Welcome to Day 8, the P&F in Gb minor/F# minor WTCI. Difficult no matter how you slice it up. Why two key signatures? These pieces were written to show off “well-tempered tuning,” a new technique. Gb minor and F# minor would have been, I understand, considered slightly different, although they are enharmonic (the same keys exactly) on modern keyboards. The point of the entire WTCI was to show that you could play the entire book in all 24 keys without re-tuning your harpsichord, or whatever your preferred keyboard was. Still, he keeps the F# Major P&F in one key. Why abuse the keyboardist for the minor key? I’m left with this conclusion: JSB had a perverse streak, or he was punishing one of his students. Or both.