By David W. Beach
Musicians--listeners, performers, and students alike--have usually felt a profound connectedness among a number of events in multimovement works via the good composers. yet sensing musical team spirit is something; exhibiting it's one other. In elements of team spirit in J. S. Bach's Partitas and Suites, David seashore examines the various forty-four works by way of Bach during this genre-for keyboard, orchestra, and solo tools, together with the cherished solo works for violin and for cello-from this attitude. via cautious recognition to motivic and harmonic repetitions at quite a few structural degrees, made simple to the attention in different annotated musical examples and diagrams, seashore establishes that Bach usually did hyperlink numerous activities of a collection in a number of methods, occasionally by way of overt yet usually by means of extra sophisticated skill. points of team spirit in J. S. Bach's Partitas and Suites therefore presents new perception into the internal workings of those nice works. David W. seashore is a popular song analyst and historian of tune thought who lately retired as Dean of the college of track, collage of Toronto. He co-translated Kirnberger's The artwork of Musical Strict Composition and edited features of Schenkerian idea (both for Yale college Press) and is co-editor of song conception in thought and perform (Eastman experiences in track, college of Rochester Press).
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Extra resources for Aspects of Unity in J. S. Bach's Partitas and Suites: An Analytical Study (Eastman Studies in Music)
What is preserved is the scale-degree succession. There are HE WORD also cases where the pitch content of two ideas is so similar that it is the contour that differentiates them. We have observed just this situation in our brief encounter with the Menuet from French Suite II (BWV 813). What were identified as motives a and b, originally stated in bars 1 and 5, respectively, are defined by contour. 2 and the accompanying discussion in chapter 1. Repetitions of pitch motives are subject to a greater variety of manipulation than rhythmic ones.
Of greater significance to this discussion are the contents of the second part of the binary form, including the modulation to vi. With the exception of the Gigue, the modulations to the submediant are achieved in much the same way. Following confirmation of the modulation at the cadence, the simplest of the movements, Bourrée I, progresses directly to II7 (ϭ V7 of V) and on to closure. In both the Allemande and the Courante, the progression of harmonies continues in very similar fashion to the subdominant and then to the supertonic, each introduced by their dominants (in one case by a substitute for the dominant, the diminished-seventh chord).
7. The main feature of this scheme is the confirmed modulation in part 2 to the submediant (vi) followed by a motion to the subdominant, completing the large-scale descending arpeggiation by thirds as preparation for closure. 4 Furthermore, there are other features that reinforce the association between the first two movements in this group of five, the Allemande and the Corrente. 8. Note that the octave progression, also employing the lowered seventh degree of the scale, was heard at the very end of the Praeambulum, as shown at c.