By David W. Beach
Musicians--listeners, performers, and students alike--have frequently felt a profound connectedness among quite a few routine in multimovement works through the good composers. yet sensing musical team spirit is something; exhibiting it really is 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 loved solo works for violin and for cello-from this angle. via cautious realization 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 hobbies of a set in a number of methods, occasionally by way of overt yet usually by means of extra refined potential. elements of solidarity in J. S. Bach's Partitas and Suites therefore offers new perception into the internal workings of those nice works. David W. seashore is a popular song analyst and historian of song conception who lately retired as Dean of the college of tune, collage of Toronto. He co-translated Kirnberger's The artwork of Musical Strict Composition and edited facets of Schenkerian conception (both for Yale college Press) and is co-editor of track thought in suggestion and perform (Eastman reviews in song, collage of Rochester Press).
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Additional info for Aspects of Unity in J. S. Bach's Partitas and Suites: An Analytical Study (Eastman Studies in Music)
Partita I (BWV 825). 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.
Melodically the first part is characterized by two descending sixth progressions, the first from the inner-voice tone e2 (bar 4) to g1 at the G-major internal cadence and the second from g2 (implied) in bar 9 to b1 at the cadence on the dominant. As occurred in the Allemande, g2, supported by tonic harmony, is restated in part 2 before its chromatic alteration leading to the subdominant supporting the upper neighbor tone a. Here again the cadence is in the lower register, but the continuation is in the upper register.
Though a rhythmic idea can be subjected to augmentation and/or diminution in the course of a work, repetitions are most often at the same level. Undoubtedly the most famous example of this phenomenon in the classical literature is the rhythmic motive that pervades Beethoven’s Fifth Symphony. While this idea is associated with specific pitches at specific points in the composition, it is the rhythm, not the pitch, that defines it as a motivic idea. We have, in fact, already encountered a rhythmic motive in our brief discussion of the Toccata from Partita VI (BWV 830) in chapter 1.
Aspects of Unity in J. S. Bach's Partitas and Suites: An Analytical Study (Eastman Studies in Music) by David W. Beach
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