By David W. Beach
Musicians--listeners, performers, and students alike--have frequently felt a profound connectedness among numerous activities in multimovement works by means of the nice composers. yet sensing musical team spirit is something; displaying it's one other. In points of solidarity in J. S. Bach's Partitas and Suites, David seashore examines a number of the 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 quite a few structural degrees, made undeniable to the attention in several annotated musical examples and diagrams, seashore establishes that Bach usually did hyperlink numerous routine of a set in a variety of methods, occasionally via overt yet frequently through extra refined potential. elements of solidarity in J. S. Bach's Partitas and Suites hence offers new perception into the interior workings of those nice works. David W. seashore is a well known track analyst and historian of track idea who lately retired as Dean of the college of tune, collage of Toronto. He co-translated Kirnberger's The paintings of Musical Strict Composition and edited points of Schenkerian conception (both for Yale collage Press) and is co-editor of track thought in thought and perform (Eastman experiences in track, college of Rochester Press).
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Additional resources for Aspects of Unity in J. S. Bach's Partitas and Suites: An Analytical Study (Eastman Studies in Music)
Instead Bach substitutes for the expected A-minor harmony a six-five chord above c , thus propelling the music on to a new goal, which is achieved in bar 24. 12. 7 For our final example in this group let us turn our attention to a work in E minor, English Suite V (BWV 810). Three movements of this suite—the Allemande, Courante, and Sarabande—share a large-scale harmonic design involving a confirmed modulation to the subdominant (A minor) in part two of the binary form. 13. Harmonically all three movements progress as expected to the dominant at the cadence closing part 1, through they differ considerably in their details.
Qxd 03/08/2005 2:32 PM Page 39 4 Structural Associations a) Sarabande, 1-16. C ! 43 C C C W C C 7 C C ! C T of our investigation into the role of motive as a unifying device in Bach’s suites, the focus now being on motive within the context of structural voice-leading. The term “structural” is used here and elsewhere in this work to refer specifically to Heinrich Schenker’s concept of structural levels progressing from the Ursatz (fundamental structure). It is extremely important that we make a clear distinction between this concept of musical structure and other means of musical organization, like form and key succession.
Both open in a similar fashion, with the motion 8– 7 over a tonic pedal, and, following the initial four-bar prolongation of the tonic, both progress through the same or equivalent harmonies to the dominant (bar 9). qxd 03/08/2005 2:30 PM Page 16 16 Aspects of Unity in J. S. 1. Occurrences of 7 (A ) in Partita I (BWV 825) Courante, 6-12 6 Y C ! Y Y 46 B w # YY 6 CB O Y4 8 C C w YY Y W CA O ! C C C C C C C CO C C XC C g C XB C C Cw C C Y B ! 1. 2 This same means of modulating to the dominant has been foreshadowed in the Praeludium (bars 7–14).