It’s 9 a.m. and I’m practicing Bach: the Fugue No. 4 in C-Sharp Minor.

The subject starts soft and low, with long, ponderous notes that feel more like a harmonic outline than a melody. But soon it evolves into a tapestry of musical lines moving at four different speeds.

(Here's my version, recorded in my living room.)

A collection of pencil markings from a month of practice are scattered across the pages: finger substitutions, circles, slashes, and arrows propelling the sound forward. Highlighting musical texture like topography on a map. Ties drawn like suspension bridges, measure across measure.