Aspects of Unity in J. S. Bach's Partitas and Suites: An by David W. Beach

By David W. Beach

Musicians--listeners, performers, and students alike--have frequently felt a profound connectedness among quite a few events in multimovement works via the nice composers. yet sensing musical team spirit is something; displaying it truly is one other. In points of solidarity 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 consciousness 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 usually did hyperlink a number of events of a collection in a variety of methods, occasionally by means of overt yet frequently by way of extra sophisticated capability. elements of harmony 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 track analyst and historian of tune conception who lately retired as Dean of the school of song, collage of Toronto. He co-translated Kirnberger's The paintings of Musical Strict Composition and edited elements of Schenkerian idea (both for Yale college Press) and is co-editor of track thought in notion and perform (Eastman experiences in tune, collage 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)

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Examples below will clarify the distinction between these two types. It is possible that a single pitch class, particularly when it is an alteration of a diatonic scale step and thus has a strong aural impact, may function like a motive. 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.

Keyboard Suite (BWV 820) Ouverture C C CO C CO C B C CB h Overture CC S C C C C C C C C C C C C C C 6 Entrée ! 7. Keyboard Suite (BWV 820) B C 6 C C Bourée, though in the former the return to d2 is delayed until the return of the tonic harmony in bar 5. The situation in the opening bars of the Aria is somewhat different. Here the reference to e 2 as upper neighbor note of d2 is clear enough, but instead of returning directly to scale degree 5, the motion continues on to c2 as the middle member of a descending third progression.

Qxd 03/08/2005 2:29 PM Page 13 Introduction themselves. He particularly insisted on the writing out of the thoroughbass in [four real] parts. . The realization of a thoroughbass and the introduction to chorales are without doubt the best way of studying composition, as far as harmony is concerned. Kirnberger, who studied with Bach in Leipzig (1739–41), claimed his major work, Die Kunst des reinen Satzes in der Musik (I, 1771; II, 1776–79), was based on Bach’s method of teaching, a claim supported by Forkel.

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