By David W. Beach
Musicians--listeners, performers, and students alike--have frequently felt a profound connectedness among numerous events in multimovement works by means of the nice composers. yet sensing musical cohesion is something; displaying it truly is one other. In facets of team spirit in J. S. Bach's Partitas and Suites, David seashore examines the various forty-four works through 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 cognizance to motivic and harmonic repetitions at a variety of structural degrees, made undeniable to the attention in different annotated musical examples and diagrams, seashore establishes that Bach frequently did hyperlink a number of pursuits of a set in a number of methods, occasionally by means of overt yet frequently by means of extra refined ability. facets of harmony in J. S. Bach's Partitas and Suites hence presents new perception into the interior workings of those nice works. David W. seashore is a well known track analyst and historian of tune thought who lately retired as Dean of the college of song, collage of Toronto. He co-translated Kirnberger's The artwork of Musical Strict Composition and edited points of Schenkerian idea (both for Yale college Press) and is co-editor of song idea in thought and perform (Eastman experiences in song, 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)
Most common in Bach’s style are scale degrees borrowed from the parallel minor: 7, 6, and 3, as well as 2. Consider, for example, the use of the so-called Neapolitan sixth chord in the second lute suite (BWV 996). Its reappearance in bars 16–18 of the Gigue clearly recalls its original statements in bars 11 and 64 of the Praeludio. 1). B ( 2), which is first introduced two bars from the end of the opening Fantasia as a melodic embellishment of scale degree 1, becomes a characteristic feature of the Gigue subject.
Consider, for example, the use of the so-called Neapolitan sixth chord in the second lute suite (BWV 996). Its reappearance in bars 16–18 of the Gigue clearly recalls its original statements in bars 11 and 64 of the Praeludio. 1). B ( 2), which is first introduced two bars from the end of the opening Fantasia as a melodic embellishment of scale degree 1, becomes a characteristic feature of the Gigue subject. 4 We mentioned briefly in chapter one the employment of 6 as a link between the Allemande and Courante movements of the Praeludium et 03/08/2005 2:31 PM Page 28 28 Aspects of Unity in J.
The first set is taken from the early keyboard suite in G Minor, BWV 822. 8 In three succeeding movements what is preserved or at least alluded to is the neighbor-note progression d2–e 2–d2. This is most clearly stated in the opening bars of the Gavotte en Rondeau and C C C Y ! Y 43 CO C Y ! 5. Keyboard Suite (BWV 821) C g g h (echo) T C C C CC T C C UC O C C C T BO C CC Q C CC O hg CC T C S Q Echo c C Q # YY 3 4 ! 4. qxd 03/08/2005 2:31 PM Page 31 31 Motivic Parallels Ouverture, 1-4 ! Yc CO # CC Yc Entrée, 1-5 !