ornament at b.53; fuller voice-texture in b.56; detailed decoration b.57) | no later revisions | derived from the same exemplar as L, which was partially updated and revised subsequently; added performance marks and ornaments | ||||
| Fg.b | Bach presumably revised some details while copying (bb.99-100); the chronological order of two striking variants (viz. bb.16 and 21 on R.H.) is unclear | no later revisions | derived from the same exemplar as L; separate, later revision (chain-reactive pitch revision at bb.52 and 94; appoggiatura at the final chord |