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Aspects of Unity in J. S. Bach’s Partitas and Suites
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Eastman Studies in Music Ralph P. Locke, Senior Editor, Eastman School of Music (ISSN 1071–9989) The Poetic Debussy: A Collection of His Song Texts and Selected Letters (Revised Second Edition) Edited by Margaret G. Cobb Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies Edited by Elizabeth West Marvin and Richard Hermann Music and the Occult: French Musical Philosophies, 1750–1950 Joscelyn Godwin “Wanderjahre of a Revolutionist” and Other Essays on American Music Arthur Farwell, edited by Thomas Stoner French Organ Music from the Revolution to Franck and Widor Edited by Lawrence Archbold and William J. Peterson Musical Creativity in TwentiethCentury China: Abing, His Music and Its Changing Meanings (includes CD) Jonathan P. J. Stock Elliott Carter: Collected Essays and Lectures, 1937–1995 Edited by Jonathan W. Bernard Music Theory in Concept and Practice Edited by James M. Baker, David W. Beach, and Jonathan W. Bernard
Music and Musicians in the Escorial Liturgy under the Habsburgs, 1563–1700 Michael Noone Analyzing Wagner’s Operas: Alfred Lorenz and German Nationalist Ideology Stephen McClatchie The Gardano Music Printing Firms, 1569–1611 Richard J. Agee “The Broadway Sound”: The Autobiography and Selected Essays of Robert Russell Bennett Edited by George J. Ferencz Theories of Fugue from the Age of Josquin to the Age of Bach Paul Mark Walker The Chansons of Orlando di Lasso and Their Protestant Listeners: Music, Piety, and Print in Sixteenth-Century France Richard Freedman Berlioz’s Semi-Operas: Roméo et Juliette and La damnation de Faust Daniel Albright The Gamelan Digul and the Prison Camp Musician Who Built It: An Australian Link with the Indonesian Revolution Margaret J. Kartomi
“The Music of American Folk Song” and Selected Other Writings on American Folk Music Ruth Crawford Seeger, edited by Larry Polansky and Judith Tick Portrait of Percy Grainger Malcolm Gillies and David Pear Berlioz: Past, Present, Future Edited by Peter Bloom The Musical Madhouse (Les Grotesques de la musique) Hector Berlioz, Translated and edited by Alastair Bruce Introduction by Hugh Macdonald
Bach and the Pedal Clavichord: An Organist’s Guide Joel Speerstra Historical Musicology: Sources, Methods, Interpretations Edited by Stephen A. Crist and Roberta Montemorra Marvin The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology Edited by Arved Ashby
The Music of Luigi Dallapiccola Raymond Fearn
Debussy’s Letters to Inghelbrecht: The Story of a Musical Friendship Annotated by Margaret G. Cobb
Music’s Modern Muse: A Life of Winnaretta Singer, Princesse de Polignac Sylvia Kahan
Explaining Tonality: Schenkerian Theory and Beyond Matthew Brown
The Sea on Fire: Jean Barraqué Paul Griffiths
The Substance of Things Heard: Writings about Music Paul Griffiths
“Claude Debussy As I Knew Him” and Other Writings of Arthur Hartmann Edited by Samuel Hsu, Sidney Grolnic, and Mark Peters Foreword by David Grayson Schumann’s Piano Cycles and the Novels of Jean Paul Erika Reiman
Musical Encounters at the 1889 Paris World’s Fair Annegret Fauser Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study David W. Beach
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Aspects of Unity in J. S. Bach’s Partitas and Suites An Analytical Study
David W. Beach
UNIVERSITY OF ROCHESTER PRESS
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Copyright © 2005 David W. Beach All Rights Reserved. Except as permitted under current legislation, no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded, or reproduced in any form or by any means, without the prior permission of the copyright owner. First published 2005 University of Rochester Press 668 Mt. Hope Avenue, Rochester, NY 14620, USA www.urpress.com and of Boydell & Brewer Limited PO Box 9, Woodbridge, Suffolk IP12 3DF, UK www.boydellandbrewer.com ISBN: 1–58046–202–2 Library of Congress Cataloging-in-Publication Data Beach, David W., 1933Aspects of unity in J.S. Bach’s partitas and suites : an analytical study / David W. Beach. p. cm. – (Eastman studies in music, ISSN 1071-9989 ; v. 33) Includes bibliographical references and index. ISBN 1-58046-202-2 (hardcover : alk. paper) 1. Bach, Johann Sebastian, 1685-1750. Suites. 2. Suite (Music) I. Title. II. Series. MT145.B14B44 2005 784.18⬘54–dc22 2005020429
A catalogue record for this title is available from the British Library. This publication is printed on acid-free paper. Printed in Canada.
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to Marcia Francesca, Juliana, and Matthew
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Contents List of Figures
viii
List of Tables
x
Preface
xi
The Partitas and Suites of Johann Sebastian Bach
xv
Part I 1
Introduction
3
The Role of Repetition and Variation
3
The Variation Suite
8
2
Harmonic Plans
15
3
Motivic Parallels
27
4
Structural Associations
39
Part II 5
Keyboard Suite in A Minor (BWV 818a)
57
6
French Suite VI in E Major (BWV 817)
71
Epilogue
85
Appendix: Theoretical Terms and Definitions
87
Bibliography
89
Index
91
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Figures 1.1. Partita VI (BWV 830) 1.2. French Suite II (BWV 813) 1.3. French Suite II (BWV 813) 1.4. Keyboard Suite in A Minor (BWV 818) 1.5. English Suite VI (BWV 811) 1.6. Violin Partita I (BWV 1002) 1.7. Reincken, Hortus Musicus, Sonata I 1.8. Reincken, Hortus Musicus, Sonata I 1.9. Reincken, Hortus Musicus, Sonata I 1.10. Praeludium et Partita del tuono terzo (BWV 833) 1.11. Hypothetical model
4 5 6 6 7 7 9 10 10 11 12
2.1. Partita II (BWV 826) 2.2. Partita II (BWV 826) 2.3. Partita I (BWV 825) 2.4. Partita I (BWV 825) 2.5. Partita I (BWV 825) 2.6. Partita I (BWV 825) 2.7. Partita V (BWV 829) 2.8. Partita V (BWV 829) 2.9. Partita V (BWV 829) 2.10. Cello Suite III (BWV 1009) 2.11. Cello Suite III (BWV 1009) 2.12. Cello Suite III (BWV 1009) 2.13. English Suite V (BWV 810)
15 17 18 19 20 20 20 20 21 21 22 22 23
3.1. 3.2. 3.3. 3.4. 3.5. 3.6.
28 28 29 30 30 31
Partita III (BWV 827) English Suite I (BWV 806) English Suite I (BWV 806) Partita II (BWV 826) Keyboard Suite (BWV 821) Keyboard Suite (BWV 820)
3.7. Keyboard Suite (BWV 820) 3.8. Orchestral Suite I (BWV 1066) 3.9. Keyboard Suite (BWV 822) 3.10. Cello Suite I (BWV 1007) 3.11. Partita IV (BWV 828) 3.12. Partita IV (BWV 828) 3.13. Cello Suite IV (BWV 1010) 3.14. Cello Suite IV (BWV 1010) 3.15. Cello Suite IV (BWV 1010) 3.16. Orchestral Suite I (BWV 1066)
31 31 32 33 34 35 36 36 36 37
4.1. 4.2. 4.3. 4.4. 4.5. 4.6. 4.7. 4.8. 4.9.
Flute Partita (BWV 1013) Flute Partita (BWV 1013) Overture in the French Style (BWV 831) Violin Partita I (BWV 1002) Violin Partita I (BWV 1002) Violin Partita II (BWV 1004) Violin Partita II (BWV 1004) Violin Partita II (BWV 1004) Violin Partita II (BWV 1004)
39 40 41 44 46 47 50 51 52
5.1. Keyboard Suite in A Minor (BWV 818a) 5.2. Interpretation of figure 5.1 5.3. Structural models 5.4. Prelude 5.5. Allemande 5.6. Allemande 5.7. Courante 5.8. Courante 5.9. Sarabande 5.10. Sarabande simple (BWV 818) 5.11. Menuet
57 58 59 60 61 62 63 63 64 65 66
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List of Figures
5.12. Gigue 5.13. Gigue 5.14. Comparison of structures
67 68 69
6.1. 6.2. 6.3. 6.4.
72 73 75 75
Prelude in E (BWV 854/1) Prelude in E (BWV 854/1) French Suite in E Major (BWV 817), Allemande Allemande
6.5. Courante 6.6. Courante 6.7. Sarabande 6.8. Gigue 6.9. Gavotte 6.10. Polonaise 6.11. Petit Menuet 6.12. Bourrée
ix
76 76 78 79 80 81 82 83
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Tables
1.1 1.2
2.1
Formal-tonal design of the Praeambulum, Partita V (BWV 829)
3
Formal-motivic-harmonic design of the Menuet from French Suite II (BWV 813)
5
3.1
Occurrences of 7 (A) in Partita I (BWV 825)
16 2
Harmonization of the stepwise descent from a to g1 in bars 1–5 of the Allemande of English Suite I (BWV 806)
29
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Preface
T
examination of the types and degree of unity—by which I mean the common features—within the individual partitas and suites of Johann Sebastian Bach.1 While this topic has been touched on in passing in recent publications,2 it has yet to be examined in depth from an analytical-theoretical perspective. That is the focus and purpose of this investigation. Perhaps the best way to clarify the focus of this study and how it differs from others of Bach’s suites—that is, to clarify what it is as well as what it is not about—is to begin with the term “unity.” At a very basic level, unity implies consistency of style, which in this context means consistency of melodic writing (including ornamentation), harmonic language, contrapuntal complexity, texture, dimension, etc. Indeed, changes in these parameters are what differentiate Bach’s early style from his more mature works and, for that matter, Bach’s styles from those of his contemporaries, a matter of some importance to scholars faced with the difficult task of establishing chronology and authenticity.3 Equally important as background to our investigation is a consideration of the circumstances under which the suites were written and first published, matters that have been dealt with in depth by Christoph Wolff and others.4 As we approach the issue of unity, it would be comforting to know, for example, that Bach conceived of these works as inseparable entities, but alas that is not always the case. As noted by David Schulenberg: HIS STUDY IS AN
We know from the successive versions of Bach’s later suites that movements could be added or subtracted from such works. Thus, his suites are not closed cycles, but open sets of pieces in the same key . . . . Especially in his early years, Bach, in composing harpsichord pieces, may have set out not to write suites but individual movements that could be grouped together at a later date. . . .5
The manner in which some of the suites were altered from early conception to final version raises at least two pertinent questions regarding
unity. First, does this suggest we are looking for something that simply isn’t there? The evidence, the music, clearly indicates the contrary. Furthermore, it is clear that Bach, and no doubt his predecessors and contemporaries, were well aware of the practice of relating two or more movements of a suite by some unifying device, either a cantus firmus, a common harmonic plan, or a motive. Second, knowing the disparate circumstances under which the suites were written and assembled, would it be reasonable to exchange a movement here and there between two suites in the same key without disturbing the sense of unity? There is no simple answer to this question. Perhaps it would work, but only as long as the two were stylistically compatible as defined above. Let us return now to the matter of focus. I have purposely raised issues of stylistic consistency and historical context, since I believe they are crucial to a comprehensive study of the suites. But I also believe they have been dealt with sufficiently elsewhere, and thus I feel comfortable in looking beyond these matters to other factors—motivic repetition and parallelisms, repeated harmonic and/or voice-leading patterns— that contribute to unity in Bach’s suites. In taking this approach, it must be made perfectly clear from the outset that this investigation is not based on any preconceived notions regarding coherence or unity. Rather it reveals and, where possible, attempts to explain the compositional logic of the common elements where they exist, or, more appropriately, where I have perceived them to be. It should come as no surprise to those who are acquainted with these works that analysis reveals a great variety in the degree and types of common elements between or among the movements of a given suite. At one end of the spectrum are those that exhibit a high degree of unity, sometimes readily perceived but other times existing only in the underlying structure, and at the other end are those revealing no such associations. Finally, I want to stress that by focusing on matters of commonality I am not in any way denying the significance of contrast and differentiation between
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successive movements. These are obvious features of the baroque suite, in most cases derived from the difference dance types of the period. But these features, and for that matter the circumstances mentioned above regarding the progression from early conception to final version of the suites, in no way suggest a lack of continuity or commonality. According to recent research, Bach is credited with forty-four suites: thirty for keyboard/lute; three for solo violin, six for solo cello, one for solo flute, and four for orchestra. A listing is provided in the chart following this preface. As noted above, the results of my study indicate a great variety in the types and degree of interconnectedness among the movements of the individual suites, ranging from no discernible commonality except consistency of style and dimension, to a few that exhibit considerable and varied associations, sometimes between pairs of movements but in other cases involving several of them. Thus I will not be discussing all forty-four, but only those where I have observed connections, namely in about two-thirds of them. Because I have relied on my ear to tell me where I should dig further, it may be that I have missed some interesting connections. In fact I would be surprised if that were not the case, and thus I have no illusions about this study constituting a definitive statement on unity in these works. Rather this is a beginning, a report on my observations on the types of associations I have found. Some of the works will be discussed only briefly, others in great detail. Some of Bach’s suites, particularly those for solo cello and violin and the three keyboard collections, are generally regarded among the great instrumental works of the mature baroque, the culmination of a tradition in Germany that can be traced through preceding generations— individuals like Kuhnau, Buxtehude, Reincken, Böhm, and others—to Froberger. Since these works come from that tradition, it seems logical that at least some of what I have discovered about Bach’s works would apply to the suites by his predecessors and contemporaries like Handel. At the same time, it is clear that Bach surpassed these individuals in the complexity and sophistication of his contrapuntal writing, and thus it would not be surprising to find a richer and more varied complex of relationships in this music. Aspects of Unity in J. S. Bach’s Partitas and Suites is organized as follows. Part I, divided into four chapters, presents the basic findings of this
investigation. Chapter 1 is introductory, opening with a discussion of the role of repetition and variation in individual suite movements as preparation for a consideration of inter-movement connections. This is followed by a section dealing with the variation suite, a topic of central importance to this study. Growing out of our discussion of the Praeludium et Partita del tuono terzo (BWV 833) at the close of the first chapter, the second opens with two further examples—in this instance, excerpts, not complete movements—where the unifying element is the harmonic succession (common figured-bass pattern) and then presents several examples where the unifying pattern is the overall harmonic scheme rather than the detailed progression of harmonics. While an examination of harmonic progression and large-scale harmonic schemes does indeed reveal a number of interesting connections, this approach, in isolation, leads to only a partial picture of unity in these works. We must also consider motive and voice-leading at various levels. This is the focus of the next two chapters, which form the core of my thesis. Chapter 3 introduces an expanded concept of motive, differentiating among three types: 1) the rhythmic motive; 2) the pitch motive; and 3) the voice-leading motive. Drawing on the latter of these types, chapter 4 deals with voice-leading motives at deeper structural levels. Since harmony, motive, and voice-leading structures are musically dependent, it is inevitable that a focus on one will involve reference to the others. As a result, you will encounter a certain amount of crossing of the topic boundaries as outlined above in the initial chapters. Where all this is intentionally brought together is in Part II, which presents two summary examples: the Keyboard Suite in A Minor (BWV 818a) and French Suite VI in E Major (BWV 817). I will employ a number of analytic symbols and techniques, whatever seems to convey the idea most clearly. These will include figured bass, harmonic analysis (roman numerals), simple reductions to show underlying voice-leading in the immediate context, and Schenkerian graphs. I have purposely progressed from simple to complex, and I have attempted to make the Schenkerian graphs, which are useful to represent deeper-level musical connections, as clear and accessible as possible.6 For those not acquainted with this approach I have provided, in an appendix, definitions of theoretical terms employed throughout. It is my hope in writing this book to communicate with all musicians who are
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interested in these wonderful works and, along the way, to open a path to further research into Bach’s music. In closing I would like to thank a number of individuals for their help and expertise in bringing this project to completion: Jessica Lovett, a former graduate student in musicology at the University of Toronto, and my wife, Marcia, for typing and proofreading various versions of the manuscript; several individuals at University of Rochester Press, including Ralph P. Locke, senior editor of the Eastman Studies in Music series, Timothy Madigan and Suzanne Guiod, former and current editorial directors, respectively, Sue Smith, production manager, and Louise Goldberg, copyeditor; and Dejan Badnjar of Musette Desktop Publishing for his very beautiful settings of the numerous musical examples and particularly the graphs that are so central to this study. I also gratefully acknowledge assistance from the Otto Kinkeldey Publication Endowment Fund of the American Musicological Society. David Beach Toronto July 2004
Notes 1. Bach used various terms to designate a set of dance movements, with or without prelude: Overture, Partita, and Suite. The term partita (pl. partite) was used by Bach both in its earlier meaning as variation, as in the Partite diverse, BWV 766–768, and in its later meaning as a collection
xiii
of dance movements in the same key. Throughout this work I will use only the word “suite,” except where referring to a specific work of different title. 2. The issue of unity in Bach’s suites is raised by David Fuller in the article “Suite” in the New Grove Dictionary of Music and Musicians, 2nd ed. (New York: Grove, 2001), 24:665–84, and by Hermann Beck in The Suite, trans. Robert Kolben (Cologne: Arno Volk, 1966). The most comprehensive view of Bach’s compositional style in relation to his suites can be found in the following works by David Schulenberg: “Composition as Variation: Inquiries into the Compositional Procedures of the Bach Circle of Composers,” Current Musicology 33 (1982): 57–87; The Keyboard Music of J. S. Bach (New York: Schirmer, 1992); and “Composition and Improvisation in the School of J. S. Bach,” Bach Perspectives 1, ed. Russell Stinson (1995): 1–42. 3. Regarding the matter of authorship, it is interesting to note that some works previously attributed to Bach have been identified through efforts of modern scholarship as not authentic. See, for example, the list of doubtful and spurious works for keyboard—including individual dance movements and the Suite in A, BWV 824—compiled by Elwood Derr and listed at the end of section III: 7 (Johann Sebastian Bach) in the Bach entry, New Grove Dictionary of Music and Musicians, 2nd ed. (New York: Grove, 2001), 2:372–73. 4. For information specific to the suites, see Schulenberg, The Keyboard Music of J. S. Bach. For general information about Bach and his works, see the entry on Johann Sebastian Bach by Christoph Wolff and others in the New Grove Dictionary of Music and Musicians, 2nd ed. (New York: Grove, 2001), 2:309–82; and Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York: W. W. Norton, 2000). 5. Schulenberg, The Keyboard Music of J. S. Bach, 30. 6. These Schenkerian graphs are of two types: 1) those showing considerable detail (with bar lines included); and 2) those showing only deeperlevel connections.
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The Partitas and Suites of Johann Sebastian Bach I.
Keyboard/Lute A. Individual Works BWV 818/818a 819 820 821 822 823 831 832 833 B.
C.
D.
English Suites BWV
French Suites BWV
Partitas BWV
Suite, A Minor Suite, E-flat Major Overture, F Major Suite, B-flat Major Suite, G Minor Suite, F Minor Overture nach französischer Art, B Minor Suite, A Major Praeludium et Partita del tuono terzo, F Major
806 807 808 809 810 811
Suite, A Major Suite, A Minor Suite, G Minor Suite, F Major Suite, E Minor Suite, D Minor
812 813 814 815 816 817
Suite, D Minor Suite, C Minor Suite, B Minor Suite, E-flat Major Suite, G Major Suite, E Major
825 826 827
Partita, B-flat Major Partita, C Minor Partita, A Minor
E.
II.
III.
Lute BWV
828 829 830
Partita, D Major Partita, G Major Partita, E Minor
995 996 997
Suite, G Minor Suite, E Minor Partita, C Minor
Other Solo Instruments A. Violin BWV 1002 1004 1006 B. Cello BWV 1007 1008 1009 1010 1011 1012 C. Flute BWV 1013 Orchestra BWV
1066 1067 1068 1069
Partita, B Minor Partita, D Minor Partita, E Major Suite, G Major Suite, D Minor Suite, C Major Suite, E-flat Major Suite, C Minor Suite, D Major Partita, A Minor
Suite, C Major Suite, B Minor Suite, D Major Suite, D Major
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Introduction The Role of Repetition and Variation
A
for a study of unity in Bach’s suites is an examination of the role played by repetition and variation, first within individual movements and then between or among them. Repetition—of a harmonic pattern, a motive, or a theme—is basic to our perception of form in this music; without it there is no form or coherence. The important role of motivic repetition in Bach’s suites, which is the primary focus of chapters 3 and 4, was indelibly stamped on my consciousness many years ago by the following experiment. One of my professors announced to his class on Form that he wanted us to listen to a short composition he was going to perform on the piano, and to identify what, if anything, might be lacking in it. He proceeded to play what we all assumed was a suite movement by Bach, an Allemande, as I recall. Actually, what he played was a hybrid formed by juxtaposing the first part of one Allemande with the second part of another one in the same key. At first I listened for harmonic anomalies, but of course there were none; the piece progressed normally. It was only with subsequent hearings that the “problem” became apparent. The two parts were not compositionally linked in any way. That is, the hybrid movement was lacking in motivic integrity. We shall return to this point later on. The role of motive in defining form is most clearly evident in some of the introductory movements of the suites, the preludes and overtures.1 Consider, for example, the Praeambulum from Partita V (BWV 829), where the form is defined by repetitions of a single idea, a motive, at different tonal levels. Statements of this one idea are connected by passages consisting of scales, arpeggios, and sequences. A diagram outlining the main formal divisions and the corresponding tonal progression of this simple movement is provided in table 1.1. Another clear example of the role of motive in defining the form is the opening movement, the Toccata, from Partita VI (BWV 830). The LOGICAL POINT OF DEPARTURE
Table 1.1. Formal-tonal design of the Praeambulum, Partita V (BWV 829) Bars
Content
Tonal Level
1–4 5–16
motive scale passages and arpeggios leading to
I
17–20 21–40
motive sequential passages, arpeggios leading to
V
41–44 45–64
motive scale passage and sequences leading to
VI
65–68 69–72
motive sequence leading to
IV
73–87
prolongation of the dominant (This passage introduces the chromatic elements b (3) and e (6), both of which appear in the Allemande.) extension of the tonic (Note the registrally expanded octave descent from g2.)
V
88–95
I
Note. The registers of pitch are designated throughout this work by the system whereby middle c is c1. Thus g2 is the g an octave and a fifth above middle c.
form of the movement is ternary: A (1–26)–B (27–89)–A1 (89–108). The A section, which is improvisatory and chromatic in character, sets the tone for much of the partita. The improvisatory character is evident in the Allemanda and Sarabande, and the chromaticism becomes dominant in the Corrente and Gigue, less so in the Sarabande. The A section is harmonically closed (E minor), alternating between statements of the main idea (see figure 1.1a), characterized by the dotted rhythmic figure and following appoggiatura (the “sighing” motive), and repeated equalnote figures. The dotted rhythm of the main idea reappears in the Allemanda, Sarabande, and Gigue. The B section is a 3-part fugue. Though clearly a contrasting section in terms of character and texture, the fugue subject may be understood as derived from the opening idea. Here the approach to the main tone (g) occurs by stepwise ascent, each step being articulated by the sighing motive and further elaborated by mordents, rather than arpeggiation as in the opening dramatic gesture. In addition, prolongation of the main tone by its upper neighbor, evident in the opening two bars, is also represented here, though in this instance the tone a passes through the following g on its way to scale degree 2 (f ) and on to local closure, as shown in the underlying voice-leading
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
C C O C CB B C C
W
! c a
# W
C C C C c ascent to
b
# W C h
w
C
BB
w C WC T C C C T C h h
CC
C C
C C WC C
B í
W C C C C O C C CC B
3ˆ
Cw C C C C W C C C C C
C C WC C jh
Figure 1.1. Partita VI (BWV 830), Toccata
superimposed on the music in figure 1.1b.2 The final section returns to the improvisatory character of the opening, beginning in B minor (V) and ending in the tonic. These are but two of the simpler examples of an interesting body of works, the preludes, that are worthy of further study—not only the formdefining role of motive but also the links to the suite movements that follow. Let us return now to the matter alluded to in the opening paragraph, namely the important role of repetition, particularly varied repetition, in the binary dance movements, where, with few exceptions, we find the opening material restated in varied form at the beginning of the second part. In all such cases the original material is transposed, either to the dominant or to the relative major, and in some instances, particularly in gigues, the original idea appears inverted as well. Rarely is the transposition an exact replica. More frequently it is transformed in some way, yet with a recognizable link, perhaps in some instances only rhythmic, to the opening material. In those few instances where there is no reference to the opening material after the double bar there is a link to the preceding material at the cadence, creating a sense of continuity. In all these instances, the repetition and/or link contribute significantly to the aural logic and compositional integrity of the work. There are a few movements where we find a return to the opening material at the original pitch level in addition to the transposed (and
sometimes inverted) reference immediately following the repeat of part 1. Two movements, the Sarabande and Bourrée anglaise from the flute partita (BWV 1013), are in rounded binary form, where the repetition of the opening material occurs in conjunction with a return to the tonic, a procedure that becomes the standard in classical composition. The same procedure is followed in the Courante of the first orchestral suite (BWV 1066). In at least three other movements we find a variant of this procedure, namely where the repetition at the original pitch level does not occur with a true return to the tonic. Consider, for example, the Polonaise and Menuet from French Suite VI (BWV 817). The return at bar 17 in the former movement might at first appear to be a double return, but in this case the E-major harmony is not tonic, but V of the subdominant. And the return at bars 17–18 of the latter is subsumed under a prolongation of the dominant arrived at in the preceding bar. The Sarabande from French Suite V (BWV 816) presents yet a different situation. Here the brief reference to the opening at bar 25 is reharmonized (vi). The Menuet from French Suite II (BWV 813) provides an excellent summary example to our brief examination of the roles of motivic repetition within a single movement and a glimpse ahead to the types of relationships discussed in chapters three and four. The complete score of this movement is reproduced in figure 1.2, and on the score I have indicated repetitions of two surface motives: a, first stated in the right-hand part in bar 1, by a straight bracket; and b, first stated in the right-hand part in bar 5, by a curly bracket. These two ideas are closely related; what differentiates them are their contours. Examination of their deployment reveals how cleverly Bach has used them to articulate the phrase structure. Consider, for example, the first part of the binary form, a modulating period that is divided into two four-bar phrases. Motive a initiates phrase 1, and b initiates phrase 2. Looking now to the next eight-bar period we see that the same pattern applies. This is followed by an eightbar sequence derived from motive b that connects the subdominant, the goal of the preceding period, to the dominant in bar 24. At this point we might expect a return to the tonic and a final eight-bar period closing the movement. Indeed there are eight bars following, the first four initiated by motive a and the last four by motive b, by now a familiar scheme. But instead of a return to the tonic in conjunction with the return of motive a, Bach extends the dominant for four bars, with motive a now in the
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Introduction
# Y3 C Y 4
Y C C C C C ! Y C
6
# YY C
C
S
C
a (var.)
C
.C
C.
C
Y .C
C.
C
a
C C C C C C : : C
C C XC C YC C
Y C C C C C ! Y
C C
C C XC C C C
aY
a
C YC C C C # YY C
XC
S
S
XC C
C
b
Y YC C C C C C ! Y # YY
C
YC C
C C C C C C
C
C C
C
Y C C C C ! Y C XC
C C C C C C
# YY XC
C
22
C C a
27
!
YC C C XC C YY C
# Y XC Y C
C
YC
XC
C
C
C C
S
a
YC C C YC C
C
C b
S
C B
C C
C
YC
C
BO a
YC C C XC C
C C C XC YC
C C C C YC C B
b
C C C C XC C
BO C
YC
BO
C
S
C
YC C C XC C
C
C C C C C
C
C
8 + V ,
b (4) i [V] III
: :
8 +
a (4) III
V
,
b (4) [V] iv
8 sequence (b) V
a (4)
8 +
b (4) i
ii V i
:
Careful examination of this movement reveals that there is yet another motivic idea that plays an important role in this movement. It is the third a–g–f, first stated in the right-hand part in bar 2. I have circled its repetitions on the score (figure 1.2) and also indicated its prominent placement at the cadence in bars 15–16. It is important for us to view the original statement of this idea in its larger context. As shown at a in figure 1.3, a sketch of the voice-leading of bars 1–5, the a2–g2–f 2 continues on to e2 on the downbeat of bar 3, moving in parallel tenths with the bass. The motion continues on to d2 and from there descends rapidly, eventually reaching the inner voice tone g1. If we now look at the underlying voice-leading of the passage beginning in bar 17, we see that it is far more than a sequence based on motive b. It is a clever expansion of bars 2–4. Here the motion in parallel tenths, which was elaborated by a varied repetition of motive a in the left-hand part of bar 2 (see figure 1.2), is expanded by a 10–7 sequence. That is, what had occupied one measure (bar 2) has been expanded to six. Any doubt about this reference should be erased by the continuation. Bars 23–24 are an almost exact replica of bars 3–4. This time the melodic line does not return to e2 over tonic harmony, as it had in bar 5, but the line is transferred to the bass, now articulated by statements of motive a, as part of the extended dominant harmony.
f
C C C XC
a
C C
XC
C S
g
i
a
C C C YC C C
XC C C C C C
XCYC C C C C C
S
: a (4) C
CYC C C C C
b
YC C C C C C
17
a
C C
S
YC C C C C C C
YC
C
XC C
C C a
BO
C C C C YC C
XC C C C C C
C C C C C : : C
b
12
YC
Table 1.2. Formal – Motivic – Harmonic Design of the MENUET from French Suite II (BWV 813)
b
C C C C C C
C C C C XC C
C C
C
í
YC
a
Y C C C XC C ! Y 43 C
í
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BO :
BO
:
Figure 1.2. French Suite II (BWV 813), Menuet
left-hand part, and the return to the tonic is delayed until bar 29, coinciding with the final appearance of motive b. A diagram of the formal divisions labeled according to motivic articulation and the accompanying harmonic scheme of this movement is provided in table 1.2.
A natural starting point for an investigation of Bach’s variation technique exists in those suite movements with Doubles, where one can observe an additional stage of elaboration of an underlying voiceleading pattern.3 Consider, for example, the opening four bars of the Sarabande and its variation from the Keyboard Suite in A Minor, BWV 818, which are provided in figure 1.4, along with a reduction of the voice-leading.4 A salient feature of the Sarabande simple is the figure first stated in the right-hand part in bar 1, a slightly embellished
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study a
Y C ! YY C 1
C
C C
C
10
# YY B Y
10
C
C
C C
C
C C
10
reduction
C
g C
(
X CC ) X C
C
11
C
etc.
10
C
C
C h
C
XC
XC C
C
b
Y ! YY
cf. bar 2
C B
C
V
C
C C
C C
C C
(
C
# YY B Y
iv
C
C
10 - 7
C C
10 - 7
C
C
X
(C) C C C h
C V7
C
BO
B
B
! 3
etc.
#
C
10
10 - 7
BO W B B OO
C
XC
B
3
BB
W6
g C CO T CWC B B CO
C
g
C C C
BO
CC
C C
C
( )
C
sarabande simple
3ˆ
X CC ) X C C
BB B OOO
i
cf. bars 3-4
g
# C
i 4ˆ
!
C
7
W
g O TC C W C W CB B CO
6 5
C
g
C WC C
C
W BB OO BO BO
W
6
w g CT C C C C C C C W C O XC B C C
C
g WC C
B C
C C B
i sarabande double
Figure 1.3. French Suite II (BWV 813), Menuet. Comparison of bars 2–4 and 17–28
arpeggiation of the tonic triad downward from e2, repeated a step lower in bar 2, and then varied in bar 3 leading to the dominant (bar 4). Notice that Bach preserves this manner of varied repetition in the Double, though here the arpeggiation is filled in by passing tones and the inner and outer voices are connected by arpeggiation on the third beat. Bach also maintains the elaboration of the fifth of the triad by its upper neighbor, f 2, in the variation. A second example, the opening of the Sarabande from English Suite VI (BWV 811) and the corresponding bars from its Double, is provided in figure 1.5. Here the Sarabande is very simple, almost identical to the underlying voice-leading shown, except for repeated notes and embellishments. The Double moves in steady eighth-note motion that articulates the inner voices by means of elaborated arpeggiation, where chord tones are introduced by step from below. The top part is elaborated only minimally by arpeggiation (thirds above) and by passing motion.
! 43 # 3 4
w C C wC O C Cx O C C C C CWCWC C C C C CO C CXCXC C C C C WCO CWC C C C C CWC C C
C C C
C WC
C
C C
CXC C
C C C
C C C
g WC C C C C
Figure 1.4. Keyboard Suite in A Minor (BWV 818)
Figure 1.6a provides the opening of the Allemanda from the first violin partita (BWV 1002), the corresponding bars of the Double, and above a reduction of the Allemanda. Figures 1.6b, 1.6c, and 1.6d provide the same for the Sarabande, Tempo di Borea, and Corrente, respectively. The reason for this organization, that is, of placing the Corrente last, is to highlight the motivic similarity among the other three movements, a matter to be discussed in greater detail later on. In each of these three movements the main melodic tone, f2, is first prolonged by its upper neighbor note before descending to the local goal. In both the Allemanda and Tempo di Borea, the f2 is temporarily covered by b2,
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Introduction reduction
! Y 23
BBB
B
AA B
A AO
# 3 Y2
4 2
B A
! Y 23
BA O A
# Y3 2 B
WB
XA
6 5
W4
W BB
g B W C CO C C B h T C C B A C
# Y3 2
CB C C C
TB
! Y 23 B
BB
B B
6
A
WB
A
7
W
X
B
BB B
BB
X BBC W C C
BB B
WB
C
XAA
T XA CO
B
BB
B
CC
CC C
!
A
b reduction
W ! W 43
B
B
TWC C C B WB A
BO
Figure 1.5. English Suite VI (BWV 811)
C
7
7
BB OO BO
CC
CC C
CC O
C
strengthening the association. By contrast, the reduction of the corrente (figure 1.6d) shows that its opening melodic gesture is an ascending line. Returning now to the matter at hand, we can see that the Double of the Allemanda does not preserve the rhythmic character of the original, but rather progresses by sixteenth notes. The individual lines are articulated through arpeggiation and passing notes, and the bass line begins an octave higher. The same general procedure is followed in the Doubles of the Sarabande and Tempo di Borea.5 By contrast, the arpeggiation figuration of the Corrente is transformed into scale passages—filled-in arpeggiations—in its Double.
CC
C C
C C
W ! W 98
c reduction
WW
A
í
A C
!
WW !
WW
c
double
|
C
C C
C
C C
C
C C
7 6 5 -
C
A W B (B OB O O)
C
C C C C C C C C C C C
W
C
W CC
C C
C C C C C C C WC C C C C C C C
C C
CB O C B
6
7
C C C
C C
CC
C
C
CC
C
C C
WC
C
C
6 4
5
2
6
C C
CC C
C
C C C C C C CWC
C C
B
W CC C )
C C
W CC WC
C C
B
6
C
C C
W
CC W CC B t
C
(
WC
W4
W CC
C
C C C C C C C WC C
W CC
Figure 1.6. Violin Partita I (BWV 1002)
C
C C C
C
C Og C C C O C C O C W C OX C C O C C C gC O C CO CO CO C C COC CO
(9) 7
tempo di borea
W CCC C í
C C C C C C C C C
AA
c
h
BO B
C
C
C C C C C C C C C
double
!
B
4 2
CC
CB
W ! W 43
X CB C W C C W AC
XC
6
g C C C g OC g O C W CC OO C C C g O C O C C C O c jh C O h CO CO CXCO WCO h h double WW j C C C C C C C C C C C C C C WC | h CXC
WW
!
B
CB
CC
WC
t
allemanda
W AB O
B CC
C
4 2
sarabande
C C C CWB T C C C BT W C C BB B C C W C BB W BB
W ! Wc
W AA B
B
6
2
C
X BB
B
g w CO y C WBO B A
double
BB
A
sarabande
BBB
a reduction
BB
W AA
B
W
C C C C C C C C
C C
C C C C C
C C C C C h
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
passing notes. The procedure can be observed in the examples presented in figures 1.4 through 1.6.7
d reduction
!
WW
BO BO BO
BO BO W BO
BB OO BO
6
corrente
!
WW
C
C
h
double
W ! W
h
C
C
C
C
C
C C
C
WC
C C
C
C C C C C WC C C C C W C C C C C C C C C C WC C C
C
C
C
C
C
C
C CXC XC C C C C C C C C
Figure 1.6. (continued)
Though the sample is relatively small here, there are at least two general principles that can be drawn from examining all thirteen movements with their Doubles.6 First, it seems that many of the variation movements employ a consistent note value, the eighth or the sixteenth. In these instances the rhythmic character of the original movement is lost; what is being varied in each case is the underlying voice-leading. We have just seen three very clear examples of this procedure in the Allemanda–Double, Sarabande–Double, and Tempo di Borea–Double of the first violin partita. This is also true in the Double of the Sarabande from the sixth English Suite and the Double of the Gigue from the third lute suite (BWV 997). By contrast, there are several examples where the rhythmic character of the original is retained, as in the two Doubles of Courante II from English Suite I (BWV 806), the two Sarabandes with agréments from English Suites II and III (BWV 807 and 808), and the Sarabande double from the Keyboard Suite BWV 818. In the first of these, the original character of the Courante is retained in the righthand part. The left-hand part of the first variation maintains continuous eighth-note motion, but this is not followed in the second Double. And, as we have observed in figure 1.4, the repeated pattern of the Sarabande simple from BWV 818 is not lost, but rather replaced by a variant in its Double. Second, one can take as a general principle that sustained chords in the original movement are replaced by arpeggiated chords in the variation and that arpeggiated chords in the original are filled in by
The Variation Suite Unity in the baroque suite is most clearly represented in what is appropriately called the variation suite, a generic term encompassing a variety of practices. On the one hand, we have examples like Buxtehude’s famous suite Auf meinen lieben Gott (BuxWV 179), where each of the movements— the chorale setting followed by a Double, then a Sarabande, Courante, and Gigue—are clear variations of the opening chorale, both melody and bass.8 (This type of variation set is represented in Bach’s work by his chorale variations, BWV 766–768, with the obvious difference that the “partite” are not cast as dance movements.) The composing of such a suite, where all movements are derived from a single source (in this case a figured bass rather than a chorale setting), is the goal of the Handleitung zur Variation (1706), Part II of the Musicalische Handleitung, by Friederich Erhard Niedt.9 It is significant that Niedt begins instruction with the study of thoroughbass in Part I of his treatise before progressing to the study of variations and the application of variation technique in Part II. This second part begins in the tradition of the older diminution treatises with a listing of the many ways to vary each diatonic interval, from unison to octave, both ascending and descending, following which this knowledge is applied to a simple bass recast in different meters. The following chapter then adds the right hand above this same bass and presents different ways to vary this part—by means of simple arpeggiation, running passages, and repeated patterns. Having added the right-hand part, Niedt then proceeds to demonstrate how to vary the common signatures of figured bass, those introduced in the first part of the treatise, and he then applies this knowledge to a given figured bass. Where all this is leading is to the composition of a series of suite movements based on the given bass, which is subsequently rewritten in various meters to fit the character of the different dance types. The results are not always satisfying musically, but this does not lessen the historical significance of this unique work. There is a fair amount of circumstantial evidence connecting Niedt to Bach. We do know, for example, that Niedt’s teacher, the one referred to in the preface to Part I of Die musicalische Handleitung, was Johann Nicolaus
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Introduction Adagio [Reduction]
C BB O C C W AA
1
! c a
BO A
# c
C
6
7
W
C BO B CYC
C C C C WA A A
B B
A
6 -
7 6
X Y
Allegro (Fuga) 20
T
!
b
C
Gigue
! 12 8
c
C
C
WB
C
C C
C
Ng
C
B B
6
C C C C C C C C C
C
7
W
W
B
WBO
WB
6
C
6
AA
C C C C
C C C C
6 7 6 5 4
7
W
10
AA
AA C
AA
6 7 6 5 4
C C C C
C C C
6 7 6 5 4
BA B
A
B B
WA
6
C BO
C
C C C C C
C
C C C C
WA
5 6 W -
5-6 6 5 (W)
C C C C C C C C C C C C C C C C
C
C B C C
A
B WB
6 5
6 7 6 5 4
B
B A
8ve
Ng
C
C WC CB C
A WB B
í
A
A
W
5 -
A
A
W CC
A A
7
W
C C C C C C C C C C C C C C C C jh
C
C
6th
C
C C
C
C C
C
C C
C
#
C C
C
C C
C
C C
C C
C
C C
C
C C
C
C
C WC
C
8ve
C
Bach
!
C
C C
C
C
CO C
C
C
Figure 1.7. Reincken, Hortus Musicus, Sonata I
Bach (1669–1753), Johann Sebastian’s cousin. As reported by David Schulenberg, this fact has led to speculation that Niedt’s treatise may well outline what was a Bach family tradition in composition.10 As we have already noted, Niedt does begin instruction with thorough-bass realization in four parts, which according to both Carl Philipp Emanuel and his father’s student, Johann Philipp Kirnberger, was exactly what Johann Sebastian did in the instruction of his students.11 A further piece of evidence comes to us in the form of a manuscript consisting of basic instruction and practical exercises in four-part thorough-bass realization, apparently compiled by Bach for his students at the Leipzig Thomasschule.12 The second part of this manuscript, titled Gründlicher Unterricht des General-Basses, is a close paraphrase of the initial volume of the Niedt treatise.13 Whether or not Bach was acquainted with volume 2 of the Niedt treatise, the one on variation technique, is an open question, but not crucial
as a link between Bach and the tradition of the variation suite. That link is clearly established by Bach’s keyboard arrangement (BWV 965) of Sonata I from Johann Adam Reincken’s Hortus Musicus (1687). Examination of the Reincken sonata reveals that the composer’s means of creating associations among the movements are more varied than the single approach outlined by Niedt in his treatise. Two of the movements, the Allemande and the Courante, are indeed derived from the same harmonic/contrapuntal framework, but in other instances the associations are created by motivic references and even direct quotation. The prelude to the Reincken sonata begins with a slow introductory section (Adagio) followed by an Allegro (fuga) and then a third section alternating between slow and fast tempi for solo violin and continuo. A reduction of the opening Adagio is provided in figure 1.7 (level a). Note the bracket above bars 8–12, which highlights a passage that is
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study Sarabande g
Allemande [Reduction]
! c #
c
T U CC CC AB TU TU
C C
C C
A g C BB OO CB OO C
BB
see Adagio, 8-12
C C AA
WB B
6
AA C C B
C C C C
B
6
6
7 5
AB
6 4
7 5
BO B B
B
5 - 6
B B etc.
(6)
6 5
Courante [Reduction]
g
! 43
T CC h
# 3 4
T g C BO BO
BB C C B C WBO C B
BO 6
W4 2
8 7
W
BB OO
BB OO
B C
6
BB OO
B C 7 5
6 4
BB OO
B C B
7 5
6 4
C
C
BB C B C
6
C
C
g
CB O CC
CO
5
C 6
g C
C
C
CC C 9
5
C
CC O C
C
WC
g
g
h
CC
C
etc.
WC 6
WC
C
W
h
C
BB etc.
BO
h
C
Figure 1.9. Reincken, Hortus Musicus, Sonata I
B B C C
! 43 # 3 4
B A
A
6 4
C
B
6 5
Figure 1.8. Reincken, Hortus Musicus, Sonata I
stated in varied form in both the Allemande and Courante. This passage is immediately recognizable because of its static quality. Level b presents the fugue subject of the middle section. As shown by the analytical additions, the first part of the subject is characterized first by the descending arpeggiation of the tonic triad followed by the reintroduction of the primary tone (e2) by its upper neighbor. This is followed by an elaborated statement of the octave descent from a2 to a1. The derivation of the Gigue subject (shown at level c) from the fugue subject is obvious. It is curious that Reincken altered the descending octave to a descending sixth, stalling at c2, and equally interesting that Bach changes this feature in his keyboard arrangement, restoring the octave progression and thus strengthening the motivic correspondence between Fugue and Gigue. Reductions of the opening measures of the Allemande and Courante are provided in figure 1.8, aligned to show the correspondence between them. It is perfectly clear that the two are based on the same contrapuntal model, that is, on the same melodic and harmonic framework.
This is a stronger association than one finds in the Niedt treatise, where all movements are based on the same figured bass (bass line and harmonic succession) but not melody. Here the Courante is truly a variation of the Allemande. Furthermore, as noted above, the characteristic static passage from the Adagio is repeated in varied form in both these movements (see brackets), enhancing the sense of continuity from movement to movement. Since the Gigue is derived from the earlier fugue, that leaves only the Sarabande, the opening measures of which are given in figure 1.9. While the movement as a whole cannot be considered a variation of preceding movements, the reference to the melodic contour and pitches of the previous two movements (figure 1.8) is clear in the opening measures. What might Bach have learned from preparing an elaborate keyboard arrangement of this sonata? Perhaps the greatest lesson to be learned is that there are various ways at creating associations between/among movements, ranging from direct quotation and motivic reference to various levels of derivation, including the recomposition of an entire movement to create something new. It should come as not surprise that we find all this, and even more, in his suites. So, did Bach write any variation suites? According to both Elaine Sisman and David Schulenberg, there is but a single example among Bach’s numerous suites, the early work titled Praeludium et Partita del tuono terzo (BWV 833).14 Perhaps they are correct according to a narrow definition of the term, though, as we shall see, there are several other suites by Bach that exhibit far greater inter-movement associations. The
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Introduction
[
#
Allemande
#
Yc
B
Courante
]
Y3
BO
[ Allemande # Y XB
B
6
5
B C
4 2
6 5
CO YC h
6
# Y ]
B
4 2
Courante
B 6
C
W6
BO
X
XB -
5 3
C C C
6
6
BO
6 4
B
C
4 3
6
C
C B
4-W
B XC X4 2
6
[C]
X6
B
B
X6
CO XC h
W
B
C
6
65 43
6
B YC
B
B
XB
6
BO
C
4 2
C
5 - 6
6
B
B
B
B B
5 3
C C C 4 6 2
B
5
B A
X4
BO
6
5 - 6
5 - 7
6
B
Y7
BO
*
BO
BO
5 - 6
5 - 6
6 - Y5
BO 6 4
X
C C
C
5 3
BO -
B B
XBO 6 5
8
Y6 4
R
C C
B
6
X
6
BO BO
X
B C
4 2
C
BO Y 65
g
X
B
X7
C
8 5 3
4 2
C
C
6
6
S
CC C
B B
B
BO
4 2
6
BO A
-
BO
C C C
6
8
6 5
C YC
6 Y5
C
8 5 3
BO 5
: :
BO C
C
10
: : B
7
Y
BO 5
CO B
C 6
BO
B
C
X
6
2
C
15
C C
C
C
CO
6
B
C
5-6
6
C
A
8 7 6 5 4 4
8 5 3
Y5
C B 4-3
Y
W
C hW 4
B C
2
W
W4 2
: A
BO
BO
:
Figure 1.10. Praeludium et Partita del tuono terzo (BWV 833). Comparison of Allemande and Courante
Allemande and Courante movements of this work form a variation pair with two common features that are immediately apparent. First the modal inflection g–a–g, that is, scale degrees 5–6–5 in the key of the dominant, that appears in bar 7 of the Allemande is restated at the equivalent place in the Courante. And second the repeated note pattern that is pervasive in the Allemande reappears at several points in the Courante. However, what qualifies these two movements as a variation pair is the fact that they are based on the same underlying framework, though not as clearly as we have seen in the Reincken sonata. David Schulenberg has described the relationship as follows: The courante is notated in [3/4] . . . but is really in what we would call [6/4] . . . two measures here correspond to one in the allemande. Although the two movements share some motivic material, their main common point is the harmonic ground, a notable feature of which is the use of the minor mode in the closing phrase of the first half. . . . At one point the courante departs from the ground, two bars (29–30) being inserted. But because several other bars of the model are
compressed, the length remains the same as in the allemande: twenty bars of [6/4]15
Schulenberg’s explanation reflects the complex and sometimes tentative correspondences between these two movements, as revealed in figure 1.10. Here the two basses are aligned and lines are drawn between the two to indicate equivalent harmonies. The correspondence between the two is clear through bar 10 of the Allemande and again from bar 16 to the end, but less so in the intervening section. The two bars of the Courante described by Schulenberg as being inserted, highlighted in figure 1.10 by a bracket and asterisk, arise from extension of the F-major harmony, here functioning as V of the subdominant, the arrival at which in bar 16 is the point where the two basses once again begin to align. Because the Allemande comes first, it naturally is taken as the model from which the Courante is derived, but perhaps neither should be considered as the source. Instead one might consider both to be elaborations of a much simpler abstract model, as provided in figure 1.11.
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#
Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
Y
A A
A
A
A 5-6
A X
A
5 3
Y6 4
A
5 3
: : B
B
B XB
6
6
B
Y
B
4W
BO C
X4 2
B 6
B Y7
A
5-6
A 6 5 4 3
A
:
Figure 1.11. Hypothetical model
Notes 1. The introductory movements of Partitas II, III, and VI (BWV 826, 827, and 830) are titled Sinfonia, Fantasia, and Toccata, respectively. All other introductory movements in the suites are titled Prelude (Praeludium, Praeambulum) or Ouverture. 2. My placement of stems showing the stepwise ascent in figure 1.1b may at first appear counterintuitive. That is, why not place them on the accented notes? The reason is the implied harmonic support, which suggests that the accented pitches, emphasized here by ornaments, are appoggiaturas and thus not supported harmonically. This simple example illustrates the potential confusion that can arise in analysis depending on whether one is following the musical articulations or the underlying organization. 3. The following movements from the suites have Doubles:
BWV
Suite
Movements with Doubles
806 811 818 833
Courante II (2 Doubles) Sarabande Sarabande Sarabande
997 1002
English Suite I English Suite VI Keyboard Suite Praeludium et Partita del tuono terzo Lute Suite III Violin Partita I
1067
Orchestral Suite II
Gigue Allemanda, Corrente, Sarabande, Tempo di Borea Polonaise
Also in this category are movements with added embellishments, the Sarabande movements with agréments from English Suites II and III (BWV 807 and 808). See also the Chaconne from Violin Partita II (BWV 1004). 4. The type of reduction used here and elsewhere is a simplification of the voice-leading, resulting from the elimination of unessential embellishments (all but
metric suspensions) and rhythmic shifts. Note values in the reduction indicate duration of control or influence, in contrast to the sketch, where note values indicate relative structural weight. 5. Notes implied by context but not actually stated in the music are indicated in the reductions (and later in sketches) by parentheses. See, for example, the c2 in my reduction of the Sarabande (top voice, bar 4) and the implied bass note f1 on the downbeat of bar 2 of the Tempo di Borea. 6. An anomaly is the Polonaise and its Double from the second orchestral suite (BWV 1067). In this case the Double consists of an elaborate flute obbligato added above the original melodic part. Careful examination of the flute obbligato reveals its origins in the original melody. 7. Bach’s Double movements have been discussed only briefly here because the topic of diminution technique is not central to the main thesis of this study. However, they are worthy of more careful examination in themselves and in relation to those of his immediate predecessors and contemporaries, particularly Handel. 8. The Buxtehude, where all subsequent movements are variations of the opening chorale, is an extreme. It is far more common that only two or some of the movements of a variation suite are so related. 9. Friederich Erhard Niedt, Musicalische Handleitung I: Vom General-Bass (1700); II: Handleitung zur Variation (1706; 2nd expanded edition, ed. J. Mattheson, 1721); III: Von Contra-Punct, Canon, Motetten, Choral, Recitativ-Stylo, und Cavatten, ed. J. Mattheson (1717). English translation as Musical Guide by Pamela Poulin and Imgard C. Taylor. Oxford: Oxford University Press, 1989. 10. See David Schulenberg, “Composition and Improvisation in the School of J. S. Bach,” Bach Perspectives 1, ed. Russell Stinson (Lincoln: University of Nebraska Press, 1995), 8n22. 11. C. P. E. Bach provides the following well-known description of his father’s method of teaching in a letter to Forkel, dated 13 January 1775 (quoted in The New Bach Reader, ed. Hans T. David and Arthur Mendel, rev. and expanded Christoph Wolff [New York: W. W. Norton, 1998]: 399): His pupils had to begin their studies by learning pure four-part thoroughbass. From this he went to chorales; first he added the basses to them himself, and they had to invent the alto and tenor. Then he taught them to devise the basses
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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. This work begins with instruction in pure four-part writing, and later in the work—when he begins instruction in simple counterpoint—Kirnberger breaks with tradition by insisting on starting in four parts and only later learning the more difficult task of writing in two and three parts. 12. The manuscript (AA27.224, Bibliothèque du Conservatoire Royal de Musique, Brussels) is titled “Des königlichen Hoff-Compositeurs und
13
Capellmeisters ingleichen Directoris Musices wie auch Cantoris der ThomasSchule Herrn Johann Sebastian Bach zu Leipzig Vorschriften und Grundsätze zum vierstimmigen Spielen des General-Bass oder Accompaniment für seine Scholaren in der Music, 1738.” The title page is in the hand of Carl August Thième, who studied with Bach between 1735 and 1745. 13. Variants from the Niedt treatise are clearly indicated by Pamela Poulin in her translation of this work. See J. S. Bach’s Precepts and Principles for Playing the Thorough-Bass or Accompaniment in Four Parts (Oxford: Clarendon Press, 1994.) 14. Elaine Sisman, “Variations,” New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 2nd ed. (New York: Grove, 2001), 26:284–326; David Schulenberg, “Composition and Improvisation in the School of J. S. Bach,” 9. 15. Schulenberg, The Keyboard Music of J. S. Bach (New York: Schirmer, 1992), 36.
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2
Allemande, 7-16 7
Harmonic Plans
I
we will consider two types of harmonic repetition exhibited in the suites: 1) a succession of chords over several measures common to a pair of movements; and 2) a large-scale harmonic scheme shared by several movements. We have already encountered a prime example of the first type in our brief consideration of the Allemande– Courante pair from the Praeludium et Partita del tuono terzo (BWV 833) at the close of the preceding chapter. This appears to be the sole instance throughout the forty-four suites where this type of relationship exists throughout the two movements. However, there are at least two instances where this relationship holds for a significant portion of a movement pair. One of these occurs in the first parts of the Allemande and the Courante from Partita II (BWV 826). Though very different in character and surface design, the two movements share a common plan leading from the tonic to the cadence on the dominant at the close of part 1. (The scores of the Allemande, bars 7–16, and of the Courante, bars 6–12, are provided in figure 2.1, and reductions of these passages are provided in figure 2.2). What is striking to the ear is the exact repetition of harmonies connecting the tonic harmony with the same chord in six-three position (Allemande, bar 9; Courante, bar 8), now functioning as iv6 in the key of the dominant. (An interpretation of the harmonic succession using roman numerals is provided below the passage from the Courante). From this point the two movements progress differently, though arriving at the same goal. However, both movements contain parenthetical registral digressions, and further scrutiny reveals that both melodic passages are elaborations of the same underlying descent by step from e2 to g1.1 A similar relationship exists between the opening measures of the Allemande and the Sarabande from Partita I (BWV 825), the scores of which are provided in figure 2.3. As shown in figure 2.4, a comparison of the essential voice-leading of the first parts of these two movements, the relationship is clear through bar 9 of each, the point of initial arrival N THIS CHAPTER
Y C C C ! Y Y c CC C # YY c Y
9
Y C ! YY C
CO
C S
C
C C C C C C C C CO w
# YY C C X C C Y 11
C TU C C C C
T C
C
C C C C C X C C C C C CU C C T
C C C C C C C C w
TU W C C X C S X CC C C C C
h
C
C
WC C C C
TU C C C S C XC WC C
XC CC
C C C C
Y ! YY C XC C WC C C C C C C C C C C C C C C C C C C C # YY C C X C C WC C C C C Y
13
Y ! YY
15
Y XC XC C ! YY WC # YY W C Y WC T
C
C C g C
C
C YC XC
C C WC
XC
C
WC
C C C C C C C C
CO
TU X C C C C S C XC WC C YC
w
TU
WC
S YC C C
XC C C C C C C C
C C C XC C
C C C C WC XC C C C
C C
C WC C C CXC C C C C WC
C C C WC C C C C C C C C C C C C C C # YY C C C XC C Y C C C
XC
w
C C
CC
T C
g
C C C C C C C C C C C C C C WC C C C C C C C C C
C C C C
TC C XC
h
CCg
C C WX C C C C C C TU C X C O
C
C
(
C C C
T
C
(
TU
C
gi :
gi gi C CC : jh
Figure 2.1. Partita II (BWV 826)
at the dominant. (It is only in the subsequent measures, namely in the confirmation of the dominant, that the two differ significantly). 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). As shown by the roman numerals below the voice-leading reductions, the
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study Table 2.1. 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 ! YY C C C XC C # YY Y
10
C C C XC C
C C C
C
CO C C CO
C
C CXCYC C C C S
gi C T C C C B # YY (X ) CC C C C C W B S Y
C
CC C C S BO
C
g C
YCO C
C
BO
C
C
S AO
C
XC
ww C C CXC CWC C C C Y C X C W CB O g C XCO C C C C C C BC C C
S C
C
g
BO S S
C C
XC
C C
CC
WB
h
CB C
C
C C C C C XC
C h
C C C C B C C C C TU
C
C CC
C
C XC C
XC
WB
XC TU C C C C S WC BO B
C
T :
BB
T :
B
Measure Numbers
Function
Praeludium Allemande
7, 14, 19, 20 1 15 23–26 33, 35, 36, 38 16 37–39 47, 58 2 17–18 25 5, 26 29 2, 13 10, 12 13 18
I7 (= V7 of IV) I7 3 of V (F) leading to ii (c) I7 3 of V leading to E as VI of ii (c) I7 I7 o 7 of ii (c) I7 I7 4 in IV (E) I7 3 of V (F) o 7 of V of V I7
Corrente
Sarabande
BB
XB
Movement
Menuet I Menuet II Gigue
Figure 2.1. (continued)
“modulation” to the dominant is accomplished through a common pivot: vi in the original key (B) becomes ii in the dominant.2 This same means of modulating to the dominant has been foreshadowed in the Praeludium (bars 7–14). In very similar fashion to what we encountered with the first example, the Allemande and Courante from the second partita, the harmonic relationship between this movement pair continues into the second part, at least with respect to larger harmonic goals if not in the detailed succession of harmonies. Both movements contain a confirmed modulation to the supertonic, the Allemande in bar 32 and the Sarabande in bar 20. A comparison of the overall harmonic plan of both movements, utilizing both music notation (an analytic bass line showing the hierarchy of harmonies) and roman numeral representation of harmonic functions, is provided in figure 2.5.3 Though the correspondence is not exact, it is clear that the underlying harmonic design of both movements is essentially the same. As shown on the lowest system, the fundamental progression of both movements is I . . . ii V I.
As we look beyond the Allemande–Sarabande pairing, it is of utmost importance to our general topic of unity within the suites to note that every movement in this work is related by virtue of a common element, the flat or lowered seventh degree (a) of the B-major scale. Its employment is so pervasive and in many cases so blatant, as employed in the opening bars of both the Allemande and Sarabande (see figure 2.3), that it achieves the status of a motive. In most cases, a is employed as 7 in B, that is, as part of I7 (⫽ V 7 of IV), resulting in an emphasis throughout the suite on the subdominant, but it is also employed in relation to other harmonies/temporary key centers as well. A listing of its occurrences and functions in each of the movements is provided in table 2.1. In summary, we note the following features of the first partita. First, there is a thread—the pervasive a—that runs through the entire suite, commencing with the Praeludium. Second, the Allemande and Sarabande are paired by virtue of the similarity in their harmonic plans, both in terms of their overall tonal design and the succession of harmonies, particularly in their first parts. There is yet another point relevant to the topic at hand, namely that the remaining movements,
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Harmonic Plans Allemande Reduction
BB
# YY c Y B
7
Courante Reduction
Y ! Y Y 23 # YY 3 Y2 c:
C C
CB
B
C C
6
AA
CB C
B BB
B
( )
BO
C C C A
6
i
BC
6
B
CB C B XB
BB
BB
X BB
W BB
B
WB
B
XB
C B
XB
B
6
C
6 5
AA BB A
6 5
V 65
I
6
B
WB B
AO
6
7
III 6 B Y (VII): IV 6
6
ii 6 g (V): iv 6
W
CC
( )
C
B
6
BB W B
( X C ) W X BB C C
6
XB
W AB
CB X C B
B WB
- 6 - 4
W
6
8
X7
AA C
C
B
6
8
W
7
B
B B
XB
A
B
6
- 5 - W
A
:
A
:
X
B
6
12
C X A C C C W X BB
B
AA
16
B
XB
BB
R
B
WB
W BB
7
7
8
C C
C
CC W X CC B C C X BB
:
C C
:
S
í
Y ! Y Yc
W
7
C
8 6 4
7 5
W
B
X
VX I
V
Figure 2.2. Partita II (BWV 826), Comparison of Allemande, mm. 7–16, and Courante, mm. 6–12
excluding the Praeludium, all follow the same large-scale harmonic plan, a different plan from the one that is exhibited in the Allemande and Sarabande. This large-scale tonal design, as it occurs in Menuet II, is shown in figure 2.6. In the other three movements the motion to the submediant (vi) is confirmed by a cadence in that key—at bar 46 in the Corrente, at bar 24 in Menuet I, and at bar 28 in the Giga. In all cases the modulation to vi is followed directly by a secondary dominant ( I7 ) leading to the subdominant—at bar 48 in the Corrente, at bar 27 in Menuet I, and at bar 30 in the Giga—thus completing the large-scale descending third progression leading on to the dominant and closure. This point leads us to the second of our topics within this chapter, a consideration of suites containing several movements related by virtue of a common large-scale harmonic design.
Several of the Bach suites are unified by the employment of the same large-scale harmonic design in a number of their movements. One might argue that this is unexceptional, since almost all of the binary dance movements, certainly all those in the major mode, progress to the dominant at the end of part 1 and then close in the tonic at the end of part 2. This is certainly true, but what we are considering here in addition to these basic features is a design incorporating, at the very least, a common modulation, confirmed by a cadence, internal to the second part. There are numerous suites where this does not occur, but when it does, the repetition is apparent to the trained musician; even short of that, it at least contributes to the sense of coherence to the less sophisticated listener. A clear example of this phenomenon occurs in Partita V (BWV 829). Five of its movements—Allemande, Corrente, Sarabande, Tempo di
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
C C C C C C C C C C C C C C C jh C
Allemande
Y ! Y c jh
C C C C C C C C C C CXC C C C C C C C C C C C C C C C CYC C C C C
# YY c T U C 4
S
10
13
16
S
S C
C C C C C C C C C C C C TU C
Y ! Y # YY C
7
R
S C
C C
S
WC C
S
C C
S
w C C CXC C C C ww C CXC C C C Y T g C C C C C C ! Y C X C C C C C C C C C C C C C C C C CC C C C C C C C C C C X C C C C C C C CXC C C C # YY X C C C C C C C C C C C C w C C Cw C g Y C X C C Cw C X C C C Y C C C C C ! Y UC C X C C T U C C C C C X C C C C C C T U C C C C T C C T XC C CYC C C C C YC C C XC YCYC C C CYC C C C C C CXC C # YY g T C C C C C X C C C X C C C g T C XC C C T S C T S C CXC C C C C C C C C TU C C C C
# YY
XC
C
C C
C
C
C C
CO YC O U TU T U C C T UC C C C X T C O C C C C O C C C TU C C TU C C TU TU C CO C C OC C C XC OC C C CO
C TU X C C X C TU C OCYC C
T U C C C OOOO : C Y C X C C OO C
C
C C
Figure 2.3. Partita I (BWV 825), Allemande, part 1, and Sarabande, part 1
C OO : C OO
C h
C # YY 3 C 4 3
C CC
C T C C C SC C
Y ! Y C
5
7
C
C
Y ! Y C
Y C ! Y
TC
CYC C C
C
C
C C C
S
C C
C
C C
# YY C Figure 2.3. (continued)
CO C
T
C
C
C
C WCO C h h jh
CC
S
C C CC O C h C C
C
C C
C CXC C C
C
S g CC g C C X C C C CC T h
ww
C
C
C
w C
S
C C C C C C
C C
CO
C S
C C C C C C
C C C
S
XC XC
C C CXC C
C
C
S
C C C C C T
C
XC
C C C
C
C C C C C C C C C
C
C C C C C
C
S
S
C C
C C C C C S
C
C XC C C C C C
XC C
C
C C C CC
C C C C C
C
CC
C
C
C
CO
S
C
C XC C
CC
CC h
w C
S C
C
C C C
C
C
# YY C 11
h
C
CC
C
C
C
C C
CC
C
C # YY C 9
C
C
Y ! Y CO C CWC C
xw Y CCC O C
S
C C C C C
Y ! Y C XCO C h h # YY C C
C C
S C
C # YY C
R
C C Y X C C C C C C C C C C C C X C C C C C C C C C C C C X C C C C CC C C C C CC C C C C C C C ! Y TU C C C C C C XC C C C C h h g g C C C # YY g C C XC C C C C C h h h
Y ! Y
Y O ! Y 43 CCC
R
C C C C C C C C C C C C C TU C X C C C C C C TU C Y C C C C C C C X C WC C
C YC
R
R
Sarabande
BB
: B :
C T BO
TU C
B C
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Harmonic Plans Allemande reduction
Y ! Y c # YY c
AA O B A
8
AA
A
Y7
Y ! Y 43 # YY 3 4
B
8
B Y: I
7 4 2
XB
A
A
XB WB B
B WB A
B
B
2
4 3
A A
X6 W7
X4 W6
8 5 3
F:
4
-
CO CXCO C h h
8 3
C
BO
B
5
B OO Y BB O
Y7
ii
CC C
C C
6 4
5 3
C
CC C
C
( (
(6) 5
BO X BB OO B
C
) )
7
B
B
BO
X4 2
g
CO C
CO C XA B h
AB
vi F (V) ii
[V]
BB OOO BO
A
A
6 4
B Y: I Sarabande reduction
5
A
A ( C)
YC
-
AA AA
V7
C BO B I7
g
C O C C O Cg
X
B B
C BO B B
IV 7
B
vii 7
4 - 3 7
7 3
V7
I
(sequence)
BB OO W BO BO B
5
[
6 5]
vi F (V) ii
B
4 - 3 7
7 3
vi 7
C
4 2
XBO 6 5
6 V5
A
V7
7 3
X
A
V7
I
A
7
BB OO BO
B
BB OO BO
XC
4 2
I
B
C
7
vi
CB O C
(
7
C
)
B
C
6
ii
B
( )
7 4 6
V
XC
: AA
ii 7
B
4 - 3 7
A
12
X AA B
B
BO B OB O
BB OO BO
W6
III 7
XB
7
C BO B B
: A
(
:
B OB O BO ) (
BO
)
:
X I
Figure 2.4. Partita I (BWV 825). Comparison of Allemande and Sarabande (part 1)
Minuetta, and Gigue—follow the harmonic scheme outlined in figure 2.7. 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. This is a common tonal paradigm that gains in significance by virtue of its employment as the foundation of all the movements but the Praeambulum and Passepied.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. Most striking are the deceptive delay of closure in the final parts of part 1 of both movements and the ensuing octave descent from d2 to d1, as shown at a and b in figure 2.8. 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. Finally, in this regard, note that the
final bars of the Corrente, a reduction of which is provided in figure 2.9, provide a diminution of the large-scale harmonic scheme outlined in Figure 2.7 as well as a further example of a descending line—here a tenth—involving the lowered seventh (f ). Another clear example of unity created by means of a common harmonic plan occurs in the third cello suite (BWV 1009). As is the case with the fifth partita, several of the movements—in this case the Allemande, Courante, Bourrée I, and Gigue—are related by virtue of a plan involving a confirmed modulation to the submediant in the second part of the binary form.5 A graphic representation—utilizing both music notation and roman numerals—of how this plan unfolds in each of the four movements is provided in figure 2.10. This figure is organized from simplest (Bourrée I) on the lowest stave to the most elaborate (Gigue) at the top. One can easily see the variants in the manner in which the motion to the
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
allemande
# Y Y
C
: :
B
# YY
[V]
C
C
# YY
X
vi
: :
(i ii
[V]
C
C
7
X
20
X
iv V
X
I
B
I
8 - Y7
i) V
I
B
ii
7
B
V
I
h
:
W
C
IV V
B
C
6 5
C
Y7
23
C
7
C
7
8 -
h
Allemande reduction
38
C C
B
i)
C C h
(i [V] ii
C
33
B V7
6
6 5
32
ii V
C
XC
I
C B
h
7
C
I ... V model
C
C C
18
: :
B
24
C
6 5
I ... V sarabande
C
C WC
! c
C C
:
C
C C
# Wc
28
C BO XC
C
a
I.
11
W CC
C
C
: :
C
C C
C
7
W
I
C
courante reduction
: b
4
Y3
vi
:
W ! 38
W C CC h
# W3 8
C h
g
Praeambulum reduction
B
C
B
IV
V
I c
Figure 2.6. Partita I (BWV 825). Large-scale harmonic plan of Menuet II
# W
C C B
C
7
W
D (V): ii I G: I
C C
7
W
V
: : C
C
C
C
7
W
I
e (vi): i
V
7
I
C
C
W
C
ii 6 V
i
h
(6)
7
C
X7
C
B
7
B
[V ] vi
[V 7 ] IV
V7 I
vi
IV
V7 I
Figure 2.7. Partita V (BWV 829). Common large-scale harmonic plan
C
C
octave
C
CO WC
C
C
6
C C
6 5
8
V5
:
AA
:
I
A g
7
W
6
vi [V 5 ] IV
V
I
24
CC O XCO O W C C W C OC C C C C C WC C
10
7
CWC 7 6 W 5
D (V): V vi [V 7 ]
B
C
A
WC
C
I
Figure 2.5. Partita I (BWV 825). Large-scale harmonic plans of the Allemande and Sarabande
# YY
C
C
6 5
D (V): V 7
IV V
C
C
:
C
10
W
XC h
W4 2
V
C
5
10
C C C
X6
C OC 10
C
C C
C OC C
C C
[V]
IV
I
C
:
C C
C C C
CO
:
6 5
ii
4 2
V
6
W
I
V I
Q Q
octave
BO BO
XBO BO
BO
BO
B
# W3 4
BO
BO
BO
C B BO
C B BO
C CC C C C
7 5 3
7 5 3
7 5 3
3 8 8
CO CO ( C O)
C C WC
BO BO
BO
CWC T C C
C
W ! 43
88
C OC W C
10
6
5
C
g
C
BO 4 9 7
BO 10
X 87
Figure 2.8. Partita V (BWV 829)
C B
6 4 -
C B
C
C B
6 4 -
7
6
C S B C C (6)
R
C
BO
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Harmonic Plans corrente reduction
W ! 38
CO CO
# W3 8
CO
57
G: I
CO CO WCO 6
[V 5 ]
CO CO CO vi
XCO CO
CO CO
CO 6
[V 5 ]
C X CC ( ) h
C
í
CO
C
IV
V 42
C C
C
CO C ( C O)
C C C
T C I6
72
Gigue
g
C
C C V
(V): I vi IV/ 6V ii
# CB
C
C C
C
(6)
7
I
(vi): ii 6 V 7 (
I
C
) i
: :C C C C
C C
6
W
7
W
C
C Y7
IV 5 - 6
vi
:
B C
B
V I
CO I.
Figure 2.9. Partita V (BWV 829), Corrente, mm. 57–64
dominant at the end of part 1 is achieved. 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 (⫽ 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). Once the modulation to vi is finally confirmed in the Gigue the harmonies progress sequentially through the dominant to the subdominant on its path to closure. The outline of the harmonic plan of the Gigue (figure 2.10, top system) indicates that the modulation to vi is delayed by a parenthetical digression. The context for that digression is provided in figure 2.11, a reduction of bars 49–72 of the movement. As shown below the reduction, the modulation to vi is prepared in bars 53–56 but not realized until bar 72. In the intervening bars the music first recalls the main key, then its subdominant (F), the eventual goal of the descending arpeggiation by thirds, before reestablishing and confirming the submediant as the immediate goal of modulation. Digressions of this sort add great color while creating tension, and, from an analytic perspective, are far more interesting than passages that are more predictable.
Courante (V): I vi IV V
C
# B C
C
56
C
7
7
W
I
Allemande
C
# B
i
: :C C C C
C C
(vi): ii 7 V 7
I
C C
Y7
7
W
vi
B
C WC IV
Y7
C ii
V I
17
(V): I IV 5-6 V I
C
C
C
C W
I
(vi): ii 6 V
: :C
7
C
C
6
7
i
C C
Y7
W
C
C 7
IV
W
C
# B
16
(V): ii V
I
C
C
C
7
I
W
(vi): ii 6 V 7
: :C C C C 6
ii
B
V
Figure 2.10. Cello Suite III (BWV 1009)
I 17
i
C
7
W
:
B C
vi Bourree I
:
XB
vi
B C 7
B
II W V I
:
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
reduction 49
: # 3 8
CC OO CO
CO CO CO
CO CO CO
CC OO CO
CC OO CO
C O C O W CC OO CO CO
6
W
6 5
a(vi): iv 6 - ii
#
YCO CO CO
YCO C C ( C O) h
YCO CO V7
F(IV): ii
CO CO
CO CO
CO CO
CO
C(I):I 6
ii 7
V,
CO
V -
CC OO WCCO ( O)
CO CO
CC OO
CO CO
W CC C OOO
W4
(
CO W C C O) O
CO CO ( C O)
3
I
4 3
a(vi): iv
CC CC C WC ( C O)
(6)
7 5
i6
V
6 4
CO CO
5
W
72
i
Figure 2.11. Cello Suite III (BWV 1009), Gigue, mm. 49–72
reduction
: # 3 4
BB OO BO 7
C: V
BO BO W BO [ 7]
C C B ( B)
C
7-6
6
C S
CB W B C
BO BO WBO
W
6 5
4
4W 2
ii
V
4 2
C
C WC C C 6
6
6
a: i
C
d: i
[V 5
vi
BO BO WBO
]
W
ii V
BO BO i
ii
6
I5
iv
Figure 2.12. Cello Suite III (BWV 1009), Sarabande, mm. 17–24
One technique employed by Bach to avoid a sense of completion is to substitute for the expected chord of resolution or arrival a more active one, like a secondary dominant, thus propelling the music forward. A clear example of this procedure occurs in the second part of the Sarabande of BWV 1009, where Bach once again has carefully prepared a motion to the submediant. We expect completion of this promise, and if our expectation had been fulfilled this would have been yet another movement in this suite, the fifth, to take this path. 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.
A reduction of these bars with accompanying harmonic analysis is provided in figure 2.12. Note that the point of substitution (bar 21) coincides with a sudden shift of register, accentuating the necessity for continuation.6 So far we have considered only examples in the major mode.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. In addition, these movements share similar melodic characteristics at the background level, and for this reason interpretations of their essential voice-leading structures—Schenkerian graphs of the middleground and background levels—are provided in figure 2.13. Harmonically all three movements progress as expected to the dominant at the cadence closing part 1, through they differ considerably in their details. However, as shown in figure 2.13, this temporary stabilization of the dominant exists within a tonic prolongation, and it is the transformation of this tonic into a major harmony with added seventh in part 2 that leads to the subdominant and from there eventually to the dominant and the close in E minor. From a melodic perspective, all three movements are controlled by a fundamental-line descent from scale degree 3, which is prolonged at the deepest level by its upper neighbor note, first supported by the subdominant and later transformed into a dissonant seventh requiring its return to scale degree 3 and from there its descent to closure. Also note that in all three movements establishment of the first note of the fundamental line occurs several measures into the movement, introduced by what Schenker would label Anstieg, a stepwise harmonized ascent of the main melodic line to the initiating tone of the fundamental line. While these three movements share this characteristic, it must be stressed that the composition of the Anstieg varies considerably from movement to movement. That is, the three share the same deep-level structure, but differ considerably in their details. The Anstieg in the Allemande is particularly complicated. Scale degree 3 is articulated on the downbeat of bar 2, but with the statement of the right-hand material of bar 1 now in the left-hand part, the melodic line continues its upward projectory to b2 and from there descends by step to e2 supported by tonic harmony in bar 4, forming a closed unit prolonging
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Harmonic Plans allemande
3ˆ
g
C
W C W C C CC ! C C C C
C WC
# W
C C
g
C C
C C
8ve
C W CC
C WC
4
CC
(
C ) BC C
C WC C WC
7
9
5
C
C WC C
B
C
CC W C C
5 - 6
CC W W CC C
(
11
7
VW
C WC C : : W CC C X C C
C)
i
C W5 W
W
C C
8ve
: : C C C
i
C
C hC
C
8 - 7 4 - W
!
C
XC C
CC CC
B
W
C
WC C
C
C CC
C C
C C
6 5
7 5
C
WC
6 4
5 3
C
C)
: :
C
(
9
C C
C 6th
6th
4
# W
h
CC
CC
C W CC C
C C
C
C C
C
CC
W CC
XC
WC
V
C
C
12
C
WC
6 - 6 5
W
C
: : C -
v
III
C
C
C
C
WC
W
C
iv
B h
7
VII V
!
W
C C
C C
C
C C
B C
C
C
C C W C ( CC )
6
# W B i
C (III)
C 5
-
6
C
C C
C
C C
: :
W CC CC W CC
8
C W
C
W
V
CC X C C
CC CC
CC W CC C
10
: : C
7
W
i
C
WC
X7
C hC
6
C W
C C
C C
5 - 7 5 -
iv
Figure 2.13. English Suite V (BWV 810). Comparison of Allemande, Courante, and Sarabande
C C
C CC W CC W CC W CC W CC C C
CC
16
C
C
C)
(
7W
C W
CC
C C C
W
7
7W
C
C
21
C
C C C CC W CC C C C (7)
- 6
W
V
C
1ˆ
B
7W
C C
C C
W4 2
:
C
6
h
C
i 6 ii 6
: B
W
i
2ˆ
CB
C W C
:
W
V I
B C
3ˆ
N
C C C
B
W
ii 5 V
i
3ˆ
sarabande
:
28
6
i
C h
g C C W BC
W
i
V
B
27
C
C
B
WC
( )
2ˆ
BC
21
C
W
W
C
W CC
16
C X
C
W BCC
i
g
1ˆ
24
B
3ˆ
C) XC
(
22
6 5
ii
2ˆ
B C CC
WC
- 6
iv
CC
XC
C WC
N
BC
W CC C
C
5 -
3ˆ
W
C C
20
C WC
i
courante
C
CC X C
17
12
C 8
Y (v): iv
4 3
C C
C
6 W6
3ˆ
N
1ˆ
:
C W CB B B B
V i
:
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
the tonic and e2, and it is from this point that the structure unfolds. The music moves almost immediately toward the dominant, and by the time the g2 over e is reached in bar 7, it is no longer heard in relation to the tonic key, but rather in relation to its dominant. That is, by the time g2 is established as the first note of the fundamental line, the harmony has already moved away from the home key. From this point, the line descends to the inner voice tone b1 at the cadence. In part two the tonic harmony with g2 on top is restated prior to its alteration introducing a2, the upper neighbor note, supported by the subdominant harmony. The cadence in the key of the subdominant occurs in the lower register in bar 17, but the continuation is in the upper register. From a2 the line descends to f2 over a prolongation of the subdominant harmony (where the subdominant is transformed into a supertonic harmony by means of the 5–6 motion), but then the a2 is restated over the dominant harmony before returning to g2 and on to closure. From a structural perspective, the Courante is by far the least complex. In this movement g2 is established as the Kopfton, the first note of the fundamental line, in bar 4 in direct relation to the tonic harmony. Harmonically the path to the dominant is divided by a motion to III (G). 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. (All cadences prior to the final one—in bars 9, 12, and 16—are in this lower register. This is true in the Allemande as well). The neighbor note is restated in the upper register in bar 21, harmonized by a D-major harmony (VII), before its statement as seventh of the dominant and resolution to g2 over tonic harmony and immediate continuation to the final cadence. The Sarabande opens with a two-bar closed unit in the tonic, E minor, which is then stated in modified form a third higher, leading to a brief cadence on III. What follows is a sequence leading to g2 supported by an E-minor harmony in the second half of bar 6, which becomes the point of departure for the progression to the dominant at
the cadence in bar 8. That is, by the time the first note of the fundamental line is established the harmony has already moved away from the home key, similar to what we observed in the Allemande. The E-minor harmony and g2 are restated in bar 10, from which point the line first progresses down a third to e2 and then an additional fifth to a1 at the cadence on iv in bar 16. Recall that the cadences on the subdominant in both the Allemande and Courante occurred in this lower register, followed almost immediately by a return to the upper register. Here, however, the upper register is not regained until bar 21, coinciding with the prolongation of the subdominant (transformed into a supertonic by a 5–6 motion, as occurred in the Allemande) incorporating an ascending sequence connecting a1 to e2. Considering what had occurred at the equivalent point in the previous two movements, we might expect closure in the upper register. Instead the neighboring a is transferred to the lower register, as shown in figure 2.13, now as the dissonant seventh of the dominant, leading to closure in the lower register. Note that the final descent is covered by a varied repetition of the opening motivic gesture. The preceding discussion of three movements from English Suite V (BWV 810) anticipates a topic that will be developed in chapter 4 and is central to the detailed examination of two works in Part II of this study. This example was introduced in this context to illustrate the association of movements from a minor-mode suite by virtue of a common large-scale harmonic scheme, but the similarity goes far beyond the harmonic realm. The three movements share a deep-level structural pattern.
Notes 1. The correspondence between these two movements continues, at least at the macro level, into part 2. Both movements modulate to the subdominant, though in the Courante Bach avoids a cadence on the subdominant at the last minute. 2. Pivot chords between keys are indicated by a single bracket. Roman numerals or other symbols enclosed in square brackets are functions of the subsequent harmony. That is, the symbols [V] vi mean V of vi followed by vi, likewise [o 65] vi indicate diminished seventh chord in six-five position of vi followed
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Harmonic Plans by vi. It is possible to extend this method of short-hand notation to include secondary functions other than dominant, for example [ii V] V. 3. Figure 2.5 does not attempt to represent the entire succession of chords but rather the essential harmonies of the two movements. Details of the first part are shown in Figure 2.4. 4. However, the modulation to the submediant (vi) is foreshadowed in the Praeambulum and prepared, though not confirmed, in the Passepied. The completed modulation to the submediant in the Sarabande is particularly interesting in that it involves a parenthetical reference to the tonic, an internal expansion of the phrase, on the way to reaching its goal. 5. The emphasis on the submediant occurs already in the Prelude (bars 24–28), though here the modulation occurs within a tonic prolongation. 6. For an analysis of the complete movement see Heinrich Schenker, “The Sarabande of Bach’s Suite No. 3 for solo violoncello [BWV 1009],” trans. Hedi
25
Siegel, in The Masterwork in Music, A Yearbook, vol. 2 (1926), ed. William Drabkin (Cambridge: Cambridge University Press, 1996), 55–58. 7. Two additional suites in the major mode that have several movements related by virtue of a common harmonic plan are: 1) French Suite V (BWV 816): Allemande, Courante, Sarabande, Gavotte, Bourrée, and Gigue; and 2) Orchestral Suite I (BWV 1066): Courante, Gavotte I, Bourrée I, Menuet I, and Menuet II. For additional examples in the minor mode, see Partita II (BWV 826), Allemande and Courante, the first parts of which were compared at the beginning of this chapter. In addition, these two movements share not only the same overall harmonic plan but also the same deep-level voice-leading structure. The same relationship exists between the Allemande and Sarabande of Partita VI (BWV 830). Finally, consider English Suite VI (BWV 811): Allemande, Courante, and Gavotte I, the first and last being characterized by their last-minute avoidance of a cadence confirming the modulation to the subdominant in their second parts.
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3
Motivic Parallels
T
“MOTIVE” has acquired multiple meanings over the years, and thus it seems prudent to attempt a definition of the term and, by doing so, to clarify its meanings.1 In its broadest meaning, a motive is a musical idea that is repeated in the course of a composition. Where theorists in the past have differed is in the nature of the idea and, for that matter, in the nature of its repetitions. As a starting point, we might distinguish between two basic types of motive, the rhythmic motive and the pitch motive. 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. The dotted rhythmic figure that opens the partita is repeated within the outer sections of the Toccata itself and reappears in different guises in the Allemanda and Sarabande. A pitch motive is defined by its specific pitch or scale-degree succession and its contour, but not normally by its rhythmic articulation. To be sure, any given statement will be articulated rhythmically, but that articulation will not necessarily be repeated with successive statements of the motive. What is repeated is the specific succession of pitches, in which case the relationship is called pitch specific,2 or the specific succession of scale degrees, in which case the relationship is scale-degree specific. Let us consider a simple example, the neighbor-note motive g–a–g, scale degrees 5–6–5 in C minor. When this idea is repeated at the same pitch level, it is easily recognized as a parallel statement. But the parallel is also recognized when the motive appears transposed to the dominant: d–e–d. 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. See figure 1.2 and the accompanying discussion in chapter 1. Repetitions of pitch motives are subject to a greater variety of manipulation than rhythmic ones. Repetitions may be at the same pitch level, or they may be transposed as well as inverted and/or stated in reverse. Perhaps more pertinent to this study, they can appear at different levels of the voice-leading structure. This is an important corollary of Schenker’s definition of structural levels. He has shown that a musical idea may appear at different levels, either expanded or contracted in relation to its original appearance.3 In such cases, recognition of the parallel depends on an understanding of the underlying voice-leading of a musical work. Because these motives, or at least some of their statements, exist at layers below the musical surface, we will refer to them as voice-leading motives to distinguish them from pitch motives that are easily recognizable from their surface articulations. That is, the voiceleading motive is a type of pitch motive whose statements appear at deeper layers of the structure. 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. Perhaps a more striking example of the use of 2 occurs in Partita III (BWV 827) in A Minor (see figure 3.1). 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. In the intervening movements, B makes several appearances, most frequently as scale degree 6 in the key of the subdominant.4 We mentioned briefly in chapter one the employment of 6 as a link between the Allemande and Courante movements of the Praeludium et
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
Fantasia
! 38
C
# 3 8
C
C
C
C
C
YC C
WC
C
C
g
C
C C WC C C C C C C C C C
C C
WC
Gigue
! 12 8
g O C O C C C C C C C C C C C C C C C C C C C CCC OO C C C g C C C C C C C C C C C C C C TU
Prélude
118
C
XC
C
WC
!
CO
12 8
# WW W 12 C C C C C C C C 8 C
CO
C C WC C C C C C C YC C C
WWW
3
xg WW W CCC C C C C C C O C C C C ! C C C C T SO C # WWW C
WCO 6
Figure 3.1. Partita III (BWV 827). Uses of 2
T SO
x
W W C C XC C C C C BO ! W BO g # WW W TC O T C CC O
Partita del tuono terzo (BWV 833). The neighbor-note pattern 5–6–5 (g–a–g) in the key of the dominant, first introduced in the approach to the cadence at the end of the first part of the Allemande, is repeated at the equivalent spot in the Courante, creating a clear aural connection between the two movements. Also noted previously was the pervasive use of 7 in Partita I (BWV 825) most frequently as I7 (V7 of IV). See table 2.1 and the accompanying discussion in chapter 2.5 A more complex situation involving the juxtaposition of the lowered seventh degree of the scale with the leading tone occurs in several movements from English Suite I (BWV 806). Figure 3.2 provides the music with analytic additions for the following excerpts from that work: Prélude, 1–7; Gigue, 1–7; Sarabande, 1–4; and Allemande, 1–5. The idea that unites the first two of these is the pitch succession a2–g2–f2–a2–g2, indicated on the score, in both cases harmonized by the progression I8–7 IV [V] V. Careful examination of these two passages reveals an even closer relationship than this encompassing voice-leading motive. As shown in the sketches provided in figure 3.3, these two passages also share the following characteristics: 1) imitation at the octave; and 2) the same general voice-leading framework. Note also the secondary emphasis on the inner-voice tone c2. As we turn next to the Sarabande, note that it opens with this pitch (c2), which we might interpret as an inner-voice tone beneath an implied a2. If we can
Gigue
h
C
WW C ! W 68 h # WWW 6 T 8
4
g
C C
C
T
x C C C C CB OO C WC RO g
C C XC C C C C CO SO
w C C C C C C CO T h
C
C
WC
C C C C
g C C
C C h
C C C
w C C CO
C C C C
C C wC O
C C C
C C C C C C C
C C C C C C XC C C C C C
# WWW C C C
C C
C C CO
Sarabande
WW BO ! W 43 CCC O (
# WWW 3 4
)
BB OO BO
C
C C C S
C C
S
w C
X CC C
w C C CO
C C C C C XC C C
BB
C C CC BB CC
CC
CC
BO
Figure 3.2. English Suite I (BWV 806)
B
CC O C CC
CC
C C
C C wC O C C C C C C C C C C C C C C C
C C C C C C C C C
C C C C CWC
í
w
w CO C C C C CO C C
C C C C
W W C wC O ! W C
C C C C
xg C C CC C C C C C CB OO g CO T SO C CO C C C C C C C C C h
xg CR O C C C C C O C CB O C xC C C CO C C C C C h
C
RO
í
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C
y CC
C
g
w C
CO
C BO
CO
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Motivic Parallels
Allemande gi
3
TU C C C C C C C C C C C B C
WW C ! W c
C
# WWW c T U
COC TU h h
C CCC BB
cW
d
WW C g ! W X CC C O C
CC C C W C CC C C C CC C XC
# WWW C O
fW
gX
a
CC
C C
x
CC C WC C
b
g X C C O Cg C TU x CA CCC
C C COC
CO
WC
BC C C C C C C C C C
Prélude, 1-7
WW ! W
C O C C CC C C C CC C C g g TU g h CB O C C C C OW C C C O C
C W CC O
2
2
2
2
1
C
Gigue, 1-7
WWW
!
1
B C C C C
C C C
imit. at 8ve
# WWW
1
(B)
C C C C
C C C C 6
7
C C C C
C C C
C C C C
C C CC C
C C C C
6
6
6 5
I
WC C C
C C C
6
h
C C C
C XC C C C
C C C C
8-
1
a –g –f –e –d –c –b - - - - - a - - - - - g I - - - - (pedal) - - - [V42] V6 [ii V43]
C C
C C BC
6
I
Table 3.1. Harmonization of the stepwise descent from a to g in bars 1–5 of the Allemande of English Suite I (BWV 806) 2
C C C
8-
Figure 3.2. (continued)
2
C C C C
B
CC C C C CC C CC
B
imit. at 8ve
# WWW
gW
a
2
g
e
- X7
7
W
IV
V
XC C
C C CC
6
- X7
C C C C CC
g C
C
7 (W)
IV
V
V Sarabande, 1-4
accept this a2 in retrospect as implied by context—a notion that has great significance for our interpretation of the deep structures of three movements from the keyboard suite, BWV 818/818a (chapter 5)—then we can understand the opening of this movement as a condensed statement of the motive identified as the overall voice-leading pattern common to the opening bars of the Prélude and Gigue. Finally, a variant of this idea occurs in the opening bars of the Allemande, where the lowered seventh degree of the scale (g)6 is part of an extended stepwise descent in the top voice-leading from a2 to g1. (Note also the interchange between g1and g1 in the inner voice in bar 3.) As shown in table 3.1, the stepwise connection between the outer-voice tone a2 and the inner-voice tone c2 occurs over a tonic pedal (A). A common type of pitch motive is one based on arpeggiation of the tonic triad. Consider, for example, the statements of the C-minor triad from the second partita (BWV 826) reproduced in figure 3.4. When we
!
WWW
# WWW
B
XC C
CC
W CC
C
C C
C
C
C
C
C
C
C
X7
6 4
W6
6
6 5
( )
C
B
8 -
C C
C
I
C V
Figure 3.3. English Suite I (BWV 806)
hear the opening chord, there is no reason to attach to it any particular significance, but later, when it is stated in a linear fashion—first in bar 8 of the Sinfonia, then in bar 7 of the Allemande, and finally in the opening bar of the Sarabande—it begins to function more and more like a motivic link. A more obvious example of the arpeggiated triad as motive
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study Sinfonia
Y ! YY # Y YY
CC
1
Allemande
C C C
8
C
C
C
C
7
CC C
CO
C C C
Praeludium
Sarabande 1
C
C C C C
C
Y ! Y c
C C
is found in the early keyboard suite in B (BWV 821). Statements of this basic idea as articulated in the opening bars of the Praeludium, Sarabande, Echo, and Allemande are provided in figure 3.5. The arpeggiation, highlighted by analytical overlay, is clear in the first three, but in the Allemande the arpeggiation is incomplete, consisting only of the third d2–f 2. A similar situation occurs in the opening statements of the Ouverture and Entrée of the Keyboard suite in F (BWV 820), another early work, as shown in figure 3.6.7 And, as shown by the sketches in figure 3.7, these motivic links are part of a structural arpeggiation to a2, the first note of the fundamental line, in both movements. A final example in this category is taken from the first orchestral suite (BWV 1066). As shown in figure 3.8, several of the movements of this work— Ouverture, Courante, Gavotte I, Menuet I, and Passepied I—open with ideas that are all based on arpeggiation of the tonic triad. The Courante and Passapied I are additionally linked by a descending stepwise line connecting the third and root of the chord. The following three sets of examples illustrate what is defined above as a voice-leading motive, that is, a pitch motive articulated at successive layers of the voice-leading fabric of a composition. In all three cases, the motive is the common neighbor-note paradigm. The first set is taken from the early keyboard suite in G Minor, BWV 822. As shown in figure 3.9, the prolongation of scale degree 5 by its upper neighbor note, harmonized by the progression i [V7] III, is first stated in the opening bars of the Ouverture.8 In three succeeding movements what is preserved or at least alluded to is the neighbor-note progression d2–e2–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 ! Y c T
# YY c Allemande
# YY c
C
h
g
C C
CC T C T
CC
C
h
C
CC C
g
CC OO C C
A T
h
C
h
CC
g
C
g
C
CC C C
C C C
CO C
C C
C C C
C
h
g
C h
Figure 3.5. 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
!
C C
R
Sarabande
YY
C C
BB
# Y Y c C
Figure 3.4. Partita II (BWV 826)
S
h
C
C C
CC
C CC O C C CC C C
C
C C C CC
C
C
C C
jh
CC
C C C C C
gi
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Motivic Parallels Ouverture, 1-4
! Yc
CO
#
CC
Yc
Entrée, 1-5
! Y
CO
g
C CO C CO C S
CC R
g
g CO C CO R
h
C C O C C O C CCC
S
R
S
CC R
CO
C C B
h
CO C CO C CO C
BB B
S C
C C C CO C CO C C CO C C h h
S C B
C CO C C
CC S
# Y
C
CO g
C C C C CO C C h C
C
# Y B
Courante
h
C
Gavote I
! |
C
C
C
C CO
C C
C
C C
C
h
BO C C
C
CO
Passepied I
C C C
Figure 3.8. Orchestral Suite I (BWV 1066)
! 43 C
C
C C C C
:
C
C C
BC
C
C
C
h
C C
C
C
CB C
C C
C C CO
C C
C
! 43
C C
C
C
Menuet I
3ˆ
! Y
B
! c ! 23
Figure 3.6. 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
! Y C
# Y B
C
C
C
C
C
CC
C
C C
C
C
C
3ˆ
C
Figure 3.7. 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 e2 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. Another work having several movements united by a neighbor-note motive, in this instance involving scale degrees 3–4–3, is the first cello suite (BWV 1007).9 The opening bars of six movements—the Prélude, Sarabande, Menuet I, Allemande, Courante, and Gigue—are reproduced
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
Y ! Y |
TUU
BB OOO BB O
g C C OC C O C C OC B O C CC O C C C C C C C h S C WCO C C C C C C CO
:
C C C CXCWC C
1
BS C C S BO S
# Y Y |
S
:
B
S
C
B
3rd N
Y ! Y c B
# YY c
C C C C CWC
C C C C
# YY | B
S
C
C C C C
WB
S
C C B
5ˆ
Bourrée
Y ! Y 21 h
CC
g
C
N
C C C
C C C
CC
CC
C h
C C C S
C B
g
CO
W CC OO
Figure 3.9. Keyboard Suite (BWV 822)
h
CC
C S
g
h
C
C
C C C C
C C C g
S
B
BO
C
C C C C C C C C C C C C C
W CC
C C C C C C C C CC CC CC
C T C h
C C C
C C C
CC B
S
C C
g
CC X CC
C h
B
4
B
C C C C C C C C WC C
N
S
C
C C
5ˆ
Gavotte en Rondeau
Y ! Y |
C
3
C
YCO
C C C C C OC C C C C C WCXC C S C
S
S C B
2
C
5ˆ
Aria
# YY 1 2
g
N
5ˆ
Ouverture
C
CWCXC C
( )
WC C
C C C
in figure 3.10, and in all but the last of these, the excerpt is followed by a reduction of the voice-leading. The paradigm stated at the opening of the Prélude is replicated in different metric settings in the Sarabande and Menuet I. The voice-leading is more complex in the Allemande, though the main difference, as shown in the reduction, is the addition of the harmony in the second bar, thereby introducing the neighbor note c from above. This change elaborates but does not fundamentally alter the underlying pattern, as is the case in the opening phrase of the Courante, where the pattern receives further elaboration. Finally, the 3–4–3 neighbor-note pattern is clearly stated in bars 3–4 of the Gigue, as indicated by the analytic addition to the music. This is no doubt the clearest example you will find in Bach’s suites of linking several movements by means of a simple voice-leading motive. The neighbor-note motive is also represented in several movements from Partita IV (BWV 828), though in less obvious ways than in the two preceding examples. Figure 3.11 provides the opening bars of five of its movements (Ouverture, Allemande, Courante, Aria, and Sarabande) and figure 3.12 the corresponding voice-leading graphs. The clearest statement of the neighbor-note pattern shared by all movements occurs in the opening bars of the Ouverture in counterpoint to the descending motion in parallel tenths, marked by the curved lines in the graph. The statement of the motive in the Allemande is more elaborate and somewhat obscured by introduction of the upper register, which prepares the continuation from scale-degree three in that register beginning in bar 5. Register also plays an important role in the opening phrase of the Courante, where 3 is clearly articulated in both registers. The lower register, where the motive 3–4–3 occurs, is shown as primary, but this motion is covered by an elaborated descending third progression in the upper register. The motive is once again clearly articulated in the opening phrase of the Aria, where the 3–4–3 occurs within a larger motion from 3 to 2 supported by the harmonic progression I to V. While this statement of the motive is relatively clear, the one in the opening bars of the Sarabande is almost completely lost in the complex writing. Here the neighbor-note motive occurs by means of a registral shift in conjunction with a descending stepwise progression from d2 (inner voice) to f 1. What began as a clearly recognizable feature in the voice-leading of the opening gesture of the partita has become obscured in the
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Motivic Parallels Prélude
# W
c C
C C C C
C
CO
Sarabande
C
# W3 4
B C
C
C C C C
C
g C
B C
# W3 4
C
C
C
C C C C C C C C
C C C C
C
C C
C
jh
Courante
# Wc
C C
h
C
C C C
C C
C
C
C C C
C C C C C C C
C
N
BB OO BB O B OO
BB OO BO
BB OO BO BO
(
BO 6
Gigue
h
C
C C
C C
C
C
B B
C
Figure 3.10. Cello Suite I (BWV 1007)
C B
C C
C
C
C
( )
B
BB
7 4
8 3
C
6 4
C
C C C C
C C
BB OO BO
B O) BB OO BO
C
C
C C
C
C
C
B B B
BB
( )
CC
6 4
6 5
B
C
CC
C
C
BO BO ( B O)
5 3
5 3
C C
C
5
3
C C C
B
C
B O)
(
6 4
C
C C C
g
C
C
C C C C C C C C
C
BB
7 5
8 3
C C C C C C C C
C C C C C C
N
C
B
CO C OO C
C
C C C C C C C A
N
A
A
A AA
5 3
6 4
7 4
8 3
A
A A
A
A
A
B
C C C g C C C C C C O
C C C C C C C C
CO CO
7
C
BO BO BO
C C
CB O C 4
C
C C C C C C C
C C C C C C C C
C C C C C C C
C C C C C C C
C C C C C C C C C C C C C C C C
(7)
C
C C
C C C C
N
C C
C C C C C C C C C C C C C
C
# Wc
C C
Allemande
# W6 8
C
5 3
Munuetto I
# W
C
C
C C C
A AA A A
A
C C C C C C C C
A A
C
6
C C C
AC A
8 6 3
C
CC
BB
7 5 -
6 4 -
C C C C C C C
BB OO BO BO
C
CO CO
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
Ouverture
!
# WW | 3
CCO h CO
x BB | B
WW
C C
C
C C C B C C C C
CC C C X C C C C T B O C C O C jhl C g CC OO C C O C
W C ! W C BB
# WW
T
x
CU
CO S
C
C
CO
C
C
g
BC
C C C C C BCO TO C C C C CO
CB
w CO C C O CC CC OO CC CO CC O C C C g T O C C O C C O TU B CO C CO C C
g
CB C
B
Aria
C WCO
C
CC OO CC
CC
x C CC OOO C
h
C C
# WW 2 T 4
g
h
C
C
T
Sarabande
C C CO W ! W 43 C C C
C C C C C C CO C C CO C
wg C
g W ! W 24 C
w
kgi
C
BB
w
h
CO
CC
g T
C
# WW 3 4
T
C
g
g C
C
h
C
CC
g
C
T
C T
CXC
B
h
CC
g
C
g T
C
T
CC O
CC C
CC
C
C C C
C
C
C
C
C WC
w
CC
C
hg C C
C
C
h
C
CC CC
C
C
C
T
C
C C
C C
Figure 3.11. (continued) Allemande
g W ! Wc C
B
# WW c T 3
S
B C
BO
W C ! W C XC C C C C # WW B O C
# WW 3 T 2 3
C C
C B
x
S
O C C C CB
C C
C
BO
C
# WW
C C C
C C C
x CC C OOO
C C C
w
C CWC C C C C C C
C
W C ! W C
C C C C C C C XC C C C C
BO
C
C C
Courante
g W ! W 23 C
CB CO
C C C C C C C C
BB
C
CB
C
g C B
C C C WC
Figure 3.11. Partita IV (BWV 828)
C
B
C
C
BB
C C
CC OO
CO
C C C
w S
B
BO C
C C C C C C C
B
C C C C
C
CC
C C C
C
C
BO
g
T
C
C
C
C
C
C C
C C
B C
C C
C C
C
CC CC
C
g
g CO CB
C C C C C C C C
C C C C C C C
C
C
C
CB
C C C O
C
g
Sarabande, where it is a feature of the voice-leading, but not easily recognizable as a motivic repetition. We have twice so far noted the role of the lowered seventh degree of the scale as a motivic component, first as an adjunct to our consideration of harmonic repetition between the Allemande and Sarabande of Partita I in chapter 2 (see table 2.1 and accompanying discussion, p. 16), and earlier in this chapter in reference to the first English Suite (see figures 3.2 and 3.3). A third example of this phenomenon occurs in the fourth cello suite (BWV 1010). We first encounter 7 in the Prélude, where it is part of a linear progression that can be represented abstractly as 8–7–6–7–8. As shown in figure 3.13, this “motive” occurs at least three times within the Prélude itself: first in the opening nine bars, where 7–8 is transferred into an inner part; second in bars 11–27, where it is reharmonized; and finally at the end of the movement (bars 82–100).10 This idea is not repeated per se in subsequent movements, but rather the linear motion 8–7–6 is extended to form a middle-ground progression of a descending octave that is subsequently repeated. This octave progression is heard most clearly at the opening of the Allemande and the closing of the Courante, as shown by the reductions in figure 3.14. Though the motive 8–7–6–7–8 from the Prélude is not heard directly here, note that 7–6 in the top part in bar 3 of the
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Motivic Parallels Ouverture 3ˆ
N
C
W B ! W CC B
Allemande
WW !
C
CC
2
C
C
3
4 2
6
C C
1
# WW
CC
CC
C
1
# WW
C B
Aria
XC C
CC
-
W ! W B
C
3
C
C
C
h
X7
6
6
C
C C
C
8
-
1
B
# WW
C
C
4,
1
C
C ˆ (2)
C C
C C
CC
CC
3
C
C
C
6
6
6
C C
h
C
C C
W ! W B C C C C 3ˆ
C
C
C
( )
CC
C
C
C
C
C
C
C
1
2
# WW C C C B
( CC )
C
CC
C C
C WC
C
C
3
C 6
4
h
6
6
C C
Sarabande 3ˆ
C C
C
C C 7
-
6
Figure 3.12. Partita IV (BWV 828)
XC C
C (6) X5
Ng
C C
C C
CC
4,
6 5
Courante
W B ! W B
C C
C
Ng
C
2
C
C
7
3ˆ
C
1
7
Ng
2
4,
C
7
C
CC
CC
C
3ˆ
B
C
C
C
C C
1
1
( )
C C
7
N
CC
C
( )
C C C
8
7
CC
35
Allemande is answered immediately by 7–8 in an inner part, suggesting a stronger relationship between the two ideas than just the employment of 7.11 One might also hear this octave line in the closing bars of the Allemande, as indicated in the reduction at (a) in figure 3.15. However, as shown in the voice-leading sketch at (b), the octave descent actually begins one bar earlier (from f 2) within the prolongation of the dominant. The correspondence to the closing bars of the Courante is striking. Let us return briefly to the first orchestral suite (BWV 1066) for a final illustration in this chapter of an extended voice-leading motive. Earlier in the chapter we demonstrated that five movements from the work share similar opening pitch motives, each progressing either by step or by arpeggiation to scale degree 5 (see figure 3.8). If we now examine the continuation of these motives, we discover that four of the five movements—the Ouverture, Courante, Gavotte I, and Menuet I—also share an extended linear progression in their opening sections: the octave g2–g1. Reductions of the appropriate portions of these four movements, with added interpretative markings, are provided in figure 3.16.12 The octave is most clearly articulated in Gavotte I and Menuet I, perhaps a bit less so in the Courante due to the implied but not explicit statements of scale degree 7 (f 2). In the Ouverture the octave is divided into two segments, 8–7–6–5 and 5–4–3–2–1, separated by eight bars. In the final two examples in this chapter, but particularly in this last one, we have employed the term “motive” to refer to a repeated linear progression, what Schenker labelled Zug. For some this may seem a stretch, though the use is consistent with the very general definition of motive given earlier—a musical idea that is repeated in the course of a composition. No matter what label we may use, it is clear that the octave progressions cited contribute to the sense of unity and coherence in these two works.
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
AA
AA
1
# Y YY
Y AA A
A
A A
A AA
82
# YY Y
A
AA A A
AA A
AA
AA
AA
A
A
Y AA A A
A
Y AA A A
Y AA A A
í
A
A A
A
A
A
A A
A
X AA
AA
A
A
A A
A
í
AA
A
XA
A
AA
Y AA A YA A A
C C C C C C C
1
A
A
X AA A A
# YY Yc C A
A
AA A
A
AA t AA
AA AA
A A
A
X AA A
AA
Y AA A A
Y AA A AA A A A
A
AA
A
A
X AAA
AA A
A
X AA A
AA A A
XA A
AA
AA
X AAA A A
A A
etc.
Figure 3.13. Cello Suite IV (BWV 1010), Prélude
Allemande 1
# YY c Y
(
A
A B
A
A)
B
BB
6
4 2
YB B
B B B
Courante
B
B
B
XB B
B B
X 65
Y 65
B B
6
B B
B B
6 5
CC CC B ( B) B
6
O BBB OO
49
YYY 43 #
Y BB OO BO BO
BO
6 5 4 3
6 5
B O B C BO
BB O
5
7
- 6
BO
BB O XC BO
XC X6
X6
B B OO
Y B B OO XBO
BO
B B OO BO
Y7
C C C BO ( B O)
B O BO BO
B B OO BO 4 2
(4) 3
CC B
BO BO
C C C
( )
7 6 5
6
Figure 3.14. Cello Suite IV (BWV 1010). Octave progressions
30
(a)
# YY BB Y
B B B
C
C
6
6 5
C Y BC CB
Y6
B BA
C Y 65
5
-
B C B BO
6
4 2
(b)
YB A
BC
C
B
5 - 7
CC 5
C -
YC Y7
CC
C
(5) - 6
CC 4 2
C C 6
CC 4 2
YC C
C
Y 65
Figure 3.15. Cello Suite IV (BWV 1010), Allemande, mm. 30–40
C
C
C
B
XB B
B B
4 2
B
B
X6
Y 65
6
5 1ˆ
8ve
C
V
C
( )
6
2ˆ
# YY BB Y
B
C XC C
X6 5
C C 6
C C
CC
CC C 7
C
CC
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C
C B B
I
B
BC
BB
( )
C C
C 7
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CC C
C
C (B) B
B
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Motivic Parallels octave
Ouverture
! c
S C
A
# c
R B
A
R B
A
B B
B
4 2
6
(7)
B 7
B
B BB B
B
B BB
B
A
B A
B A
A A
7
B A
7 - 6
A
WA
BO
WA
4 - 3
( )
C
CC CC BB
X BB
B
X 65
6
í
B
A A
4W 2
W
6 5
BB
C C B
í
AR
W CB C
9-8 4-3
B C
BO
CC
B
C C B
4 2
6
BB OO
í
7 - 6
B W BC C
6
CC CC B WB
C C
B
WC C
6
W
(6) 5
A A
:
A
:
octave
Courante
CB C C C B C
C
# 3 2
A C
C
B
! 23
B
YC C
6
4 2
G
Gavotte I
C
C C C
! | # |
C
C C
C C
C
C C
C C
C
C
6
6
C
6
6
Y
C
6
C C
C
C CC
CC
CC B
A
C C
C C
B
6
B B
B O) BO
(
F
A
A
6
C
C
( )
C C
2
C
( )
C
C
6
6 5
C
C C C
C
7
A
W
6
C
C WC
C C
C
B C
C W ( BB )
C
B C
C
C WC
C
C WC
C
C
W
6 4
C B
6
6
6
6 5
C
AB
WB
AB
C
WB B
B
6 5
C
6
C
BO B
B
D
A B
C
7
E
C
C
6 5
CO B B
7
W
C
C
WB
( )
6 5
6
í
6 5
B
W
:
AO
:
B
A
G
C
W CC B
:
5
B
:
B
B
AO
6 4
W
octave
Menuet I
C
C
C
# 3 4 B
C
B
C
! 43
6
B B C 6
Figure 3.16. Orchestral Suite I (BWV 1066)
C
C
C B C
BO
6
C
C
C
C C
C
C
7
W CC
W
7
C
( )
C C
B 8
C
C
B C
6
B
W
BO
:
BO
:
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
Notes 1. The title of this chapter reflects Schenker’s term “motivic parallelism” a concept discussed in depth by Charles Burkhart in his article “Schenker’s ‘Motivic Parallelisms,’ ” Journal of Music Theory 22, no. 2 (1978): 145–75. It implies a repetition of the motivic idea. 2. Throughout this discussion the term pitch is to be understood as meaning pitch class. 3. For a detailed discussion of Schenker’s notion of motive as related to his concept of structural levels, see Burkhart, “Schenker’s ‘Motivic Parallelisms.’ ” 4. See the Allemande, 10–11; Corrente, 43; Sarabande, 17–19; Burlesca, 20–23; Scherzo, 15–18 (where we also hear e as 2 of D minor); and Gigue, 28, 33, and 47. We also hear b once as scale degree 4 in the key of the submediant (F): Sarabande, 6. Because 2 is a feature of the Gigue subject, it is heard again in that context in bars 9 and 21. 5. Another feature that unites particularly the Praeludium and the Allemande of this work is the stepwise motion to the high b-flat (b2) in their opening measures. See also the opening of the Corrente and first Menuet.
6. The lowered seventh degree of the scale also occurs prominently in Courante II and its two Doubles, creating an aural link to the other movements cited. 7. David Schulenberg notes that the “opening gestures of the overture and of the entrée have similar gestures . . . ,” The Keyboard Music of J. S. Bach (New York: Schirmer, 1992), 31. 8. The arabic numerals between the staves indicate that the hypermetric structure begins in the second bar following an upbeat bar. 9. This motivic link is noted by David Fuller in the article “Suite” in The New Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (New York: Grove, 2001), 24:665–84. 10. The initial bar of the Prelude has been added at the end of figure 3.13 so the reader can see the pattern (the arpeggiation figure which persists throughout the first part of the movement) from which the reduction is derived. The textures of succeeding movements are more complex and varied. Those readers interested in examining carefully the reductions provided in figures 3.14 and 3.15 will have to consult the score. 11. 7 also plays a prominent role in the Sarabande. 12. Compare to figure 2.6, which illustrates the use of the octave progression as a unifying device in Partita V (BWV 829).
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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. We have already observed the symbiosis of large-scale harmonic organization and voice-leading structure in chapter 2. Several of Bach’s suites contain movements that share the same harmonic plan, occasionally at the level of a common figured bass, but more commonly at a much deeper level (e.g., common key succession). In some instances those in the latter group also share the same deep-level voice-leading structure, strengthening the association.1 We now turn our attention to motive within such a context. Our first example is taken from the flute partita (BWV 1013). Figure 4.1 provides the opening sections of two of its movements, the Sarabande and the Bourrée anglaise. While each is unique in certain respects, it is also clear that the two openings share several motivic components. Of primary importance in this respect is the fifth a1–e2, and secondarily the prolongation of a1 by its lower neighbor note g1 and of the e by its upper neighbor note f. In addition, following the prolongation of e2, both phrases descend by step to b1 supported by dominant harmony. The Sarabande opens with the ascending fifth a1–e2, then returns to a1 via g1 before leaping to the metrically and agogically stressed f1 as the incomplete upper neighbor of the following e1. From there the line ascends to d2, which is subsequently decorated by its own third f 2–e2–d2 before descending by step to b1. By contrast, the Bourrée opens with a leap of a descending fifth e2–a1, then prolongs a1 by a progression involving the lower neighbor g before returning to e2. From there the upper
C
B wC C C
WC
C C WC C C C
C WC
C C
C C
C C
C C
HIS CHAPTER IS A CONTINUATION
12
! C
C
b) Bourrée anglaise, 1-20.
C ! 24 h
C C C
C CWC
C C C C C C C C
7
!
C C C C ! C C
13
C
C
C
C C C C C C C C
C WC C
C
C C C C XC
C C C
C
C C C
C
C C C C C C C C C C C
C C C C C C C
C C C C C C C C C C C C
C C C C C C C C C C C C
C C C C C C
C
C C
C
C C C C WC C
C C C C C
C C C
Cw
C C C C C C C C C C C C C C
C C BO
C C C C C CWC
C C C
C C C
C C C
C C C C C C C C
C C C C C C
C C C
C C C C C C C C C C C C C C
C
C C C C C
: C YC
CO :
Figure 4.1. Flute Partita (BWV 1013)
line descends to b1 while the lower line decorates e1 by its upper neighbor f1. So, while each phrase maintains its own character, the two are constructed of the same motivic components2 and exhibit the same underlying voice-leading. Figure 4.2 provides voice-leading sketches of the first parts of the Sarabande and Bourrée. Following the initial four-bar phrase of the Sarabande, the initial fifth a1–e2 is restated, then each of its elements decorated by their respective neighbor notes, first a1 by g1, then e2 by f 2, which is subsequently reharmonized as the seventh of the dominant leading to the mediant as new support for the return to e2. This progression occupies another four bars.3 The melodic line now leaps to g2, scale degree 5 in the key of the relative major (mediant). From there the overriding voice-leading progression is a descending fifth g2–c2, indicated in the sketch by the beam.4 Covering this progression is a secondary line leading to the high c (c3).
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study 1
2
h
C C C WC C C h
C C WC
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3
4
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,
C C C
C C C C C C C C C WC C (W C )
2
Bourrée, 1-20
B
[V 7 ]
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3
2
3
4 4th
C WC
C C C C
5
6
8
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C C
C C C C
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5th
4
5
6 , 1
2
(1
III
2)
3
C
4
5
4th
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1
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5ˆ
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,
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Sarabande, 1-16
8
V
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6
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( )
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8 - 7
5
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C CC C
( ) í
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6
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C
C
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7
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C C
( )
7
X7
C
C C
2
C
C
3 5th
C
C C
4
C C
C
:
6
III
Figure 4.2. Flute Partita (BWV 1013). Comparison of Sarabande, mm. 1–16, and Bourrée anglaise, mm. 1–20
The sketch of the first part of the Bourrée reveals its close association with the Sarabande. Following the restatement of the tonic harmony in bar 5, the Bourrée progresses directly to g2 supported by the mediant via a (5)–6 progression. From a metric perspective, this motion extends the initial phrase by two bars, replacing the second four-bar group of the Sarabande. The remainder of the first part (bars 7–20) can be understood as an expansion of the equivalent portion of the Sarabande. That is, what had occupied eight bars in the Sarabande now occupies fourteen bars. The overall progression is once again the descending fifth g2–c2, embedded within which is the covering ascent to the high c (c3). This latter gesture, which now occupies ten bars, is expanded first by repetition of the opening two-bar segment and overlapping—added upper thirds—supported by chromatic passing tones (secondary dominants) in the bass. The details have changed, but the underlying voiceleading remains the same.5 The Overture in the French Style (BWV 831) presents a different situation altogether. Here the common thread uniting several of the movements is not a recognizable motive but the underlying voice-leading of their opening statements. As shown in figure 4.3, seven movements of
this work are related in this way. At the most basic level the common feature is the delayed establishment of the primary tone d2 ( 3 ),6 though movements share other characteristics as well. A brief description of the underlying voice-leading of the opening bars of each of the seven movements follows. An important feature of the opening of the Ouverture is the descending tetrachord in the bass, above which there is an inner line, beginning with the d2 in bar 1, progressing in parallel tenths. The top line, beginning with f2 in bar 2, descends by step to the primary tone d2 in bar 5. The clearest relationship to the opening movement occurs in Bourrée II. Once again we have the descending tetrachord in the bass and an inner line progressing parallel to it a tenth above. The upper line, beginning from the opening f1 progresses by means of a series of 7–6 suspensions in relation to the bass (also derived from the opening movement), and at the last moment the passing tone e is transferred to the upper register to introduce the primary tone d2 on the downbeat of bar 5. The voice-leading of the opening of the Courante varies in some respects from the two movements just described, though one basic feature, the descending tetrachord, remains. Here, following the initial
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Structural Associations
Ouverture
WW
|
# WW |
BB
!
S
T
TUU
x
C C C CO BB
h
C C
g
CC BB CC B
C C C C CO
CO
BB
C
TU
C C C C CO T TUU C C C C
C CO
C C
C
gi C BCCC OO O
T U hj
C C C C O C
w CO C C C C CO CC CC OO WC T U hj C
C C C C B
C
C
C C C CO
gi
T U W CC jh
C C
10
B
CC
C
- 6
7
C
10
C
5 -
# WW
B
T
C
C
10
4 2
CC C C
6
C
(6)
7
7
10
g
CC C
T U C gi C O
g
C C C
CC g
CB CC
10
C
C
7
-
W
7
7
CC
WC
6 4
-
C
5
W
Bourrée II
W ! W|
C
# WW | T
# WW
C
3ˆ
W ! W
W ! W
CC
C C
C
g
B
C
S
C T C
C C
C C
C
C
C
B
C
S
CC
C
C
g
T
C
C
C C
C
C
S
C
B C
C
Figure 4.3. Overture in the French Style (BWV 831)
7
-
6
C
C
10
6
C
7
C C C
CC
10
-
C
C
C
10
5
C
C WC
S
CC
( )
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C
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WC
C WC
T
WC
C
( )
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C -
6
7
W
WC
C
T WC
C C
C
C C C C C
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C
C
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C T
3ˆ
g B
C
C C
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
Courante
g W ! W 23 C
CBB O
# WW 3 T 2
g C
C
g
w C
CB O
WC C C
BO
C
g
CC OO
B C
C
g C
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h
CC
g
CC CC
CC
C
C
WB
BO C
C
C
C C
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BO C
C
C
t C
C
C C B
C
C
CC
CB O C
C
g
C
W BB O CC
WC C
C
C C
g
C
CO h
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g
CO C
h C
C C OO C C
C WC C
3ˆ
W ! W CC
C
WC
C C
N
B
h
C C
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# WW
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C
C C
C C
Bourrée I
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C C C C
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C C C C
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W ! W
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h
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B h
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Figure 4.3. (continued)
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C C
6
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C C C C C C C C
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C C C C WC C h 6
C
- 6
7
C
T T
hg C C h
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6
g
CC
B C
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T T
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h
C C CC
C C
C C C
C
C C C
g
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CC
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CC
C g
3ˆ
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C
g W ! W 24 CC hg # WW 2 C 4 C h
C
C
Echo
C C
B
C C C C WC C
WC C
C C C C
WC
C C
C
C C
C
C C
C
C
C W ( CC ) C
C
C
5 -
# WW
CC W C CC
C
B
W ! W
C C
# WW
C
C B
C
C C
6
WC C
W
C
C
C C
C
C
C
C C C
C h
6
Figure 4.3. (continued)
C C
g
3ˆ
C C B C C
CC C
C
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Structural Associations Sarabande
W ! W 43 CC
CO
C C C C
C
C
# WW 3 C C C C WC 4 B
C C 3ˆ
W ! W # WW
C
C
C B
C C C
C
C
CC
C
C
C
( )
C B
4 2
C
WC h 6 5
Gavotte I
W ! W 22 CC
CC CC
# WW 2 B 2
C C C WC C C
C
WC
g
B
C C
3ˆ
W ! W # WW
C CC
Ng
CC
h B
CC C C
B CC
B
( )
Figure 4.3. (continued)
C h
C C WC C
C C
C vi
43
extension of the tonic harmony (bars 1–3), the descending bass supports a stepwise ascent to the primary tone (d2), what Schenker would describe by the term Anstieg. So, in this case, the primary tone is approached by step from below rather than from above, as occurs in both the Ouverture and Bourrée II. Bourrée I maintains the Anstieg to 3 supported by the bass motion b–a–b rather than the descending tetrachord pattern. Note the double neighbor-note decoration of f1 in the inner voice, which is a feature of the Courante and Gavotte I as well as the Ouverture. The Echo also introduces the primary tone by an ascending step progression, in this instance progressing to the e2 to introduce d2 from above. The harmonization of the elaborated Anstieg involves a descending progression by thirds connecting tonic and scale degree 4 in the bass as preparation for the confirming cadence. The opening gestures of the Sarabande and Gavotte I also share some characteristics with the five others just described. The approach to the primary tone in the Sarabande is by means of a stepwise ascent, though missing the initial b1. The descending tetrachord appears in the detail of an inner voice, and the bass harmonization of the Anstieg is the same b–a–b as heard in Bourrée I. The controlling bass of the Gavotte I excerpt is the same as in the opening of the Echo. Here the primary tone is introduced directly after the bass has begun its descending arpeggiation. Note also the elaboration of the inner-voice tone f1 by its upper and lower neighbors, a characteristic of the Courante and Bourrée I movements as well as the opening gesture of the Ouverture. Including this discussion of characteristics common to the opening statements of these movements under the general rubric of “motive” may appear a stretch to some readers. Certainly we are not talking about motive in the traditional sense, but rather voice-leading patterns—repeated voiceleading patterns—as motive. Whatever label is most appropriate to assign to the relationships just described, it is clear that these relationships provide audible links among several movements of this work. Three of the four principal movements from the first violin partita (BWV 1002) open with a similar motivic pattern, the neighbor-note figure f2–g2–f2, and once we look beyond the surface we discover other common features as well. Figure 4.4 provides both the music and corresponding voiceleading sketches of the opening bars of the four movements: Allemanda,
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
t gO C C O C g O g U UO C g C O C O C C C gO C C C O C C g O g O C C C O C C tO C C C C O C CC i T C C T C O C CO C CWCO C CO C C X C C O C C C O C C C O CC O O h C C C CO CO C CC O O CXCO C C CO WCO h hjl h h h
Allemanda
WW
!
5
C
c jh
W ! W C CO C CO
C ig C C C C C O C C tO C C C O C C W C CO O jh
CO
kgi gi U U O g C C C i OO T U T C CO C CO
t
gi
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C CO CO C O C C C C CO C CO CWCO C XCO C C
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C C C h
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7
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C C C C WC WC C C C C XC C
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6
!
CC B
C
C
C
WC
6
C
C
C C
C C C C
C C C C C C C
C C
C C C
C C
WC
C C
C C
C 6
B C
C C C C
C
W CC
C CC W4 2
i
Figure 4.4. Violin Partita I (BWV 1002)
C WC
C
6 5
C
C
W CCC C
W
6
C C C C C C
C
(6) 5
2
V
C WC XC
WC
C XC WC
X W CC
C C
XC C C
5ˆ
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C
C
[V 5 ] iv
III
WC C C C
C
6 5
6 5
6
Corrente
W ! W 43 C h
C C
C
III
iv
(6) 5
C C
C
W4
W6
CC (W ) C 2
C
g W C C CC C C C C h WC C
C
CC C
C C
C
C
WC 6
V
WC
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Structural Associations Sarabande
CC
CC
W ! W 43
CC
CC C C
CC OO CO C
C C
C
C
CC
C
C C
WC
C C
W CC OO C
g
C XC C
CC
X CC C
C
C
CC CC 6
6
C C C C
C OB B
g C
C
C
C
WC
C
CC
C B
C C
C C OO C O C
5ˆ
W ! W BC B
5th
g N CC C C
CC
!
C C
!
C
C
|
|
CC C
C h
6
C C
C
CC
C
CC
C
CC
C B
C
C
C B
¿/¿
C C C
WC
5ˆ
WW
C
7
Tempo di Borea
WW
CC C
C
C
N
W CC
g
C
CC
W CC
C
C C h
CC
W4 3
6
6
C C C C C CC
CC C
C
6
6 (4
5
h
C
C
B
C
W
7
t
C
W ( CCC )
WC
C
C C
CC
C
CC
C
C
C
C
C
C C C C C C
W)
Figure 4.4. (continued)
Corrente, Sarabande, and Tempo di Borea. Following an initial statement of the neighbor-note motive in the top part, the Allemanda descends from the primary tone f2 ( 5 ) to d2 within a tonic prolongation before f2 is reinstated, now supported by the mediant harmony, followed by a second statement of the neighbor-note figure. From this point a2 is overlapped above f2 to approach g2 from above, and from there the line descends to c2 supported by the dominant. The top line in these bars, f2–a2–g2–f2–e2–d2–c2, is marked with a bracket since it is repeated in slightly varied form in the next movement. The Corrente opens in a very
C
C
C
C (C ) C 6 4
C
CC 7
C
C
WC h
C C C 6 5
C
h
C
C
N
C C
(
W CCC )
C
W
different fashion, with a stepwise ascent (Anstieg) to 5 and once f2 is attained on the downbeat of bar 5 a varied repetition of the bracketed idea follows. Note the close correspondence between the harmonization in the Allemanda and in the Corrente.7 The Sarabande opens with a statement of the neighbor note, with f2 first being harmonized by the tonic and the return by the mediant, recalling in one gesture the two supports given to the primary tone in the initial bars of the Allemanda—at bars 1 and 3–4. The line then descends by step to c2, first in bar 4 (implied) and again in bar 8. Finally, we have yet another appearance of the f2–g2–f2 figure in the initial phrase of the Tempo di Borea, followed by an elaborated descent of a fifth from the primary tone f2 to b1. The two movements of this work most closely related at deeper levels of structure, though in fact not in the detail of their progressions, are the Allemanda and the Sarabande. Middleground-background sketches of these two movements, aligned to highlight the correspondences, are provided in figure 4.5. Let us begin with the Sarabande, since it is the less complex of the two. Following the opening statement of the neighbor-note motive (not shown in figure 4.5), the line first descends a fifth from the primary tone f2 to the inner voice tone b1, a motion that is embedded within the overall progression of a descending fourth from f2 to c2 within the first part. After the double bar, the dominant in fourtwo position returns to the tonic, now in six-three position with b2 in the
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study 8
12
5ˆ
!
g
C C C WC BC CC C C C C C C C C C C C C W W CC C W CC C C C W CC C C C C CC W CC C W C X C C C W CC C XC X C C WC C C C C C WC C C C B C C C ( ) 6
6
7
6
W
W4
6 5
b: i i
III
6
3
W4 2
6 V5
iv
4
W
(6) 6 5 5
24
4ˆ
N
allemande
WW
19
W
5th
: :
W
i V, [V]
8
1ˆ
ˆ (3)
C C C C C C C C C C C CW C CC W CC CC C C W C C XX CCC X CC W C W C W C BC CC W CC C C XC C C W C C ( C ( BCB W CB ) B C B ( C) C X C C W C C C C C C C C C WC C C C XC B W4 2
6
4
+6
i [V 3 ] VI
6 7
V,
(e: i [V] iv V i
16
5ˆ
2ˆ
3ˆ
W
W6
V
i) iv
X6
W4
6 5
6
2
6 (4
(i)
24
:
5
W)
V
i
28
32
4ˆ
3ˆ
2ˆ
1ˆ
B B
5th
sarabande
!
WW
BC B
C C
h
CC
CC C C C W C W CC C
6
7
W,
6
C
C
C WC h
6 5
C
C W CC C
W
C
: :
WC C
C C
W4 2
V
C C C 6
i
C
C
CC C WC h
C C C C
6 5
h
C C C
C WC C C
B CB
( )
C
C C WC C (C) C C
C
(6)
[V] iv
i
C
CC
iv
W6
CC
C
C hC 6
g
C W ( CCC ) C C W
5 -
V
C
C
C
C
C W CC C (C) 7
W
CCC
C
C
C
CC W CCC CC C (C) 7
7
W
C
C C
C
C C WC C C
W6
C
BC
C
B hC
6
(- 7)
i
g B
: B
(W)
V
i
Figure 4.5. Violin Partita I (BWV 1002), Allemanda and Sarabande
top part, and from there the line descends a fifth to scale degree 4 of the fundamental line, harmonized by the subdominant. Over the next six bars the bass descends by step to the tonic, which provides consonant support for the passing tone d2 within the descending third e2–d2–(c2). The goal of this eight-bar phrase is the dominant, which is subsequently prolonged until e2 is reinstated and finally resolved to d2 (3 ) in bar 30 immediately prior to closure at the cadence in bars 31–32.8 The Allemanda, which, as noted above, opens with the neighbor-note figure, initially descends a third from the primary tone f2 within a prolonged tonic harmony, and then from a reinstated f2, now harmonized by the mediant, descends via the progression discussed above to the inner tone c2, supported by the dominant, in bar 8. The following four bars confirm the dominant as the goal of part one and reinstates f2 as primary via g2. Thus the opening motive f2–g2–f2 has been expanded and transformed into f2–g2–f2 encompassing the entire first part. In comparing the two movements to this point we see that they correspond only in their
larger goals, not in the details of their progressions. Following the double bar, the inner voice tone b1 is transferred to the upper register and the line descends a fifth from b2 to scale degree four of the fundamental line, supported by the subdominant harmony. The correspondence to the equivalent passage in the Sarabande is striking despite the differences in the details of the voice-leading. What follows also bears a resemblance to the Sarabande. From the cadence on the subdominant (bar 19), the bass descends by step to the tonic supporting d2, but here too the motion continues beyond this point until the cadence at the close of the phrase. The final set of examples in this chapter is drawn from the extraordinary second violin partita (BWV 1004) in D Minor. A basic idea common to several of its movements is the stepwise ascent (Anstieg) to the primary tone f 2 (3 ). Also of significance is the neighbor-note motive a–b–a (inner voice) and the persistent idea b2–a2–g2–f 2 resulting from transfer of the inner line to the upper register to reintroduce f 2 from above. This latter idea is highlighted by brackets in figure 4.6,
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Structural Associations Giga
! Y 12 8 C 4
g C C
! Y C
C C C
C C
C
C C
C C
C
C C C C WC C
C
C WC XC
C C
C
C
C
WC
C C
C C
C
C C
C C C C
C C C C C C
C C
C
C C
C C C
! Y C
C C
B
C C
C
WC C
C
C C
WC h
C C
C C
C
BC
! Y 43 CB B O C
g
CC
CO C C W BB B
C
C
C
C
g C
CO BB
CCC
C
g
5
CC
CC
CC
CC
W CC
C
C
C C
C h
CC C
C
CB B O C
C
( )
6
Ciaccona
C C
C C
WC
C
g
-
C
CC
( )
C
6
(7)
CC
CC
CO C C W BB B
C
( )
C
C
6
(7)
6
CC
C
g
C
C
W CC
( )
C
! Y
CC C
( )
B
CCg N C CC CC WC h 4 2
B
CC C
6 5
Figure 4.6. Violin Partita II (BWV 1004)
C C
C
C
C 8 6
CC
W C 7 5
CC C
CC
C
( )
CCg N C CC CC WC h
4
W
C O BB
CCC
C
g C
C C
4 2
6 5
CC C
C
C
C
6
8
h
C
C
W
C
WC C
( )
CgO WCg O C C CO O C CO h
C C C
C
-
C C
W
C
C
WC
(C) C
7
C
C
C
CC
3ˆ
Anstieg
C C
C
C YC XC C
C C
CO
3ˆ
Anstieg
g
C
C C C C C C C C C C C C C C C C C C C C C C
7
C
gg C OC O CO
C
CC
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
Allemande
g ! Yc Ci 4
! Y C
h
C C
C C
C C
C C
C C
CO
C C
C
C
WC
C C
C
C C
C C
C C
CO
C WC C
C
C C
C
C C
C C
C C
C C
C
C
C
C
C C
C
G
C C C C C C C
C C
G
C C
C C
C
C
C C
C C
C C
C
C C
Anstieg
! Y
C
( )
C C
B
Ng
C
C C
WC 7 h
ˆ (3)
G G gi C Y 3 C C C C C C ! 4 CC W C
CC C
( )
Corrente
9
C C C XC C C ! Y C C C
CC CO
h
C
CC C
C C
C W CC
C
CC C
C C
C CC
C
C C
CC C
G G C C C C C C C
C
CCC C
5
6
5
C WC
C C
C
G C C C C WC C
C C C C C C C C C
C CO C C CO
C CO C WCO CO C CO C CO C C CO C C C C C C C C C
C C C C C C C C C
CC
C
C
6
CO C CO C OYC C
í
C
C
C C
CC C
C
C
C C
6
C CC
5 - 6
7
C C
C C
CO WCO C
C C
WC h
g
BC C
6 5
YC C C C C C C C C
C C C C C XC C C C
C C C C C C XC C C
C CO C COWC CO
C C
diminuation 3ˆ
Ng
6
G
C
G C C C C C C G C
C
C CO C C
C C C C C
3ˆ
N
! Y CC
C
g
B WC h7
CC
CC
C
( )
Figure 4.6. (continued)
C
C
W CC
7
W
C C
h
C
C
C
6
W CC
W
C C
8 - 7
C
C
C C C
C YC 6 5
C
CC
CC
YC Y7
g CC
C
C C C
6 5
C C
( )
C C
C CC
C
C
C
( )
W CC
7
W
C
C
C
( )
CC
WC h
C
6 5
C C
B C
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Structural Associations Sarabande
CC ! Y 43 C C
g
CC OO C
CC
C C OO C
CCC
CC
WCC
g
C X CC
CC ( C ) C
C
CC C C
CC C C
C
3ˆ
B
! Y CB
N
h
CC
g
WC h
7 - 6 5 -
C
5 - 6
X CC 7
C 6
CC
CC 7
C C C C g C W C O C X C C C C CC C C C C C X C C C W C C YC B C h h YC
CC
6
C
WCC C
C( C ) C
( )
W6 4 3
C
C
C C
C WC C
W4 3
WC
C CO h C
CC 2
CC
g
C C W CC C
C
C
CC C C C C
C
C WC C
CC
6
W6
W
C
C
C BB OOW C X C
W CCC
C :
:
Figure 4.6. (continued)
which provides both music and sketches of the opening bars of all five movements. The Anstieg to 3 is most clearly articulated in the Giga. Following the establishment of the primary tone on the downbeat of bar 3, the inner line is transferred to the upper register and f 2 reinstated by means of a descent from b2. The Chaconne opens with a leap from the inner voice tone a1 to e2, reminiscent of the same gesture at the opening of the Allemanda, and when e2 progresses directly to f 2, the primary tone, it may be understood in retrospect to come from an implied d2. This rising motion covers a statement of the neighbor-note motive a1–b1–a1. The ascent to 3 is followed by a statement of the b–a–g–f idea in the lower register, but when the opening four bars are repeated in varied form, this idea is transposed to the upper register leading to f 2 on the downbeat of bar 9. As noted above, the Allemanda opens in a very similar fashion as the Chaconne, except here the harmonies are composed in a linear fashion. The leap to e2, covering the inner voice statement of the neighbor-note motive, may once again be understood as coming from an implied d2. Here, however, f 2 does not follow immediately, as in the Chaconne. Though f does follow in the lower register (f 1), the result of a descent from the inner voice tone a1, the Anstieg is not completed until the downbeat of bar 7 following a diminution of that motion.
In the Corrente the primary tone f 2 is not reached until bar 16, and it is not introduced by an ascending linear motion but by large-scale arpeggiation: a1 (bar 1)–d2 (bar 5)–f 2 (bar 16). Motivic parallels to the other movements are clear. Note the neighbor-note motive a1–b1–a1 at the beginning and the introduction of f2 by the descending stepwise motion b2–a2–g2–f 2. Though not stated here as a continuous line, as it is later in the partita, this is, in fact, the first time we hear this important idea in this work. The Sarabanda differs from the other movements in that f2, the primary tone, is stated immediately at the beginning. Despite this difference, motivic references to the other movements are clear. Note once again the neighbor note motive in the inner voice at the beginning and the transfer of b to the upper register in bar 6 followed by a statement of the b2–a2–g2–f 2 idea. In this case the descending motion continues beyond f 2 to e2 supported by the dominant harmony at the cadence.9 Structural associations among movements of the D-minor Partita also exist at deeper—that is, at more remote—levels than just described. Figures 4.7, 4.8, and 4.9 provide sketches of the Allemanda, Corrente, and Sarabanda, respectively. Comparison of the first two of these reveals that they are based on the same underlying model, which consists of the following features subsequent to the establishment of the primary tone f 2. First the top voice descends a sixth from f 2 to a1 at the cadence on the
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study 3ˆ
g
N Ng C CC C Y ! B C
CC
( )
C
WC h
i
! Y C
C
C C
h
CCC C W CCCC
CC CC
CC
CC CC
CC
CC C
CC
C
CC
C C
C
í
C C
C
6
C
g
N
WC
C WC
C
CC
6
7
C
C
C
CC
dim.
C
C
WC h 65
g
to bar 18 7
BC C
WC
C
C
X CCC
( )
(5) - 6
6
(6)
CC C
( ) í
6 5
6th
CC
C
C W CC
CC
( ) ( )
C
CC
15 í
C
C
( )
( C)
7
6 4
V
W
C
! Y CC X C C
C
CC 7
iv 5 -
C
CC
CC
C XC
C
C WC
C
W
V
I
V
: : W CCC
C WC CC C
XC
5
i
C
7
CC C
C C
C C
C YC C C - h Y6 C
ii Y 6
a(v): i
W
C YC C C C C
C
CC
C C( ) Y h C 6
C
W CC C
7
W
C XC C
YC C
C
C YC C
6 - Y5
C
CC
27
CC C
C
C
( )
C
7
CC
C C
6
C
C C YC h6
W CC C
C
C
CC
C
7
W
iv 2ˆ
C
C
XC WC
C CC CC
( )
(III)
C
C YC C C
23
C
( )
i
P ( )
C
6-
7
i
C XC C XC
í
N
W
23
W X CC
CC W X CC
30
CC CC
( )
C C C WC -
CC C
( )
Y6
II
X C Y CC
YC
C
C
1ˆ
32
W X BCC V
C W
C B
C
C WC
B B
:
i
Figure 4.7. Violin Partita II (BWV 1004), Allemanda
dominant at the end of part 1 of the binary form. The outer-voice tone e2, either stated explicitly or implied by context at this point, is stated immediately after the double bar and returned to f2 and the tonic harmony, forming a tonic prolongation that incorporates the preceding formal division at the dominant. Next the top voice progresses via the chromatic passing tone f2 to g2 at the internal cadence on the subdominant, and from there the line descends a third to scale degree 2, supported by dominant harmony, and on to closure. The opening of the Allemanda—the stepwise ascent to the primary tone f 2—has already been described. From bar 7 the line descends a sixth to the inner-voice tone a1 at the cadence. (Not shown in this sketch is the considerable activity in the upper register. In other words, only the most essential features of the voice-leading structure are indicated here.) In this case the outer-voice tone e2 is stated explicitly at the
cadence, then restated after the double bar in preparation for the return to f 2 and the tonic harmony. The chromatic motion through f2 to g2 is elaborated by a descending motion from f 2 into the inner voice, eventually arriving at b1 at the subdominant cadence (bar 23), and by the descending third introducing f2. Figure 4.7 shows that the following motion to the mediant (F) in bar 27, which provides consonant support for the implied passing tone f 2, falls within a prolongation of the subdominant (iv5–6) leading to the dominant supporting scale degree 2 and subsequent closure at the cadence in bars 31–32. As shown in figure 4.8, the main line of the Corrente descends a sixth to the inner-voice tone a1 (implied but not stated) at the cadence on the dominant following the establishment of the primary tone f 2 in bar 16. The parallel to the Allemanda is clear, though of course the details and character differ. The return to f 2 and the tonic harmony occurs in bar 28,
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Structural Associations 3ˆ
N
g
C C ! Y CCB W CC CC CC ( C ) C W CC C C C C C 6C W CC 7 C C 7 W W h W
C C C
h
i
C C ! Y : CC W C W CC X C W
h
5
W W4 2
C CC C C
g
28
CC
Y CC
6 ( W 6)
C
C
WC C
C
Y 65
i
5
! Y B C WC C XC
Y CC WC h CC
í
C
CC
C
Y7
CC
C
C
C C C C
C
CC
C
C
( )
6 5
C C
C
( )
C
W CC
CC
C
( )
CC
C C
C WC h 6
C
16
B C
CC
C
CC C
WC
7
C
C
W CC CC C W6 C
6
5
YC
CC
5 - Y6
C
6
Y CC
C
6
C
W CC C W W4 2
1ˆ
C
6 5
CC
g
C WC C C C (C)
6 ( W 6)
C
C C
C C ( C ) iv
h
C
XC C
CC C 5 - 6
C
W CC 7
W
C
CCC Y C
XC CC C WC
C C
C XC C WC C
W C (C) h6 ( )
C
24
C
:
( )
( )
C
5
49
37
C
CCC C
C
C YC
YC
44
W CC
CC
WC B
V
W
CC CC i
Y CC WC CC
W CC C C
iv
V
CC
í
2ˆ
C C B C C C WC
1ˆ
51
B B
( )
i V "i"
C
54
C C WC B
:
Figure 4.8. Violin Partita II (BWV 1004), Corrente
and from f 2 the line descends to the inner-voice tone b1 at the subdominant cadence as the upper line progresses through the chromatic passing tone f2 to g2. Again the parallel is clear. The subsequent prolongation of g2 and its transformation from a stable pitch, supported by the subdominant harmony, to an unstable pitch, as seventh of the dominant, occurs in bars 37–49. Connection of the seventh to the fifth of the dominant harmony (2 ) occurs through the consonant passing tone f 2 in bar 50, supported by tonic harmony, as the melodic line progresses toward closure. However, harmonic closure is avoided at the last minute and the motion is directed beyond that point to the cadence on d1 in bar 54. Figure 4.9 provides a sketch of the Sarabanda, revealing structural connections (as well as differences) between this movement and the previous two. Following the repeat, e2 is not returned to f 2 and tonic harmony, as occurred in the Allemanda and Corrente, but is prolonged
through bar 12, where it is supported by a C-major harmony. From there the approach to the cadence on the subdominant (bar 16) is reminiscent of the equivalent passages in the other two movements. The top part, from e2, splits into two lines, one descending by step to b1 at the cadence and the other progressing to g2 via f2. Note the approach to g2 via a chromatic version of the voice-leading motive b2–a2–g2–f 2, highlighted in the sketch by the bracket. The subsequent prolongation of g2 and the subdominant harmony, transformed by the indicated 5–6 motion, is related to the equivalent passage in the Allemanda.10 Following a final statement of the b2–a2–g2–f 2 idea, the line progresses to closure in the upper register. Let us review briefly what we have discovered so far about intermovement connections in the Bach suites. First, it is important to
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study 3ˆ
8
N
B
! Y
C CC B h
g
g CC ( C ) C CC C CC C CC C
CCC C C WC76 h 5-
5
- 6
7 6
C (C) Y CC WC C C
7
C C W C CC C
C C ( C) C C
W4
2
3
i
C C C C WC C C C C 6
W CCC W
W6
V
22 16
! Y
C
( C ) C C
iv 5 -
C C C
6 5
C
C
CC W C C
7
W
CC
X CC W C C X
9 7
W
20
W CC
W
C
C
W CCC C
CC
W 42
6 4
C
4 3
-
Y6
II
W CCC C
Y6
C C
C W CC
6
( C
W6
C
: WX CC
X CC
5
4 2
W
C C CC CCC C C 6
7
7
C
CC
16
C C
W CC C Y C C C W4
6
6
CCC C WC 6
C C
C YC 7
-
6
C C
C C 7
-
6
C WC
C C C
7
-
W6
C C
( )
C
iv 2ˆ
C Y C CC W X CC C C C
:
12
1ˆ
CC W CBB C)
V
B B W
i
Figure 4.9. Violin Partita II (BWV 1004), Sarabanda
reiterate that some, but not all, the suites exhibit inter-movement associations beyond the obvious feature of a common tonality. Some may be collections of individual movements in the same key, while others clearly must have been written at one time as integrated works. Second, of those works that do exhibit inter-movement connections, no single compositional technique emerges as dominant. Rather there seems to be a multiplicity of approaches, in some instances operating alone and in other cases working in combination. We have seen clear examples of two or more movements of a suite being connected by means of common surface characteristics, e.g., common motives or figured-bass patterns. We have also observed the opposite, that is, suites with movements exhibiting common large-scale plans, harmonic and/or structural, with or without recognizable surface repetitions in common. Clearly the most unified are those, like the D-minor Violin Partita, that are highly integrated at multiple levels. Multiple levels of inter-movement connections are attributes of the two works to be examined in Part II, the Keyboard Suite in A Minor (BWV 818a) and French Suite VI (BWV 817).
Notes 1. See Figure 2.13 and the accompanying discussion in chapter 2 of the Allemande, Courante, and Sarabande from the fifth English Suite (BWV 810). Also see note 7 in that chapter, p. 25. 2. The common motivic components—the fifth a1–e2 and the neighbor notes g1 and f 2–are clearly articulated in the opening movement, the Allemande, though in that movement the primary tone is 3 (c3) not 5 (e2). 3. Numbers above the staff indicate the metric groups. Those interested in reading more about metric organization in relation to the phrase in tonal music should consult William Rothstein, Phrase Rhythm in Tonal Music (New York: Schirmer, 1989). 4. Both the Allemande and the Bourrée are written in rounded binary form, that is, with a clear return to the opening material in conjunction with the return to the tonic harmony. The descending-fifth progression in the relative major that closes part 1, when transposed to the tonic in this last part, becomes the vehicle of the final descent of the fundamental line to closure. 5. While the second parts of these two movements share several feature, the close correspondence is not continued throughout.
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Structural Associations 6. The purpose of the diagonal line connecting the opening bass note and the later established primary tone (Schenker’s Kopfton) in all seven sketches is to show that they are conceptually related. 7. This correspondence is noted by Joel Lester in Bach’s Works for Solo Violin (New York: Oxford University Press), 142–43. 8. My colleague Edward Laufer provided several very helpful suggestions regarding the structural organization of this movement. 9. Joel Lester recognizes the tight connections uniting the movements of this work, but by focusing on thoroughbass he misses the important motivic and structural connections. See Bach’s Works for Solo Violin, example 6.3 and the accompanying discussion. 10. From an analytic perspective the A-major harmony in bar 20 presents an interesting interpretative choice. One possibility is that it is the structural dominant supporting scale degree two (e2) of the fundamental line. The other is that it is passing within the extended subdominant/flat supertonic (iv5–6)
53
harmony, as shown in figure 4.9. One might make the case for the first of these on the basis of the prevailing four-bar hypermetric organization, as follows: 16 20 24 ||: 1 2 3 4, 1 2 3 4, 1 2 3 4, 1 2 3 4 :|| iv V i However, Bach avoids articulating bar 20 as a point of sub-arrival by continuing the motion beyond that point. In other words, we do not hear a subdivision of this eight-bar phrase into four-plus-four. The potentially confusing factor here is the apparent stalling of motion in bar 21 if the performer plays the rhythm as written. If, on the other hand, the performer arpeggiates the chords in bar 21 as written out in the first half of the next bar, then the motion is directed through to the II harmony.
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Part II
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5
Keyboard Suite in A Minor (BWV 818a)
T
HE KEYBOARD SUITE in A Minor is a relatively early work. According to David Schulenberg, it “seems to occupy a stylistic position between the English Suites and the First French Suite,”1 though it may well have been written much earlier. It exists in two versions, BWV 818 and 818a, both transmitted to us through copies. The earlier version is preserved in two copies, one in the hand of his student, Heinrich Nicolas Gerber, the other anonymous, both dating from the early 1720s. This version consists of five movements: Allemande, Courante, Sarabande simple, its Double, and Gigue. The later version (818a) adds a Prelude, marked “Fort gai,” and in place of the original Sarabande–Double pair provides a variant of the Sarabande simple and a Menuet. This version is based on two surviving copies dated much later, around 1740. The following discussion focuses on this later version. The movements of BWV 818a are related in a variety of ways and at multiple levels. With the exception of the Prelude and the Allemande, each movement opens with a variant of a common underlying pitch motive, the arpeggiation of the tonic triad (a1–c2–e2), most frequently with decoration of the tonic by its lower neighbor note, g1, and the fifth by its upper neighbor, f 2. The initial bars of all movements but the Allemande are reproduced in figure 5.1. Each of these ideas, though based on a common underlying pitch motive, is unique, expressing its own character. Still the connecting thread is there, and this thread becomes more pronounced when we examine the voice-leading of the opening phrases of these movements. As shown in figure 5.2, four of them—the Prelude, Sarabande, Menuet, and Gigue—open with harmonized descents of a sixth from e2 to g1. The Courante differs only in that its opening phrase is harmonically closed, supporting a descent of a fifth from e2 to a1. Note the employment of f2 at various levels as a local neighbor note, complete or incomplete, harmonized or unharmonized, and in one instance (the Menuet) extended over several bars.
Similarities among the movements of BWV 818a extend to the harmonic sphere, an aspect of unity to be addressed here in relation to structure, since harmonic associations frequently coincide with similarities in background-level voice-leading. It is important as we approach the matter of background structure in this work to make a clear distinction between motivic design and voice-leading structure. The two may coincide, but in this instance they do not. As we have seen, the common motivic link among several of the movements is the fifth e2–a1, and one might expect the fundamental line to follow this path. But, in fact, it appears as if several of the movements exhibit near-identical fundamental structures involving the descent of an octave, not the fifth. There are at least two important issues associated with this interpretation that require comment, the first having to do with the structure of the fundamental descent from scale degree 8 in the minor mode. It is the descending form of the scale.2 The second involves consideration of potential variance of this structure. Perhaps the best way to approach Prelude
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Q
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CCC
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CC BB
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C
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Courante
! 23 C # 3 T 2
g x
CO
g C C C WC C C C C C
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CCC
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C C CO C C C C C C C C WC
w
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C
CC
W BB
TU
C
C
C C C C WCWC C C
B
w C CWC C C CO
C
g
T Cg C C C C C C C C CO h
Figure 5.1. Keyboard Suite in A Minor (BWV 818a), Opening bars of the Prelude, Courante, Sarabande, Menuet, and Gigue
C
CO C
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
Sarabande
CO ! 43 C C xC
# 3 4
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C C C C C WC WC C C G G T W C C C C h
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Gigue
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Menuet
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Figure 5.1. (continued)
this matter is to begin with the prototype represented at (a) in figure 5 .3. With minor alterations, this pattern represents the deepest level of structure of four of the movements of BWV 818a. At (b) we have a different pattern, an elaborated descent from scale-degree five, yet one that is related to (a). The primary difference between the two is the interpretation of f2 and e2. At (a) they are part of the fundamental line, but at (b) they are part of a lower-level descent introducing scale degree 4 of the fundamental line. The other difference, of course, is that a2 is missing, and thus g2 is interpreted as reaching above e2 to introduce f2 from above. Thus they are different, yet related. The
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Keyboard Suite in A Minor (BWV 818a) 7ˆ
6ˆ
5ˆ
4ˆ
3ˆ
2ˆ
1ˆ
B B
B B
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Figure 5.3. Structural models
Prelude i
3ˆ
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85-
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ˆ (8)
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i
relationship between the two becomes clearer when scale degrees 7 to 1 receive full harmonic support, as at (a). In this instance, the interpretation at (c), where a2 (8 ) is not stated but possibly implied by context, seems appropriate. This last type corresponds to the structures of the Sarabande simple from BWV 818 and of the Menuet from BWV 818a.
V
B W
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The Prelude is divided into two large parts (bars 1–27 and 27–50)— marked by roman numerals in figure 5.4, a detailed sketch of the entire movement—followed by a coda (bars 50–58). This binary division is clearly articulated by the repetition of the opening material on the dominant, rearranged so that the third of the local tonic (g2) is the highest sounding note, providing consonant support to that pitch as preparation for its later introduction as seventh of the dominant of the subdominant (7 of the fundamental line). Though much has taken place in the interim, this g2 (bar 38) is interpreted as associated at the deepest level with the opening a2 (8 ). From bar 38 the fundamental line begins its descent toward closure, which at the last minute is delayed by the deceptive motion and ensuing parenthetical statement (bars 45–49). The coda makes reference to the opening material, this time leading by arpeggiation to a2, the opening pitch, before confirming closure in the lower octave. The first part of the Prelude is subdivided into two large phrases, the first arriving at the cadence on III (bar 18) and the second at v (bar 27), creating a large-scale bass arpeggiation I–III–v. The first phrase opens with the neighbor-note figure on e2, then on c2, followed by a sequential progression leading to the dominant. This motion is contained within the larger motion to III, supporting an initial descent from the opening a2 to c2, a motion to an inner voice. The outer voice g2 is implied at this point, then confirmed by subsequent events leading to the cadence in bar 27. The deepest level of melodic motion is shown to be an octave progression, where g2 is twice provided consonant support, first by III, then by v, before becoming a dissonant seventh, setting in motion the descent
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! #
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Keyboard Suite in A Minor (BWV 818a) 8ˆ
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C C WC B
7
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Figure 5.5. Allemande
to closure. This is a pattern that is repeated in varied form in several other movements.
Allemande The Allemande, though relatively short in length, is a sophisticated contrapuntal movement, not unlike some of the movements in the English and French Suites. As shown in figure 5.5, the first note of the fundamental line (a2) is introduced in bar 2, following the opening idea, which bears a motivic resemblance to the other movements.3 From this a2 there is an initial descent of a fourth, a2–g2–f2–e2 over the course of
the first part, a motion that prolongs the initiating tone ( 8 ). This interpretation is based on hearing e2 implied in bars 9–10 covering the continued descent to g1 at the cadence on V.4 In the second part a2 is reinstated, supported by a D-minor, then D-major, harmony that is extended over several measures. This leads to a G-major harmony (VIII) providing consonant support to g2 (bar 17) before that pitch is reintroduced in bar 19 as the dissonant seventh of the dominant of the subdominant, that is, as scale degree 7 of the fundamental line, from which point the line leads directly and convincingly to closure. A condensed version of the detailed sketch of the voice-leading is provided in figure 5.6. Here one can see quite easily the strong relationship between the Allemande and the Prelude at deeper structural levels.
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study 8ˆ
C
CC
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C
C C
CC C
C
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6
6
6 5
8-
III
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C h
C C 6
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( )
ii
7
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í
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(8)
-
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13
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iv
g
7ˆ
17
C
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5ˆ
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4ˆ
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19
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2ˆ
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22
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B
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W VII
7
iv
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7
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7
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Figure 5.6. Allemande
Courante The Courante is quite brief (only sixteen bars in length), suggesting the date of composition as much earlier than the French or English suites. Its voice-leading structure, shown in figure 5.7, bears strong resemblances to both the Prelude and the Allemande. As in the Allemande, the primary tone (8 ) is introduced following the statement of an initial motivic idea, here a four-bar phrase. Following the introduction of a2 the melodic line descends a fifth from g2 to c2, the latter coinciding with arrival at the cadence on III in bar 8. This motion is shown to prolong the initiating tone of the descent, and though g2 is only implied in bar 8, it is immediately reinstated in the following phrase before descending through f2 to e2 at the cadence on the dominant in bar 12. To this point the overall tonal motion is I–III–v supporting an initial descent a2–g2–f2–e2, exactly as occurred at this level in the first part of the Prelude. (Since the Prelude was written later, perhaps it would be more appropriate to say that the structure of its first part parallels bars 1–12 of the Courante). This large-scale motion is embedded within a larger tonic prolongation, where the initial tonic supporting 8 is transformed into a major harmony supporting 7 leading to 6 supported by subdominant harmony and from there on to closure. Note that the support
for scale degree 5 in this descent is harmonically “weak.” The setting is, in fact, a contrapuntal one, with the outer voices progressing in parallel tenths, a feature that reappears in the final movement. In figure 5.8, a simplification of the more detailed sketch, harmonies are added in parenthesis at this point to show the correspondence to the equivalent passage in the Allemande.
Sarabande While there are clear associations between the Sarabande and other movements in this suite, its deep-level structure differs. This movement is not controlled by an octave descent, but by a fifth, much like the prototype at (b) in figure 5.3. Figure 5.9 provides a sketch of this brief movement. Following the opening motion from outer to inner voice (from e2 to g1), the melodic line descends to c2 at the cadence on III in bar 8. The primary tone, e2, is reinstated at the outset of part 2 and prolonged through the cadence on the dominant in bar 16. Internal to this phrase, g2 is introduced by its upper neighbor note and then descends through f2 to e2 at the cadence. This melodic motion g2–f2–e2 is very reminiscent of the same progression in the Prelude (bars 26–27) and in the
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Keyboard Suite in A Minor (BWV 818a) 8ˆ 5th
B
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Figure 5.7. Courante
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C C
g
7
W6
5)
C
WC C
WC
C h
C C
7ˆ
6ˆ
B B
C
5ˆ
C
C
YC C
B
C
: : C
WC C 6
Figure 5.8. Courante
6 5
C
C
6
W5 W
10
WC B
B
5 -
Y6
C
C
4 2
W4 -
C
C
WC
5th
#
B
C
4ˆ
3ˆ
2ˆ
ˆ1
B BC
g C C W CB B
:
10
10
B B
B
:
WC
WC
10
B
C
6
W4
3
W6
h
C
6 5
B W
(W )
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study 5ˆ
C BC
! C
1
C
#
B
CC
CC C
CCC W CC W CC C C C
2
3
C WC
C
6 5
W CC W C C 4
C WC h 6 4
W2
C W
7
C ,
#
g
C 16
1
C XC
C
C
WC
C C
C C C XC 2
C
6 5 6 [V 5 ]
C WC XC WC C C
C C
5
C
WC
4 2
6 5
WC
C C
4ˆ
3ˆ
B B
XC C
3
B V
C
4
CC
6
4 2
ii
C
B 6 4
i
C
C h
8
C C
6 5
6
6 4
V
X CC C
C WC
W
5
,
C
5
WC 6 5
: :
C WC C
CC W C C
2
3
C
4
C
C
6
W6
W
W4
1
C
IN g
CC
: : C
C C
7
CC W C W C C
7
iv
C
C
V
C B XC
CC C
iv/c: ii
C
W
CC
6
[V 65 ]
C C
C
C C
i
!
3rd
C
C
C
C C
CC W C W C W X CC
WC ,
2
5
C
6
C
6
W
6 5
W 64 W2
C C
16 8
C C
W5 4
W v
2ˆ
ˆ 1
CC W BC C C
CBC
C
W CC W C C C C 6
7
C C
W4 W4
6
2
C WC
WC 7
WC XC
I III
XC
3rd
2
C
: 24
8
B 8 6 4
7 5
W
B
:
i
Figure 5.9. Sarabande
Courante (bars 11–12), less clearly in bars 6–10 of the Allemande. What is different is the chromatic harmonization of this progression, which anticipates but does not totally prepare the listener for the chromaticism of the inner voices in bars 18–19. The large-scale harmonic progression of bars 1–16 is the familiar arpeggiation i–III–v, and immediately following the cadence on v, f 2—supported by subdominant harmony—is introduced by the even more familiar secondary dominant seventh of iv with g2 in the top voice and c in the bass. Here, however, f 2 is not 6 in a fundamental descent, but the upper third of 4 , which is harmonized as seventh of the dominant leading directly to 3 supported by tonic harmony in bar 19. Closure does not follow immediately, but is delayed as shown in figure 5.9, creating an eight-bar phrase to balance the earlier two phrases of that length.
Sarabande simple (BWV 818) While the Sarabande from BWV 818a exhibits a fundamental structure akin to prototype (b) in figure 5.3, the structure of the original Sarabande appears to be a hybrid between prototypes (a) and (b), namely (c), an octave descent lacking the initial pitch (a2).5 There are two reasons for this interpretation, as opposed to a reading from 5 . First, there is the considerable emphasis given to g2. The introduction of g2 in bar 5 and subsequent descent to c2 at the cadence on III in bar 8 is not sufficient in itself to warrant this interpretation, since g2 here can easily be explained as coming from e2 in order to introduce f2 from above. However, the conspicuous introduction of g2 in bar 5 coupled with its later emphasis in bars 9–16 adds credence to this interpretation, though
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Keyboard Suite in A Minor (BWV 818a) 8ˆ
6th
BC CC
!
C
( )
#
C C
W CC
1
2
B
C
C X CC
CC C
3
C
C C
C
5 6
W ( CC ) W C C
h
,
C
W
i
!
C 13 5
# C
C C
CCC
C C
( )
C
CCC C
6
7
C
WC h
4 2
7
C
5
C
W
6
C
C
4
C
XC
C
C
6 5
6 5
h
CCC
C C
6 4
C
g
WC WC
.
1
: :C
C 5 3
2
3
4
C C
C
6
7
W6
-
C
C C C
6
7
C C
WC
C WC C WC C
7
WC
C
W
W5 W
5ˆ
4ˆ
3ˆ
B
B
C W BC B
B
C C
(C)
17 1
2
WC 8 .
C
6ˆ
C
C
WC B
B
C 3
C B
W 6
[V 5 ]
W -
8
iv
V
C
g
C
C WC
C
W ( CCC ) W C 4
C WC B
h
C
W6
B
7
i
V
C ,
X CC C
5
,
5
C
W
7
III 7ˆ
CC C
13
8
C C
: :C C
C
C
C WC
C
W CCB W CC C (C) 6
v 2ˆ
ˆ1
B CC W C C C( )
CBC
7
WC
C
C C
6 5
W
W4
6
2
: 24
B
8
B
:
i
Figure 5.10. Sarabande simple (BWV 818)
it would still be possible to hear g2 as the upper third of e2. The clincher comes in the final eight bars where there is a fully harmonized descent from scale degree 7 to closure on the tonic, unlike the equivalent passage in the later version, where scale degree 5 receives no support. An interpretation of the voice-leading of the Sarabande simple from BWV 818 is provided in figure 5.10.
Menuet The main reason for including the earlier version of the Sarabande in our brief examination of BWV 818a is that its structure—an octave
descent a2–a1 lacking the initial pitch—occurs in modified form in both the Menuet and in the Gigue. Like the Sarabande, the Menuet opens emphatically from e2 (scale degree 5), and from there the line descends a sixth to g1 at the half-cadence in bar 8. This motion to an inner voice is covered by another line generated from g2 in bar 5 leading to an implied e2 at the cadence. Though this upper line is shown in figure 5.11 as originating from an implied a2 in the very beginning, there is no compelling reason at this point to hear this first phrase as anything but a prolongation of 5 . Those reasons come later. In any case, no matter how we interpret the events of part 1, the motion initiated in those opening bars continues into part 2 with the upper line continuing its descent through d2 to c2 and the inner voice g1 resolving to a1 over
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study 8ˆ
BC
!
C
( )
B i
C
C
W6
6
4 3
WC
C
XC C
C
C 6
W6
C B
C C XC
17
WC 6 5
B B
C C
C
C
C XC
WC C
C
CC
( )
WC
8
C
C
W6
C
7
C
W
6
5ˆ
4ˆ
B
B
( )
WC C
W CC
( )
C
C
W
7
[V 7 ] iv
V8
- 7
C
B
( )
CB i
CC
h
C
CC
C
( )
C WC
C
C
C
W
6 4
7
5
C
2ˆ
ˆ1
B B
B V(
C W CC
W
-7
3ˆ
C B
: :
C
C
: : W CC
V (8) -
iv
6ˆ
B
C
C C
4 3
7ˆ
#
C
C
i
!
C
C
CCC W C CC C C W4 2
C 6
C C
C C
C
C
5
6
6 5
C i
C C
C C
C C
4 3
í
#
C
C C
C
C
C C
16
C
6
III
B W)
i
Figure 5.11. Menuet
tonic harmony in bars 12–13. This motion is embedded within a larger connection between the initial tonic and the cadence on III in bar 16. This is followed immediately by the emphatic articulation of g2 in bars 17–18, initially receiving consonant support as the fifth of a C-major harmony and then as the now familiar dissonant seventh of the dominant of iv with c in the bass, that is, as scale degree 7 in a larger octave descent. From this point the line descends, fully harmonized, to closure, similar to what we have heard in four of the five movements discussed so far. It is the strong articulation of g2 and the subsequent descent from there which binds this movement so closely to others in this suite and ultimately which suggests the interpretation presented here.
Gigue As noted above the Gigue exhibits a fundamental structure related both to the Menuet and the original Sarabande, namely, an octave descent with its initial pitch (a2) implied but not stated. The first part exhibits a large-scale harmonic motion we have heard several times before: i–III (bar 18)–V (bar 24). This in itself is not remarkable, but gains in potential significance when we recognize that the melodic motion it supports is a compound version of the descending fourth a–g–f–e heard previously in the Prelude (bars 1–27) and in the Courante (bars 1–12) in conjunction with the same progression. Here the fourth is an eleventh, divided into two descending sixths, (a2)–c2 and c2–e1, the point of
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Keyboard Suite in A Minor (BWV 818a) 8ˆ
11th
BC C C
!
( )
C C CC C C W C C C C C C C C
C C C
C
10 10
C C C
B
( )
V
C C
10 10
10
8
C
W
CWC C
C C
C C
4
#
C C
C C
C C
WC
C C
10 - 7
C
C C 6 C 6
7
i
[V ] iv ( C (III): ii
C
C C C C 10
C C
C CC C C
C
C C
10
C C
C
C C 14
C
C
7
7 6 4
5 6 3 4
7 3
C
V
8
C C hC
I
C C C
g
: : C WC C C
C C C W W CC
C 6C C
C C
C
WC
C C C
C C CC C
C
C C
C C C
: : C
v
C C C
6
C B
C
WC
CC
7
10
22
10
C C
C
WC C
WC C
C
C C
V7
i) V
C
C
CC
YC C
Y CC
W CC
CC C WC
g
CC C W
7
iv
Figure 5.12. Gigue
5th
C
CC CC CC CC C
C
-
7
10
C C C C
h
C C
6ˆ
B BC C WC B
35
WC
33 10
7ˆ
C
C C
C
C
C WC C
39
C
C
6
6 4
h
C W
5
C
C
B
4ˆ
CC C
10
XC
B
6 5
VII
C
C
C
C C
B
C WC
C
B
VI
C
WC C WC
C C
C
C
W CC
C
10
C
WC 6 5
ii
2ˆ
C C
10
6 5
III
3ˆ
B C
B
B
[V 7 ] iv
III
5ˆ
B
#
7
C
CC C C C
6
V,
6ˆ
10
C C
CWC
C
( e (v): ii
6
35
10
)
Ng C C C C C C
CC C
C CC C C C C C C C C C C C
C
24
!
C
( )
III
C
#
C C
7
C
i
!
(C) WC
B
C
C XC C
W
C
C C
B
ˆ1
: B
WC 48
B
B
7
V
5
i
iv
W
-
6 4
7
V
W
I
W
:
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study ˆ (8)
7ˆ
4ˆ
5ˆ
6ˆ
3ˆ
2ˆ
ˆ 1
11th
BC C C C C C C C C C C C C C C C C C C WC C C C C C W C ( C ) C ( CC ) W CC CC
: : W CC
( )
!
14
#
B
( )
i
C C
W
C C WC C C hC C
10
6 5
7
7
10
6
W W CC C 24
WC C C C C WC C C C C C h
8
7 10
W
7
7 10
7 10
: :
(7) 7 (7) 7
III
V,
C W
g C C C C C C B CC CC C C W C CB C W C C C B C B C B C W C C B B C C C WC 35
C C
C
C C C - 7C 10 - (7) 10 - 7 10 C B C B B C B WC B h h B 7 6 7 10 -
W
7
6
iv
W
5
7
VII III VI ii V
7
i
B B
6
7
W
ii
V
I
W
Figure 5.13. Gigue
division being articulated by the cadence on III (bar 18). See figure 5.12, which provides a detailed account of the voice-leading of the entire movement. The motion to V in part one prolongs the initial tonic and, as indicated by the comma following roman numeral V in the sketch at bar 24, this prolongation is embedded within a larger-scale motion from initial tonic to III supporting g2 (bar 29), which is subsequently prolonged by a descending fifth to c2 supported by the cadence on III in bar 33. Once again we find consonant support for g2 in preparation for its harmonization as a dissonant seventh of the major tonic chord, namely as 7 in the fundamental line, leading to f 2 (6 ) supported by the subdominant in bar 35. Unlike the earlier movements, the continuing descent to closure is not immediate. First 6 and the subdominant harmony are prolonged through bar 39, internal to which there is a descent of a third: f 2–e2–d2. The harmonic progression generated from bar 35 is a sequence by descending fifths from iv to i, one consequence of which is the contrapuntal setting in parallel tenths between top voice and bass for the structural descent as far as 3 , after which the line continues to closure supported by a standard cadential progression. A condensed sketch of the movement is provided in figure 5.13. BWV 818a is a highly unified work motivically and with respect to large-scale harmonic-structural associations. The motivic parallels—the different manifestations of the common pitch motive noted in figure 5.1 as well as the related voice-leading patterns in figure 5.2—are very
clearly audible to the trained ear, despite the differences in surface design of the various movements. Less obvious, perhaps, are the largescale voice-leading associations, the identical and near-identical background structures. In this respect, we have put quite a bit of effort into the preceding paragraphs addressing rather fine points of interpretation of background structure. These matters are of considerable concern to those interested in structural analysis and theory. Indeed there are important differences among the three prototypes listed in figure 5.3, but it is also true that the three, particularly (a) and (c), are very closely related, and it is the commonality that is most relevant to this study. With the exception of the Sarabande, the movements of this suite exhibit very similar structures involving the descent of an octave, in three instances 8 implied but not stated. This is remarkable, particularly in light of the unanimity of harmonic support for 8 –7 –6 namely i . . . [V7] iv, as revealed in figure 5.14. In fact, the six-five harmony on c is so prevalent in this work that it almost assumes motivic status. In all cases g2 (7 ) is provided consonant support in preparation for its introduction as a dissonant seventh, a trigger, it seems, to initiate the descent toward closure. Also contributing to our perception of unity in this work are repeated patterns at the middleground level, for example, the descent a2–g2–f2–e2 in conjunction with the harmonic motion i–III–V and the descent of the fifth g2–c2 at various levels within passages controlled by III.
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Keyboard Suite in A Minor (BWV 818a)
Notes
Prelude 8ˆ
7ˆ 6ˆ
B
I
!
C
C C
II W C CC C C
B i
8-
8ˆ
B
C WC C
: : C
B i
WC C C
C
C
C
8-
8ˆ
B
C C
B
C CC W W CC C C C C C
: :
( )
i
C C
,
C
8-
C
W iv
V i
vii
7ˆ 6ˆ
5ˆ
4ˆ
B W C BCC B B
C B W CC C B
B W BC
B B
C C C C (C) C C
CC
W W CCC C C
: :
W4
V i
V
7ˆ 6ˆ
5ˆ
4ˆ
2 6
5- Y 6
C
8ˆ
B
C W CC
W
: : C
C
5ˆ
4ˆ
B C C C B
B
Figure 5.14. Comparison of structures
i
3ˆ
2ˆ
ˆ1
BC
W BBC B
B 7
6 5
B
V
i
3ˆ
2ˆ
1ˆ
W BBC B
BC C C B
W6
:
i
i ii
6 5
3ˆ
g BC C C C B W C C BC C h 6
C
5
V
B
V
i
2ˆ
1ˆ
W BBC
B
6
5
:
: B
W I
7ˆ 6ˆ
5ˆ
4ˆ
3ˆ
2ˆ
ˆ1
B B
BB C C hW
W CBB B
W CB W
8
-
7
W iv
V
7ˆ 6ˆ
5ˆ
4ˆ
B B
B B C C WC B
8-
vii
i
W iv
-7
W CB W
8
V
-
7
g
: B
6
i
V
i
3ˆ
2ˆ
1ˆ
g BB C C C W C W CBB h B
i
i
V
1. David Schulenberg, The Keyboard Music of J. S. Bach (New York: Schirmer, 1992), 257. 2. In Free Composition, Schenker provides a prototype of the octave descent of the Urlinie in the major mode (see his figure 11) and places on it the restriction that the seventh degree of the scale must be natural, not lowered, as one frequently finds in codas (p. 21). No prototype is given for such a descent in the minor mode, though logic dictates that the natural progression would be the descending form of the scale. This is confirmed by Schenker’s reading of two of the Short Preludes by Bach, numbers 6 (BWV 940) and 12 (BWV 942) in Das Meisterwerk in der Musik I (1925), both translated by Hedi Siegel and published in The Masterwork in Music I, ed. William Drabkin, 54–57 and 62–66, respectively (Cambridge: Cambridge University Press, 1994). 3. The motivic association to the other movements is not explicit, but rather implied by the incomplete neighbor note f 2. 4. BWV 818 has d2 rather than d2 as the final sounding melodic note in bar 8, weakening the effect of that pitch in the following bar. The subsequent change to d2 at this point strengthens the hearing of the later d2 as a substitute for the expected e2, a common device employed by Bach at final cadences. 5. The Sarabande from the French Suite in E Major (BWV 817) is also interpreted as controlled by an octave descent missing the initial pitch (8 ). See chapter 6, pp. 77–78.
B
V
-7
C C
4 W4 2 3- 2
6 5 4 3
ii V i ii 5
WC B
Menuet
B
B C C B CC W C W C B B
B
W6
W iv VII III vi
B B C C
(8) -
( )
2 6
W iv
-7
III
8ˆ ( )
W4
C C C C W BC BC C C C C B B C6
: :
Sarabande simple
i
5- Y 6
7ˆ 6ˆ
B
!
CC W B C B B
-7
B
i
BC
W iv
8-
( )
!
B WC B
C C YC WC B
8ˆ
i
C B C YC WC C B C B
BC
B B
Gigue
!
2ˆ 1ˆ
-7
Courante
!
3ˆ
-7
Allemande
!
4ˆ
B WC B
5ˆ
B
:
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French Suite VI in E Major (BWV 817)
C
of the last of the French Suites are not known, though it seems likely that it was written around 1725, somewhat later than the early versions of the first five, which are contained in the Clavierbüchlein for Anna Magdalena Bach (1722–25). The Urtext of the New Bach Edition presents us with two versions of the six, one based on a copy in the hand of Bach’s student and son-in-law, Johann Christoph Altnickol, and a second one assembled from various later sources, including a manuscript in the hand of another Bach student, Heinrich Nicolas Gerber. An intriguing feature of the Gerber version of the last suite is the inclusion of the Prelude in E Major (BWV 854/1) from The Well-Tempered Clavier I,1 suggesting that Bach might originally have intended this work to be one of the suites with preludes. Unless further documentation is uncovered, the reason for Gerber’s inclusion of the Prelude will remain speculative, though it seems likely that the idea must have originated with the composer. Perhaps Gerber heard Bach play the suite that way. Consider the following description of the elder Gerber’s studies published by his son some years later in his Lexicon der Tonkünstler.2 IRCUMSTANCES SURROUNDING THE COMPOSITION
At the first lesson he (Bach) set his Inventions before him. When he had studied these through to Bach’s satisfaction, there followed a series of suites, then The Well-Tempered Clavier. This latter work Bach played altogether three times through for him with his unmatchable art, and my father counted these among his happiest hours, when Bach, under the pretext of not feeling in the mood to teach, sat himself at one of his fine instruments and thus turned these hours into minutes.3
This account does not say that Bach played the suites for his student, only the Well-Tempered Clavier, though it is not much of a stretch of the imagination to suppose that he might have done so. In any case we do know from this quote that he had the elder Gerber study a series of
suites somewhere along the way, and it must have been through those studies that he encountered the E-major suite in this fashion. As it turns out the best evidence we have is the music itself. Careful examination of the Prelude reveals compelling evidence of strong compositional links between it and the suite, particularly the opening movements, and thus we will begin with a close look at the Prelude (BWV 854/1). Our investigation of the suite proper will be divided into two parts: first, the Standard Movements (Allemande, Courante, Sarabande, and Gigue), which are motivically and structurally related amongst themselves and to the Prelude; and second, the Optional Movements (Gavotte, Polonaise, Menuet, and Bourrée), which exhibit a different set of relationships amongst themselves, yet with occasional seeming references to the other movements.
Prelude The Prelude is divided into three clear phrases, marked A, B, and A1 in figure 6.1, a detailed account of the voice-leading structure of this movement.4 The first phrase (bars 1–8) modulates to the dominant, and the second phrase, which begins from the cadence on the dominant, functions as a transition, leading to a varied repetition of the opening phrase beginning from the subdominant (bars 15–24).5 An important motive, one that helps to articulate the deep-level structure of this work, is the arpeggiation figure, repetitions of which are highlighted in figure 6.1 by brackets. The first three statements of this idea articulate the large-scale arpeggiation e2 (bar 1)⫺g2 (bar 3)⫺b2 (bar 9), the primary tone, which is reached only after the modulation to the dominant is achieved. The later arpeggiation to scale degree 4 (a2) in bar 15, supported by subdominant harmony, connects registrally and motivically to the earlier motion to b2 ( 5 ). Another important feature is the prominent d in bar 11, which anticipates the later d in bar 14. These features—the large-scale arpeggiation to scale degree 5, the prominent use of d, and the registral connection of the b2 in bar 9 to the a2 in bar 15, as well as the subsequent registral isolation of those two pitches—are important characteristics of this piece. And, as we shall see, they are compositional features which link this Prelude to the suite.
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study 5ˆ
6th
A
WWWW !
C C
C C
# WWWW
N
C
N
C B
C
5 3
C
C
C
6 4
5 3
C C
N 6 5
5-
C C
C C
CC h
C C
C
C
C C
C
C C
C
WC h
N
C
C C
6
C C
C
h
C
C
C XC C
C
N
C C
W CC
-6
C
XC
XC
C WC
XC
C XC C
C WC WC C
7
V
WC
C
C
CC
CC W C
WC h
N
7
C C
8
C
X CC h
6
B (V): V
C WC C
7
4 -
I
V
W
B
WWWW !
# WWWW
C
C
C C
C
C g
C
N
W CC
X CC WC
N
8
C
XC WC C
B
C C
C
XC
7
C
WC WC
C
W6
6 4
W
CC WC
g
CC C
C
WC h
CC C
( )
4 3
6
CC C
C
C C
ii
!
WWWW
# WWWW
B C
C C
15
C B
shift to lower register
C 5 3
C N
XC
X 64
C XC C 5 3
h
CC
C
N
6 5
IV
Figure 6.1. Prelude in E (BWV 854/1)
C CC
C Wh C N 5-
C
XC
C
cons. p.t.
CC
C C
C
XC
C
15
C B
B
( )
X7
IV
3ˆ
2ˆ
1ˆ
B XC B
C CB C
-7
B C
C
C
( )
I
4ˆ 1
N
4ˆ
W4 X3
[V ]
V8-
g
C
7
A
WC h
3rd
B C
C
C
I V
E: I
5ˆ
etc.
C
7
B C
C C
6th
C
C C
C
C
C C C C
C C
-6
C
h
C
C
C XC C
N
C C
CC
C
XC 6
V7
C C
X CC h
C C
CC C
XC
C WC
XC 22
B
WC WC
WC h
C
B C C C
7
N
I
V
vi
X C C CC XNC C
CC
C
C
h
C
C C 6
[V 5 ] IV
C B
I
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French Suite VI in E Major (BWV 817)
Let us turn our attention to details of the voice-leading, beginning with the first phrase. The first part of the large-scale arpeggiation to b2, that is, the connection between e2 and g2, is easy to hear. From the g2 in bar 3 there is a descent of a sixth to b1 at the cadence in bar 8, which is then followed by the surface arpeggiation to the upper register, thus completing the long-range arpeggiation to 5 . The voice-leading of the descending sixth is complex. First g2 is prolonged by a descent to the inner voice tone c2 over a prolonged e in the bass supporting the common voice-leading motion 5–6. This is followed by a second descent to the inner voice, this time from f2, within the prolonged dominant of the new key (V). The prominent use of the chromatic d in the descent to the inner voice foreshadows the use of that pitch later in the Prelude. As shown in figure 6.1, this preliminary descent from f2 (bars 5–7) is embedded within the longer-range descent to b1 at the cadence. This gesture, the descent from f2 to c2 in bars 5–7, is followed by a chromatic line leading from g 2 to b1, a summary of the larger gesture at its conclusion. One consequence of the chromatic writing is the displacement of pitches in the structural descent in relation to their supporting harmonies. As indicated by the diagonal line in the sketch, the e2 sounded on the downbeat of bar 8 can be understood to belong with the F harmony of the preceding bar, and this e2 momentarily displaces the following d2 supported by the local tonic (B). The voice-leading of phrase 2, the connecting phrase, is no less complex. As already noted, the deepest-level melodic connection is b2 (bar 9) to a2 at the beginning of the third phrase. The b2 is prolonged at the largest level by a descending third in which the passing tone a is first supported by a consonant harmony, that is, by an F-minor chord, before being harmonized as the seventh of the prolonged dominant harmony. This seventh resolves as expected to the g over tonic harmony, which, with the addition of the d, leads us to the subdominant. At a more immediate level the prolonged b is destabilized, becoming the seventh of the secondary dominant chord on c, which is extended through bar 12 and involves a transfer to the lower register before its resolution over the F-minor harmony on the downbeat of bar 13. Internal to this complex passage is the introduction of the d as 9th of this secondary dominant (more locally as the seventh of the secondary diminishedseventh chord).
5ˆ
!
WWWW # WWWW
C C
C
C C
C C
C
4ˆ
B
C
C C X CC
8
7
C
C
8-
10
C
7
C -7
B C C
C
8ve
V8 I
CC
C WC C
B
3ˆ
2ˆ
B B B B
1ˆ
(lower register)
10
C - X7
C
8
B
C 8 - 7
IV V
B C
I V
B I
Figure 6.2. Prelude in E (BWV 854/1)
The final phrase is a duplication of the initial phrase transposed to the subdominant. However, there are two important changes. The first involves a shift to the lower register. Instead of arpeggiation from the c2 on the downbeat of bar 17 up to c3 as might be expected, Bach rewrites to remain on c2, from which the phrase progresses to closure in this lower register. The second change involves the avoidance of closure in the second half of bar 22 and the subsequent extension of the phrase by two bars. This is a common procedure in Bach’s instrumental music, one that is repeated at the close of the Courante and Bourrée movements from the E-major French Suite. An overview of the deep structure of the Prelude is provided in figure 6.2. There are three important points to be made here. First note that the arpeggiation to scale degree 5 and the subsequent motion from it are superimposed on the descent of an octave spanning the entire piece. This octave is generated from the e2 in bar 1, which progresses through the dividing dominant at the cadence in bar 8 to the tonic harmony with lowered seventh (d) in bar 14 as V7 of IV. From bar 15 the line descends a sixth from c2 to e1, the parallel to the descending sixth within the initial phrase. Second, let us examine the harmonic progression supporting this octave descent. As shown by the bass and roman numerals, the modulation to the dominant and its subsequent extension are embedded within a tonic prolongation supporting the motion 8–7 (e2 to d2), thus uniting the two phrases. Finally, it is important to comment on the unusual registral distribution of the fundamental line. We have already noted the registral
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study
isolation of the b2 in bar 9 and the a2 of bar 15, scale degrees 5 and 4 of the fundamental line. Because of the registral shift in bar 17, completion of the fundamental line occurs in the lower register in conjunction with the completion of the inner voice octave descent. It is almost as if the upper part is never completed properly, at least registrally. It is interesting that Bach chose to end the subsequent fugue (Well-Tempered Clavier I) in the upper register, thus completing a registral connection unrealized in the Prelude.
I. The Standard Movements Allemande Voice-leading sketches of the Allemande are provided in figures 6.3 (details) and 6.4 (overview).6 The connection between the Allmenade and the Prelude is immediately apparent in the opening four bars of the suite movement. As indicated in figure 6.3, the features of this phrase that exist just below the surface mimic the overall structure of the Prelude. The main melodic gesture is an arpeggiation to scale degree 5, e2⫺g2⫺b2, followed by a stepwise descent back to e2. Less obvious is the inner voice descent of the octave e2⫺e1 indicated in the sketch. More careful examination reveals even closer similarities. Note that arrival at b2 in bar 2 occurs over the dominant harmony, as occurred in the Prelude. The difference is one of level: in the Prelude, arrival at b2 occurs after modulation to the dominant, while here it occurs in conjunction with a local change to that harmony. Immediately following this point in the Allemande (bar 2, beat 3), d is introduced in an inner voice in conjunction with a return to the tonic harmony, just as we found in the approach to the third phrase in the Prelude, directing the motion to a2 over c2 supported by subdominant harmony, from which point the phrase progresses to local closure. Thus all the main features of the Prelude are encapsulated in these four bars. But there is an important distinction. Here the arpeggiation from e2 to b2 and the return to e2 is heard within a local prolongation of the tonic (a closed phrase). The controlling pitch is e2 (scale degree 8) and it is from this pitch that the fundamental line progresses. As shown in figure 6.3, the melodic line descends from the e2 in bar 4, first as far as c2 on the downbeat of bar 7, but that progression turns
out to be a motion to an inner voice. The e2 is still active, finally giving way to d2⫺c2⫺b1 (scale degrees 7–6–5 of the fundamental line) at the cadence in bar 8. In the following extension of the cadence the upper line progresses to the high b, picking up the b2 of bar 2 and setting up the continuation, while the lower line remains anchored on b1, scale degree 5 of the fundamental line.7 It is important as we move into part 2 of the Allemande, where the voice-leading is more difficult to interpret, to keep in mind that the primary register is the lower one and that the b2, from which the second part proceeds, is covering. The complex voice-leading of part 2 is most easily explained beginning with the large picture and within that context considering greater detail. As indicated in figure 6.3, tonal closure is achieved on the downbeat of bar 25, and the major point of articulation prior to that is the cadence on c in bar 20. Figure 6.4 shows that the function of the c in the bass is passing within a prolonged dominant, that is, as a passing tone between the root and third of the dominant, supporting the motion 8–7 (scale degrees 5 and 4 of the fundamental line), from which point the line proceeds to immediate closure, completing the descent of the octave e2 to e1. This octave descent is interpreted as fundamental and the arpeggiation to b2 and its continuation as covering, the opposite of our interpretation of those elements in the Prelude. This is a subtle though significant distinction for those interested in structural analysis.8 However, within this context, the most important point is that the basic elements, the octave descent and the arpeggiation to b2 as well as its continuation, are the same in these two movements. Returning now to the details of the voice-leading, let us look at what leads to the cadence on c (bar 20), keeping in mind that the high b2 from which the second part begins is covering; the primary register is below in the inner voice. Beginning in bar 13, the top sounding line descends by step as far as c2 in bar 16, above which the high a2 is introduced. Registrally, we hear a link between the b2 of bar 13 and the a2 of bar 16, just as we hear c2, the goal of the descending motion, as connected to the b1 of bar 12. The c2 is introduced by d, an element that takes on greater prominence in the following bar, where we hear it as the lowered second scale degree in relation to the goal of this motion, the cadence on c. Though the harmonies are different, the parallel with the Prelude is striking. Meanwhile, the top sounding part (now on a2) begins to descend
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French Suite VI in E Major (BWV 817) 8ˆ
5th
!
WWWW C
# WWWW
C
C C
C
C C
C
CC
C
C
XC C
C
octave
C B
C C
C C
h
X7
7
C C
C C C
C
C C
h 6
C C
C
!
XC CC
C C C W C W C CC
C C
10
# WWWW B
8
CC
6 4
-
C
X7
C C
( )
W4
7
2
C C C
W
C
X 43
C W W CC
XC
10
7
C
C
X7
C
VI
X6 II
C
X6
W4
Ë 37
CCC W CCC CC C
10
20
C C
6
4 3
6
.
.
C
W6 4 3
.
C W
10
C
C C
( )
7
C
7
C
10
C
C
CC
C C C C
10
C C i
C
W
CC C C C C C CC C W CC
6
10
7
10
(C) C X C C
c W (vi):
V
C
C C C C C
16
10
C
C
XC
CC X C
C WC
10
C
5 3
C
I
C C C
C
C
I
WWWW
C B
C
C
6 5
C
7ˆ
C 10
C
-
vi (passing)
C
C WC
C
C
6
6 4
C C C C 10
C C
6
i V i
C
g
5ˆ
B B
C B B h
7 5
W
6ˆ
B C
C C
C
: : C
8
12
B
C
: : C
V
C C
C C C
10
4ˆ
3ˆ
2ˆ
1ˆ
B B
B B
C C C C C
10
C
C
5-6
5-6 6 5
C
: C
25
28
B C C B h B
C
I
I
V
:
Figure 6.3. Allemande
8ˆ
6ˆ
5ˆ
C C C C C C B C C C B B B
!
WWWW # WWWW B
I
Figure 6.4. Allemande
C
5-6
7ˆ
4ˆ
C
C B B C B h W
7
6
W
V
: : 8-
B
C
C C B B B C C C C
1ˆ
C
2ˆ
C
: : C
3ˆ
C C B C B B h
5-6 p 6 5 (-7)
6
I
V I
once again by step, finally reaching the c in bar 20. The descents, first from b2 and then from a2, bring attention to these two pitches, and the continuation only in the lower register from the c cadence to the point of closure leaves them registrally isolated. The purpose of the bracket above these pitches in figure 6.4 is to highlight this prominent feature of the Allemande, another feature it has in common with the Prelude. The passage connecting the cadence on c (bar 20) and the completion of the fundamental line (the octave) in bars 24–25 involves local prolongation of c2, first by a stepwise motion down to a1 and then an ascent back to c2, from which point the line skips to a1 (4 ) on the downbeat of bar 24. As shown in figure 6.4, this c, which receives consonant support, functions as a kind of harmonized escape tone in relation to the longerrange connection between scale degrees 5 and 4 of the fundamental line.
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study 8ˆ
7ˆ
6ˆ
5ˆ
5th
WW B ! WW
C
1
# WWWW
C
C
C
B
( )
4,
1
C
C C
h
C
( )
3
C
CC
C
C C
2
C
C
C C
C
C
C
C
7
C C
C
XC
( )
C
C
C
C
C C
3
C
C C
b:
W CC
2
(1 3
C C
C
WC
C
( )
2
C C
W
E: I I
vi/B: ii
CC
CC C C
C
CC BC 6
)
C
WC
B
6
6 5
6 5
I
IV
V
C C C
4
W4 2
V
5
BC W C C
I
6
W
ii
V
4ˆ
W W CC ! WW C 17
CC
1
CC C
2
3
# WWWW ( C ) W C
10
6 5
V
CC C
C C
5 - 6
CC C
C
10
W CC C
4,
10
7
6
1
10
C
7
X CC XC
C
WC
W
7
6
c W (vi): i
C
g
6 V5
V
C
C C
CCC W C
( )
C
24
g C
2
C C í
iv
C
C W CC
C 3
C
í
WC
C
5-
C -6
ii
C
C
( )
CC
4,
( C ) C
C VW
8 7
i (vi
X CC CC
C
C
C C
B C
CC
1
2
3
C
C C
X 65
B C
h
2ˆ
B
BC C
C B
B
7
IV
ii)
V I
C C
B
C
1
2
3
B
C
C
C
ˆ 1)
: :
C WC C
4
C
C
6
W
h
: : C
ˆ 1
B
CC
h
B C 6
C B
7
C
C
C
( )
ii V
C
C 1
2ˆ
(3ˆ
29
,
4
2ˆ
I V
3ˆ
C
(3ˆ
13
2
C C
ˆ 1)
C
3
C
C
C C
:
h
4.
C
C C
:
6 - 5
"I"
Figure 6.5. Courante
8ˆ
# WWWW
6ˆ
5ˆ
4ˆ
C C C C C C C B B C C C C W C C C BC W C B
: :
C C C B C B B h
: :
WWWW !
7ˆ
C B I
Figure 6.6. Courante
W
7
6
W
8-
V
C
3ˆ
2ˆ
ˆ1
C B B B W C C C X X CC CC C C C C C B
:
C B B B h C C C B 6
:
5-
(10
C C C W
7
10 10) - 7
X 65
-7
In closing our examination of this movement, I would like to summarize the features that it shares with the Prelude: the arpeggiation to b2, the octave descent from e2 to e1 spanning each work; the registrally isolated b2 and a2; and the prominent d. These two movements share these compositional features and in this sense they are linked. The Allemande is also structurally related to the other movements in this group: the Courante, the Sarabande, and the Gigue. All share the same fundamental line, the octave.
Courante
6
I ii V I
The Courante has an entirely different character than the Allemande, yet references to it and apparently to the Prelude as well are unmistakable.
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French Suite VI in E Major (BWV 817)
The elements common to both these movements are all here: the arpeggiation to b2, the octave descent, and the prominent d. Sketches of the Courante are provided in figures 6.5 (detail) and 6.6 (overview).9 As shown in figure 6.6, the fundamental line is an octave descent, as in the Allemande. The difference between the two is that here the descent involves transfer to and completion in the upper register, a feature of the Sarabande and Gigue as well. This transfer is accomplished by means of an arpeggiation to a2 in bars 26–27, an unexpected gesture that, in light of the Gerber copy, would seem to be a direct reference to the arpeggiation motive of the later discarded Prelude. (This gesture is highlighted by a bracket in figure 6.5.) Upon attaining a2 in bar 27, the top sounding part progresses almost immediately to closure in the upper register, only to be delayed at the last minute by the substitution in the bass of c for the expected e.10 The Courante opens with the arpeggiation e2⫺g2⫺b2, the last element of which is supported by a dominant harmony, as occurred in the Allemande and, at a much deeper level, in the Prelude. The stepwise descent back to the e2 occurs in two stages, first a descent to g2 in bar 4 and then by implication a return to e2 in bar 7, over tonic harmony. The implied e2 is stated on the downbeat of the following bar. Bar 7 is heard both as a point of arrival and as a point of departure, that is, as a point of metric reinterpretation. As indicated by the arabic numerals between the staves, the hypermeter, which elsewhere in the movement is quadruple, is irregular in these bars. As was the case with the opening phrase of the Allemande, the arpeggiation to b2 and return to e2 is heard within a local prolongation of the tonic, and it is from the e2 in bar 8 that the fundamental line descends, reaching the local goal, scale degree 5, on the downbeat of bar 13. As shown in figure 6.5, the second part opens with a four-bar phrase leading to the dominant of c (vi). One might expect the melodic unfolding from f2⫺b1 spanning this phrase to be answered by c2⫺e2, supported by a c harmony, as shown in figure 6.6. Instead, Bach cancels the b, redirecting the harmony temporarily to the subdominant of the goal harmony, which is reached in bar 24 after reintroduction of its dominant. (Note the introduction of d in bar 21 as ninth of the dominant of the following F-minor harmony). One consequence of this unexpected change is the continued descent of the melodic line, reaching its
goal, e1, in bar 24. However, the continuation occurs in the upper register with the introduction of d2 leading to c2 supported by the subdominant harmony, completing a descending fourth from f2 (bar 17) to c2 (bar 26). It is at this point that a2 is introduced by means of the arpeggiation figure, a seeming reference to that important gesture in the Prelude, as the bass completes its local descending arpeggiation to the supertonic harmony, which provides consonant support for the a2 as preparation for its introduction as seventh of the prolonged dominant. As shown in figure 6.6, the arpeggiation from f2 to a2 (5–7 over the prolonged dominant) is embedded within a larger motion 8–7, that is, scale degrees 5 and 4 of the fundamental line.
Sarabande Figure 6.7, a sketch of the Sarabande, provides an interpretation of the fundamental line as an octave descent with a transfer in the second part to the upper register, similar to what happens in the Courante. However, unlike the Courante, the descent does not originate from a clearly articulated e2 supported by tonic harmony. Instead the melodic line ascends by step from the inner voice tone g1 to the outer voice tone d2, scale degree 7 of the fundamental line, in bar 6. Immediately preceding this point, e2 as the seventh of the secondary dominant, is overlapped above c2, thus approaching d2 from above. As shown in figure 6.7, this e2 in bar 6 may, in retrospect, be considered as connected conceptually to an implied stable e2 associated with the opening tonic harmony.11 The situation here is analogous to what we observed in the previous chapter regarding the fundamental structures of the Sarabande simple from BWV 818 (see figure 5.10, p. 65) and the Menuet and Gigue movements from BWV 818a (see figures 5.11 (p. 66) and 5.12/5.13 (p. 67–68), respectively), three different representations of the prototype given at c in figure 5.3 (p. 59). Interpretation of the levels of voice-leading in part 2 presents particular challenges because of the nature of the embedding. At the largest level the dominant is shown to be prolonged from the cadence in bar 8 until its resolution to the tonic supporting scale degree 3 in the penultimate bar. That is, at the deepest level the motion is 8–7 over a prolonged
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Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study 8ˆ
W WW ! W
6ˆ
5ˆ
g
C B B C C C C C C C C C C C CC C C W C BC B
( )
C WC C B C C
10
W6 4 3
5-6
C
10 CC C C W C
10
C C C
6 5
í
# WWWW
7ˆ
B
6 5
I
: :
8
C
B
6
7
h
W
B
: :
3ˆ
2ˆ
ˆ1
g g Ng g C C C W C C CC C C C W C CC C C W C C C CC CC X C C B B C C ( BC ) B CC CCC CC CC C C C C WC C C ( ) C C C XC C C C C C C C C C WC C C C C h h h h C C C C C C C h W 6
V
4ˆ
N
6
W
3rd
13
7 -
8-
16
C XC C hC 6
ii
C C C 7
W
7
-
W
C
C 5-6
C WC C C h
6
7
6
20
C
W
24
X C C (C) C B
4 2
ii V
:
6
6 (5)
5-
C IV
C B
h6
B B
:
5
-7
I
V I
Figure 6.7. Sarabande
dominant, followed immediately by closure. Internal to this prolongation, a2 is provided constant support in bar 13 and then prolonged by a descending third to the cadence on F (supertonic) in bar 16. The next point of articulation is the reintroduction of the dominant in bar 20 following a further descending third in the top voice: f2⫺e2⫺d2. In essence what we have is an unfolding from the outer voice tone a2, supported by supertonic harmony, to d2, supported by a return to the dominant. By implication a2 has now become a dissonance, and we might expect direct introduction of a2 at this point. Eventually a2 is reintroduced as seventh of the dominant, but first it is introduced as a consonance, supported by the subdominant.12 An alternate way to interpret this passage might be to hear this subdominant harmony as connected to the earlier supertonic harmony (bars 13–16) and the return to the dominant in bar 20 at a more local level. Either way, the fundamental structure remains the same, and it is this structure, not the details of the voice-leading, that links the Sarabande with the previous two movements.
Gigue While the intervening movements—the Gavotte, Polonaise, Petit Menuet, and Bourrée—may be considered contrasting with occasional references to the earlier movements, the Gigue exhibits clear motivic and structural
links to the Prelude and to the opening three movements of the suite. The Gigue also resolves registral completion left open in several of the earlier movements, and in this sense it functions as a true completion as well as a summary of the entire suite. A striking feature of the Gigue is its opening motive, the triadic arpeggiation, which, in the context of this investigation, might be heard as a reference, indeed an inversion, of the arpeggiation motive of the Prelude, BWV 854/1. Because of the imitative nature of the Gigue, this idea is heard several times. Some of these occurrences are marked in figure 6.8, a voice-leading graph of the movement, by vertical brackets.13 Another feature of the Gigue that would seem to link it with the Prelude is the harmonic progression of its second part—including the employment of d—through bar 38. This progression can be represented as follows: V8⫺ ( [o7] ii ) ⫺7 I 8⫺7 IV. This is precisely the progression of the connective phrase in the Prelude leading to the repetition of its first phrase beginning on the subdominant. The difference is that in the Prelude the subdominant is the goal, whereas in the Gigue this progression is embedded within a larger prolongation of the dominant. Finally, it should be noted that the treatment of registers in part two of the Gigue is similar to what we hear in both
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French Suite VI in E Major (BWV 817) 8ˆ
!
WWWW CC
C C
C C
CC C CC
# WWWW
C CC
C C h
CC C
CC C
6
C
C C C
C
C C C
CC
C
CC
6 5
h
C
C
4 2
C
10
CC CB
8
C C
W
7 X10 7 W
7
C
C C
CC C
!
CC
25
# WWWW
CXC C C B
8 8-
V V8-
C C C
C WC C
6
6
6
C
X7
C
6
XC
C 6 W4 2
C C C
6
XC C
W
7- 6
C
C hC
6
B (V): ii 6
I
WWWW
X10 7
C C
W CC W6
C C
Ë
[ 7]
XC
C
C C C
( )
W CC
C XC C C C h W 6
WC C h X7
ii
C C C
C C
C C C (C) C C 4 6
C
V
C
g X C CC C
I V
C
C WC
C C -7
C ( C ) C
I (8) -
X7
IV
WC
W CC C C C
W
-7
g C C
WC B
6ˆ
B C CC ( B ) W C
CWC
B
3ˆ
B BC
C C B B h W
6 (5)
6
B
C
C B C C
C
( )
4
3
C C
: : : :
V I V
ˆ 1
2ˆ
C
B 24
I
4ˆ
5ˆ
C C
V
(5
C
C C
5- W 6 -
7
34
C
C C
C C
WC Xh
2
6
ii
C
( )
C
g X CC W CC W C C C
16
C
V,
C
C C C WC (C) WC
10
8
C
C
5th C C C C C C C W C X C W C X CC CC C C W CC C C C
B C
C C C
7ˆ
3rd
C
CCB
C
2
1)
C C B h
48
44
C
C
( )
C B
: :
V -7
I
V
I
Figure 6.8. Gigue
the Prelude and the Allemande. Like the Allemande, the Gigue opens its second part in the upper register (b2), yet closure, at least initially, is heard most strongly in the lower register (bar 44) with completion confirmed in the upper register in bar 48 (not shown in figure 6.8). Though different, there is a strong parallel here to both the Prelude and the Allemande, both of which close only in the lower register. Part 1 of the Gigue opens with a closed eight-bar phrase in the tonic prolonging scale degree 8, and in this regard it is similar both to the Allemande and to the Courante, though otherwise different in content. The remainder of the first part is divided into two eight-bar phrases, each ending with a cadence on the dominant. While it might be possible to
hear bar 16 as the goal of tonal motion and the following phrase as extension and confirmation of that goal,14 there are at least two factors that point to bar 24 as the true goal: 1) the less-than-conclusive nature of the harmonized descent in bars 9–16; and 2) the continued sixteenthnote motion at the cadence at bar 16. As shown in figure 6.8, the fundamental line descends from scale degree 8 (bars 1–8) conclusively to scale degree 5 at the cadence in bar 24. The overall motion of bars 9–16 is a descent of a fifth from f2 to b1, internal to which there is a preliminary descent from f2 to c2. The descending fifth prolongs its initiating tone, f2. The final phrase of part 1 opens with an ascent from b1 to e2, which is introduced as a consonance
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2ˆ
3ˆ
N
N
g
!
WWWW
C C B C C C C C C C C C C C C C C C (C) CC CC CC C CC CC CC CW C C C C C 4
8
# WWWW B
h
C C
6 5
C C C h 6
C
8
C
6
C
C
6 5
65 4 W
6
5
8
B
C C CC CC C C C C C W C X X CC C
B : :C
: :
V, I
I
7
[V] V
g
C C C C C C 4 2
6
9 7
12
g
7
V W]
ˆ 1
\
B C C C C C (W C ) C C C CC C C C C X C C ( BC ) C C CC C B C C C C WC 16
C C WC C C C C C
Ë [ii
2ˆ
C 7
[V ]
C
5
B
3
(4)
B WC C C X7
6
2 1
: B
7 4
6 -
20
5 3
:
ii V
I
ii
V
I
Figure 6.9. Gavotte
before being harmonized as the dissonant seventh of the dominant in the key of the dominant. This e2 functions as a passing tone connecting the prolonged f2 of bars 9–16 to scale degree 7 (d2) of the fundamental line in bar 23. As noted above, melodic closure—that is, completion of the descent of the octave—occurs in both registers. At bar 44, closure is most clearly heard in the lower register, represented in figure 6.8 by the downwarddirected stems and the beam. Closure is clearly implied at this point in the upper register, then confirmed by the following cadence in bar 48. The contents of bars 25–40 are controlled by the dominant harmony supporting the motion 8–7, that is, connecting the b2 of bar 25 to the a2 ( 4 ) in bar 40. Internal to this prolonged dominant is the progression described above, which contains its own extended dominant supporting the motion 8–7, in this case in the lower register.
II. The Optional Movements The four optional movements, like the four standard movements, are structurally related. All have fundamental lines from 3 , either continuous or interrupted ( 3 2 // 3 2 1 ). All but the Menuet, which was added
later, share one or more characteristics with earlier movements, though these may very well be fortuitous. For the most part, they are different from the standard four, suggesting that they could have been written separately. By contrast, the strong motivic and structural relationships among the standard four and the Prelude suggest they might very well have been conceived as a unit.
Gavotte A graph of the Gavotte is provided in figure 6.9. Part 1 consists of a modulating period, an antecedent (bars 1–4) answered by a consequent that modulates to the dominant. The first phrase opens with an ascending line leading to scale degree 8 followed immediately by the introduction of the first note of the fundamental line, g2 ( 3 ). However, in the consequent phrase the ascending motion stops at e2 and from there descends by step to b1. The overall motion spanning the two phrases is a descending sixth from g2 to the inner-voice tone b1.15 Only by implication has 3 given way to 2 at this point, but the implied f2 is immediately stated at the outset of part 2 and subsequently prolonged through bar 16 over a dominant harmony. Internal to this passage, d, an important element in the previously discussed movements, particularly the
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French Suite VI in E Major (BWV 817) 3ˆ
W WW ! W # WWWW
2ˆ
6th
B C C C C C 8ve C C C C C C (C) C C C XC C C C C C C (C) C C 10 (6 6 6 6 6 5 10 10 10)g 10 5 8 4 C C C C C C C C C C C CC W C CC W C C W C C C C C C C C C C C B B 6 6 7 6 W 5
W
I
ˆ 1
: :
C C 5th CB C CC W CC X C C C WC
: :
C WC C C WC
12
6 5
W
[V]
X7
C XC C
C C C C B WC C C C C C ( C) 5
C
16
X C ( CC ) 6
W
C XC C C C C C C X7
vi [V] IV
W
[V]
V
V
20
4
C C
3
2
1
C C W CC C
24
W
B
: :
I
Figure 6.10. Polonaise
Prelude and the Allemande, makes another appearance, here as the dominant of the supertonic harmony. At the modified return to the opening idea, 3 is reinstated and from there the fundamental line descends to closure in the upper register.16 Meanwhile, in the lower register we hear a clearly articulated descent from b1 to e1, completing an octave descent originating in the first part. Once again we have an octave descent encompassing an entire movement (as shown in figure 6.9 by the downward-directed stems and discontinuous beam), reminiscent of what we found in the Prelude.
Polonaise The Polonaise opens with a closed phrase in the tonic supporting the octave descent g2⫺g1, thereby prolonging the initiating tone ( 3 ) of the fundamental line. As shown in figure 6.10, the consequent phrase descends as far as b1 at the cadence on the dominant. As in the Gavotte, the fundamental line has descended to 2 only by implication at this point; f2 is clearly stated, however, at the outset of part 2 and subsequently prolonged until its resolution to closure in the upper register in the final bar of the movement. Part two is divided into two periods, the first leading to a cadence on vi, which is embedded within a longer prolongation of the dominant. The initial phrase of this period leads from the dominant to V of vi, and the second phrase opens with the ubiquitous d as part of a
secondary diminished seventh chord leading to an F-minor harmony, heard in this context as the subdominant of c minor (vi). This passage is reminiscent of the corresponding passage in the Courante (bars 21–24). The next four bars lead back to the dominant via the subdominant, introduced by its dominant seventh chord (yet another appearance of d). The harmonies of bars 9–20 support a stepwise descent from outer voice (f2) to inner voice (b1), and, as occurred in the Gavotte, we hear a clearly articulated descent from b1 to e1 in an inner voice in these final four bars below resolution of the fundamental line.17
Petit Menuet The Petit Menuet18 is in rounded binary form, but the return to the opening material in bar 17 does not coincide with a return to tonic harmony, but instead occurs over a prolongation of the dominant. As shown in figure 6.11, scale degree 2 of the fundamental line is prolonged by the octave progression f2⫺f1 leading to closure only in the lower register.19
Bourrée The Bourrée opens with an ascending gesture, an elaborated arpeggiation, leading to g2 (bar 4), establishing it as the primary tone, and from there the melodic line descends a sixth to b1 at the cadence on the
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2ˆ
ˆ1
8ve
!
WWWW CC
C
B
C
WC
C
C
( )
C C
a
# WWWW B
C
W4 2
I
C 6
C
C
B C : : C WC
8
b
C C
W
C
: :
B
C
( )
CC
X CC C
[V 7 ] vi
C
( )
CC
CC CC
C
WC C
[V 7 ] IV
C C
V 42
I6
V
CC
( )
C
C
16
C
(8) 5 3
V
CC CC
a1
8 6
C ( C)
C
C C
C C
7 5
6 (4) -
C C
C C
C C
4 2
6
C C
CC
C
:
CC
( )
24
C -6 -4
B B
:
5 3
I
Figure 6.11. Petit Menuet
dominant (bar 12). There are strong parallels here to the other movements in this group. First, in terms of voice-leading, the approach to the primary tone ( 3 ) is analogous to what occurs at the opening of both the Gavotte and the Menuet. Second, the ensuing descending sixth to b1 parallels what occurs in the opening period of the Gavotte and in the second phrase of the Polonaise. Compare figure 6.12, a graph of the Bourrée, with figures 6.9 (Gavotte, p. 80) and 6.10 (Polonaise, p. 81). As was the case with these other two movements, f2 ( 2 ) is implied but not stated explicitly at the cadence on the dominant at the end of part 1. Part 2 presents an interesting analytical question: where to hear the reestablishment of the tonic harmony and g2 ( 3 ), at bar 29 or at bar 37? I hear the return at bar 29.20 As shown in figure 6.12, the prolongation of the dominant from the cadence in bar 12 up to this point may be considered, at least in an abstract sense, to support an implied motion (5)–7, internal to which the 5th of the dominant ( 2 ) is displaced by b2, from which the line descends to f2 at the cadence on the supertonic (bar 24). It is then from this f2 that a2 is introduced by the now familiar arpeggiation figure, first as a consonance, and then, by inference, as the dissonant seventh. Bars 29–37 are interpreted as a prolongation of the tonic harmony and of g2 by its upper neighbor a2, a characteristic gesture of the movement at multiple levels. From bar 37 the melodic line descends as if to close in the upper register, but harmonic closure is temporarily avoided, similar to what occurs in bar 29 of the Courante (see figure 6.5, p. 76) and, for that matter, at the end of the Prelude. The primary tone is then reintroduced
in the lower register by means of its upper neighbor, from which point closure is finally achieved. As noted above, the task of establishing clear closure in both registers is left to the final movement, the Gigue. Our investigation of French Suite VI opened with speculation about the possible relationship of the Prelude in E, BWV 854/1, to the Suite, based on its inclusion in Gerber’s copy. The compositional links are clear, particularly to the Allemande, Courante and Gigue. From a motivic perspective, the d, which plays such an important role in the Prelude, is prominent in the second part of the Allemande, Courante, Sarabande, and Gigue, as well as the Gavotte. And the surface arpeggiation motive appears prominently in the Gigue as well as once at an important structural spot in the Courante. From a structural perspective the encompassing octave descent becomes fundamental to the voice-leading structures of the standard movements.21 And finally the large-scale arpeggiation e2⫺g2⫺b2 of the Prelude and its harmonization are replicated at more immediate structural levels in the Allemande and Courante, strengthening the links to those two movements. Within the Suite proper, the strongest links are found among the standard four: Allemande, Courante, Sarabande, and Gigue. All these movements are related at the deepest level by sharing the same fundamental structure, and they are also linked motivically. The optional movements also share motivic and structural characteristics, for the most part different from the other four, though one can find a possible link here and there between the two groups. This
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French Suite VI in E Major (BWV 817) 3ˆ
!
WWWW # WWWW
C
C C
C C
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W
7
C C
C
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6th
C
C C CC C
5 10
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B
2ˆ
10
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6 5
6
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C C 7
I
C C
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10
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h
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6 5
: : B
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C
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7
C
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C C
6
V
C C
I
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C
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g
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( )
6
C
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i
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I
WWWW
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10
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C C
3ˆ
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vi
C
C
C
C C
:
C B
B 42
C C h
6 (5)
C C
h
C
B V
B
:
I
Figure 6.12. Bourrée
raises an interesting possibility, namely that Suite VI, which was assembled separately from the other five in the collection, may have originated from more than one source. No matter what its origins might have been, there can be no doubt that some of its movements are related at multiple levels, suggesting its inclusion, along with others discussed in this study, among those considered as true examples of the variation suite.
Notes 1. The E-major Prelude, along with other preludes later included in The Well-Tempered Clavier, originally appeared as a separate movement (item 19) in the Clavierbüchlein for Wilhelm Friedemann Bach (1720).
2. Ernst Ludwig Gerber, Historisch-biographisches Lexicon der Tonkünstler (Leipzig, 1790–92). 3. Translated in The New Bach Reader, ed. Hans T. David and Arthur Mendel, rev. and enlarged Christoph Wolff (W. W. Norton, 1998), 322. 4. My analysis of this work is influenced considerably by ideas conveyed to me years ago by Ernst Oster, with whom I had an opportunity to study this and several other works. 5. This tonal procedure—where the opening motion from the tonic to dominant is answered by a parallel motion progressing from subdominant to a close on the tonic—is rare in baroque music and certainly in Bach’s works. It is a procedure found on occasion in classical works and more than occasionally in the works of Franz Schubert. 6. Similar sketches were published in an earlier article, “The Fundamental Line from Scale-Degree 8: Criteria for Evaluation,” Journal of Music Theory 32, no. 2 (1988): 271–94 (figures 7 and 8). See also Heinrich Schenker, Free Composition,
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trans. and ed. Ernst Oster (New York: Longman, 1979), figures 76/4, 95/c2, 106/1, 109/d1, and 125/3. 7. Extensions of the cadences at the close of part 1 (bars 8–12) and part 2 (bars 25–28) are not included in figure 6.3 because their contents are not germane to our investigation of inter-movement associations. 8. The primary reason for my differing interpretation of the octave descents in these two movements has to do with the different natures of the seventh degree of the scale. In the Prelude the descent occurs through natural 7 (d), whereas in the Allemande it is by means of the diatonic seventh. Furthermore, the arpeggiation to b2 in the Allemande occurs within a closed phrase in the tonic where the controlling pitch is e2, whereas this is not the case in the Prelude. 9. cf. Schenker, Free Composition, figures 47/3 and 87/1b. 10. Though harmonic closure is not achieved until the very last bar, I have indicated the implied bass on the downbeat of bar 29 to be e and the harmony to be “tonic” in figure 6.5 to show the parallel between the final four bars and the equivalent passage at the end of part 1. There is, of course, an important difference between the two. The last four bars of part 1 extend the local point of arrival, whereas here they are necessary to confirm the delayed point of arrival. 11. Notes and preliminary sketches of this movement by Schenker indicate indecision regarding whether to interpret the fundamental line from the opening g 1 ( 3 ) or the b1 (5 ) in bar 8, though at one point 3 is crossed out in favor of (5 ). The possibility of an octave line with a suppressed 8 , as interpreted here, was not considered. These notes and sketches are contained in The Oster Collection: Papers of Heinrich Schenker, New York Public Library, Music Division, File 69, p. 41 and file 70, pp. 8–11. 12. See Schenker, Free Composition, figure 62/9. 13. The arpeggiation motive is represented in figure 6.8 as a chord in order to economize on space. 14. A graph of the Gigue in the hand of Angi Elias (The Oster Collection, file 70, p. 17) indicates a descent of the fundamental line to 5 already in bar 16, though a preliminary graph by Schenker (file 70, p. 25) seems to indicate preference for the more definitive descent in bars 23–24. Though Schenker clearly settles on a reading of the fundamental line from 8 , a preliminary sketch (file 70, p. 18) reveals an attempt to read the structure from 3 (g2) in bar 8.
15. In a preliminary graph of this movement Schenker indicated a descending fifth progression commencing from the f2 on the upbeat to bar 4 and the prolongation of the dominant from this dividing cadence, rather than the interpretation given in figure 6.9, which shows this f2 as part of a descending sixth. (See The Oster Collection, file 70, p. 12.) Schenker is consistent in this regard. See his interpretation of the first part of the Bourrée (file 70, p. 15). 16. The return of the tonic harmony is short-lived. With the addition of d and the simultaneous chromatic change in the bass from e to e the harmony is directed again to the supertonic as preparation for the structural dominant. Though brief, the return to g2 in conjunction with a return to the opening idea is sufficient, I believe, to warrant this reading of the Gavotte. 17. If closure had occurred only in the lower register, it would be tempting to read the prolongation of 2 by an octave descent f2 to f1 leading to e1, as occurs in part 2 of the Petit Menuet. 18. My placement of the Petit Menuet, which was added at a later date at the end, is based on an assumption that it was most likely intended as a trio to the Polonaise. It is not appropriate as a closing movement. 19. This interpretation differs from the one provided by Schenker in a preliminary sketch (The Oster Collection, file 70, p. 14). Despite the return over a pedal b (six-four chord), Schenker reads an implied tonic harmony in bar 17 (the norm) rather than a continuation of the dominant. 20. Schenker’s preliminary graph of this movement (The Oster Collection, file 70, p. 15) clearly indicates the return at bar 37, subsuming the tonic harmony in bar 29 within a larger dominant prolongation (supporting the dissonant seventh) spanning bars 27–36. 21. The prominent role of the octave as a large-scale organizing device in this suite, in the Suite in A minor, BWV 818/818a, and in general in Bach’s works points to an interesting question: why do we encounter structural octaves in Bach’s music, or for that matter, in late baroque music in general, but not in compositions of the classical period? Perhaps the answer to this question lies in the differing nature of the forms employed. For example, the tonal motion of the typical baroque binary form is continuous, a condition favorable to the large-scale unfolding of octave lines, while classical binary forms (rounded binary and sonata form) involve interruption. For a recent discussion of this and other relevant issues, see David Smyth, “Schenker’s Octave Lines Reconsidered,” Journal of Music Theory 43, no. 1 (1999): 101–33.
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Epilogue It has been my experience over the years that I have been drawn to certain musical works, to listen to them over and over again, and eventually to study them in detail to understand what it is about them that engages me, in essence to understand in concrete terms what my musical intuitions have already grasped. Some of Bach’s suites—here I would cite specifically the first two violin partitas; the first, third, and fourth cello suites; and the keyboard partitas—are among this ever-expanding list. What I have found about these and other works to which I have been drawn is that they are particularly rich in harmonic, motivic, and structural associations, and it was curiosity about the extent to which these relationships might be exhibited throughout the forty-four suites that led me to this study. That is, do all the suites exhibit inter-movement connections of the variety I had perceived in, say, the first cello suite and the second violin partita? The answer, of course, is negative. There are some that appear to exhibit no such relationships, some with a variety of discernible connections, and others that exhibit a diverse, and sometimes complex web of inter-movement associations, some easily perceptible but others less obvious except to the trained ear. Personally I am drawn to those in this last group. The more complex the better. But this should not be taken as a value judgment. The baroque suite is a collection of pieces in the same key, and there are many wonderful examples by Bach that are just that. Consider some of the suites I have not discussed, including some of the English and French suites. These too are fantastic works, equally worthy of our attention. It should not come as a surprise that many of Bach’s suites do exhibit inter-movement associations, given the tradition from which he came. He learned his craft in part by studying the music of preceding generations, often copying complete works or making arrangements of them. As noted in chapter one, he made a keyboard arrangement (BWV 965) of the first sonata, actually a partita, from Reincken’s Hortus Musicus (1687). This is a variation suite, so there can be no doubt that Bach was
acquainted with that tradition. Whether or not he was directly acquainted with Niedt’s tract on variation technique, in which the author shows how to write an entire suite based on a given figured bass (not unlike basing a succession of movements on a cantus firmus, an older tradition) is an open question, though, if he did, he seems not to have adopted this method as a regular means of composing. Rather, the inter-movement connections exhibited in his suites are far more varied and sophisticated than what Niedt proposes, perhaps closer to what we find in the Reincken work. So what have we discovered in our study of unifying devices in the Bach suites? First, in the harmonic realm, we have found very few examples of movements based on the same figured bass. The only example where this appears to hold throughout is the Allemande–Courante pair from the Praeludium et Partita del tuono terzo (BWV 833), and even here one must work a bit to reveal the connections (see figure 1.10, p. 11). Much more common are suites exhibiting the same large-scale harmonic design, though it seems to me that this relationship is greatly strengthened when these common designs are combined with similar mid-level and deep-level voice-leading patterns, as we have observed on several occasions. Having a common fundamental structure is not significant in itself, at least in this context, but takes on greater significance when this occurs in conjunction with other common features, harmonic and/or motivic. However, in this regard, I would suggest that movements from the Keyboard Suite in A Minor (BWV 818a)—the prototypes outlined in figure 5.3 (p. 59)—function almost like Ur-motives. In this particular case, the movements are connected at more immediate levels, reinforcing the relationship. The most fruitful avenue of investigation into inter-movement connections in these works has proven to be the concept of pitch motive defined and developed in chapters three and four. In this regard, it is interesting to note, but not surprising, that the examples of motivic repetition cited from early works, for example from the keyboard suites BWV 820–822, are all very much at the surface of the music, that is, easily recognizable, and though this type of relationship persists to some degree, it would appear that the more complex types of motivic repetitions appear only in the more mature works. We have seen that the single pitch, e.g., the lowered-seventh degree of the scale, can function as
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a motivic link among movements, either by itself, as in the first keyboard partita (BWV 825), or as part of a larger construct, as in the first English suite (BWV 806) or the fourth cello suite (BWV 1010), and several examples where movements of a suite are related by expanded voice-leading patterns: the flute partita (BWV 1013), the Overture in the French Style (BWV 831), and the first and second violin partitas (BWV 1002 and 1004). In the last two of these works, as in the Keyboard Suite in A Minor (BWV 818a) and in the French Suite in E Major (BWV 817), motivic repetition at various levels is combined with structural similarities at the deepest level of two or more of their movements. The last two works cited are particularly rich in harmonic, motivic, and structural associations at multiple levels, the reason I have singled them out as summary examples. I would like to close by returning briefly to a question that has been implied at various times in this study, but not yet posed directly: what is a variation suite? Or, more to the point, what are the conditions that
must be satisfied to qualify as a variation suite? It seems that the minimal condition is that two or more of its movements must be related throughout. One approach is to limit our view to what contemporary theorists, like Niedt, had to say about musical organization. This view leads inevitably to the conclusion that the only example of a variation suite in Bach’s oeuvre is the Praeludium et Partita del tuono terzo, BWV 833. This is a reasonable conclusion. But I would argue that we should not limit ourselves in this way. The best evidence we have is not writings about music, but the music itself. If we can accept that movements can be related throughout by common harmonic and voice-leading constructs, as I have attempted to demonstrate, and that these relationships are frequently supported by motivic associations, then surely we must include in our list of this genre not only BWV 817 and 818a and the first two violin partitas (BWV 1002 and 1004), but also the fifth English Suite (BWV 810) and perhaps several others whose movements have been shown to be motivically linked.
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Appendix Theoretical Terms and Definitions Anstieg : A harmonized linear ascent to the primary tone [Kopfton], the initial tone of the Fundamental line [Urlinie]. Closure: As employed here, this term refers to the completion of harmonic motion to the tonic (harmonic closure) in conjunction with descent of the fundamental line to scale degree one (melodic closure). Closure can occur at different levels, but normally the term, if not specified otherwise (e.g., local closure), refers to completion of the fundamental structure [Ursatz]. Fundamental line [Urlinie]: In Schenker’s theory a stepwise descending line leading from the primary tone [Kopfton], always a member of the tonic triad (e.g., scale degree 3, 5, or 8), to closure. The fundamental line is represented in musical graphs or sketches by open (white) notes and by Arabic numerals with carets above. Graph or Sketch: Representation of an interpretation of musical structure using musical notation, where the note values and other symbols indicate the relative structural significance, not the duration, of events (as opposed to the reduction, where note values do indicate relative duration). There are two types of graphs/sketches employed in this book, one which shows considerable detail and retains bar
lines as an aid to readers, and the other which omits details for the sake of representing more clearly structural connections at deeper (more remote) levels. See, for example, figures 6.1 and 6.2, two representations of the structure of the Prelude in E Major (BWV 854/1). Hypermeter: The regular grouping of bars, normally in multiples of two, where the individuals components, the bars, function at a higher level much the same as beats function within the bar with respect to relative stress. In the suites, hypermeter is most evident in dance movements like the menuet. See, for example, the Menuet from the second French Suite (BWV 813) (figure 1.2), where the prevailing hypermeter is quadruple, corresponding in general to the phrase divisions. Note, however, that the eight-bar phrase beginning in bar 17, which is based on a two-bar sequence, is continuous, not divisible into four plus four. Specific references to hypermetric organization in the suites are listed in the Index. Primary Tone [Kopfton]: The initial tone of the fundamental line. Reduction: A simplification of the music resulting from elimination of decorative elements. In the reduction, unlike the graph or sketch, note values represent relative duration, not actual duration in the score but duration of control once melodic embellishments and rhythmic displacements are removed. See, for example, the reductions of the opening bars of the Allemanda, Corrente, Sarabande, and Tempo di Borea movements from Violin Partita I (BWV 1002), provided in figure 1.6. Ursatz: Fundamental structure, consisting of the fundamental line [Urlinie] and its harmonic support. Zug : A linear harmonized progression spanning a specific interval, e.g., a fifth.
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Bibliography Bach, Johann Sebastian. J. S. Bach’s Precepts and Principles for Playing the Thorough-Bass or Accompanying in Four Parts. [Leipzig, 1738]. Translation with facsimile, introduction, and explanatory notes by Pamela L. Poulin. Oxford: Clarendon Press, 1994. Beach, David. “The Fundamental Line from Scale-Degree 8: Criteria for Evaluation.” Journal of Music Theory 32, no. 2 (1988): 271–94. Beck, Hermann. The Suite. Translated by Robert Holben. Cologne: Arno Volk, 1966. Burkhart, Charles. “Schenker’s ‘Motivic Parallelisms.’ ” Journal of Music Theory 22, no. 2 (1978): 145–75. David, Hans T., and Arthur Mendel. The New Bach Reader. Revised and expanded by Christoph Wolff. New York: W. W. Norton, 1998. Fuller, David. “Suite.” The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie. 2nd edition. 29 vols. New York: Grove, 2001, 24:665–84. Fuller, David, and Cliff Eisen. “Partita.” The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie. 2nd edition. 29 vols. New York: Grove, 2001, 19:173–74. Lester, Joel. Bach’s Works for Solo Violin. Oxford: Oxford University Press, 1999. Nelson, Robert U. The Technique of Variation. Berkeley and Los Angeles: University of California Press, 1949. Niedt, Friederich Erhard. Musikalische Handleitung I: Vom General-Bass (1700); II: Handleitung zur Variation (1706; 2nd expanded edition, ed. J. Mattheson, 1721); III: Von Contra-Punct, Canon, Motetten, Choral, Recitativ-Stylo, und Cavatten, ed. J. Mattheson (1717). Translated as
Musical Guide by Pamela L. Poulin and Irmgard C. Taylor. Oxford: Oxford University Press, 1989. Rothstein, William. Phrase Rhythm in Tonal Music. New York: Schirmer, 1989. Schachter, Carl. “The Gavotte en Rondeaux from J. S. Bach’s Partita in E Major for Unaccompanied Violin.” Israel Studies in Musicology 4 (1987): 7–26. Schenker, Heinrich. Free Composition. [1935]. Translated and edited by Ernst Oster. New York: Longman, 1979. ———. The Masterwork in Music. Edited by William Drabkin, translated by Ian Bent, William Drabkin, Richard Kramer, John Rothgeb, and Hedi Siegel. 3 vols. Cambridge: Cambridge University Press, 1994, 1996 and 1997. ———. Notes and Unpublished Sketches of the French Suite in E Major, BWV 817. The Oster Collection: Papers of Heinrich Schenker, New York Public Library, Music Division, File 69, pp. 37–46, and File 70, pp. 4–25. Schulenberg, David. “Composition and Improvisation in the School of J. S. Bach.” Bach Perspectives 1, edited by Russell Stinson (1995): 1–42. ———. “Composition as Variation: Inquiries into the Compositional Procedures of the Bach Circle of Composers.” Current Musicology 33 (1982): 57–87. ———. The Keyboard Music of J. S. Bach. New York: Schirmer, 1992. Sisman, Elaine. “Variations.” The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie. 2nd edition. 29 vols. New York: Grove, 2001, 26:284–326. Smyth, David. “Schenker’s Octave Lines Reconsidered.” Journal of Music Theory 43, no. 1 (1999): 101–33. Wolff, Christoph. Bach: Essays on His Life and Music. Cambridge, MA: Harvard University Press, 1991. ———. Johann Sebastian Bach: The Learned Musician. New York: W. W. Norton, 2000. Wolff, Christoph, Walter Emery, Ulrich Leisinger, Stephen Roe, and Peter Wollny. “Johann Sebastian Bach.” The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie. 2nd edition. 29 vols. New York: Grove, 2001, 2:309–82.
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Index Altnickol, Johann Christoph, 71 Bach, Carl Philipp Emanuel, 9, 12n11 Bach, Johann Nicolaus, 8–9 Bach, Johann Sebastian: BWV 766–768, Partite diverse, xiiin1, 8 BWV 806, English Suite I, 8, 12n3, 28–29, 34, 38n6, 86 BWV 807, English Suite II, 8, 12n3 BWV 808, English Suite III, 8, 12n3 BWV 810, English Suite V, 22–24, 52n1, 86 BWV 811, English Suite VI, 6–7, 8, 12n3, 25n7 BWV 812, French Suite I, 57 BWV 813, French Suite II, 4–5, 27 BWV 816, French Suite V, 4, 25n7 BWV 817, French Suite VI, xii, 4, 52, 69n5, 71–84, 86 BWV 818/818a, Keyboard Suite in A Minor, xii, 5–6, 8, 12n3, 29, 52, 57–69, 77, 84n21, 85, 86 BWV 820, Overture in F Major, 30, 31, 38n7, 85 BWV 821, Keyboard Suite in B-flat, 30, 85 BWV 822, Keyboard Suite in G Minor, 30–31, 32, 38n8, 85 BWV 825, Partita I, 15–17, 18, 19, 20, 25n3, 28, 34, 38n5, 86 BWV 826, Partita II, 12n1, 15, 16, 17, 24n1, 25n7, 29–30 BWV 827, Partita III, 12n1, 27–28, 38n4
BWV 828, Partita IV, 32, 34, 35 BWV 829, Partita V, 3, 17, 19, 20, 21, 25n4, 38n12 BWV 830, Partita VI, 3–4, 12n1, 25n7, 27 BWV 831, Overture in the French Style, 40–43, 86 BWV 833, Prelude et Partita del tuono terzo, xii, 10–11, 12n3, 15, 27–28, 85, 86 BWV 854/1, Prelude in E Major, Well-Tempered Clavier I, 71–74, 75, 76, 77, 78, 79, 80, 81, 82, 83n1 BWV 940, Little Prelude in D Minor, 69n2 BWV 942, Little Prelude in A Minor, 69n2 BWV 965, Keyboard Arrangement of Sonata I from Reincken’s Hortus musicus, 9–10, 85 BWV 996, Lute Suite II, 27 BWV 997, Lute Suite III, 8, 12n3 BWV 1002, Violin Partita I, 6–8, 12n3, 43–46, 86 BWV 1004, Violin Partita II, 12n3, 46–51, 52, 53n10, 86 BWV 1007, Cello Suite I, 31–32, 33, 38n9 BWV 1009, Cello Suite III, 19, 21–22, 25n5, 25n6 BWV 1010, Cello Suite IV, 34–36, 38n10, 38n11, 86 BWV 1013, Flute Partita, 4, 39–40, 52n2, 52n3, 52n4, 52n5 BWV 1066, Orchestral Suite I, 4, 25n7, 30, 31, 35, 37
BWV 1067, Orchestral Suite II, 12n3, 12n6 Clavierbüchlein für Anna Magdalena Bach, 71 Clavier-Büchlein für Wilhelm Friedemann Bach, 83n1 Gründlicher Unterricht des General-Basses, 9 Well-Tempered Clavier I, 71, 74, 83n1 Beck, Hermann, xiiin2 Beethoven, Ludwig, Fifth Symphony, 27 Böhm, Georg, xii Burkhart, Charles, 38n1, 38n3 Buxtehude, Dietrich, Auf meinen lieben Gott (BUXWV 179), 8, 12n8 David, Hans T., 12n11, 83n3 Derr, Ellwood, xiiin3 double, 5–8, 12n3, 12n6, 12n7, 38n6 Drabkin, William, 25n6, 69n2
(Figure 5.9); Keyboard Suite in G Minor (BWV 822), Overture, 32 (Figure 3.9), 38n8; Violin Partita II (BWV 1004), Sarabande, 53n10. See also metric reinterpretation; parenthetical digression; phrase expansion Kirnberger, Johann Philipp, 9, 13n11 Kuhnau, Johann, xii Laufer, Edward, 53n8 Lester, Joel, 53n7, 53n9 Mendel, Arthur, 83n3 metric reinterpretation: French Suite VI (BWV 817), Courante, 76 (Figure 6.5), 77. See also hypermeter motive: definition of different types, 27, 39; form-defining role of, 3–5; motivic parallels, 27–37 passim
Elias, Angi, 84n14 Forkel, Johann Nikolaus, 12n11 form: of Praeambulum, Partita V, 3; of Toccata, Partita VI, 3–4; of Menuet, French Suite II, 4–5, 6: rounded binary, 4, 52n4 Froberger, Johann Jacob, xii Fuller, David, xiiin2, 38n9 Gerber, Ernst Ludwig, Historisch-biographisches Lexicon der Tonkünstler, 71, 83n2 Gerber, Heinrich Nicolaus, 57, 71, 82 Handel, George Frideric, xii, 12n7 hypermeter: Flute Partita (BWV 1013), 40 (Figure 4.2), 52n3; Keyboard Suite in A Minor (BWV 818), Sarabande simple, 65 (Figure 5.10); Keyboard Suite in A Minor (BWV 818a), Sarabande, 64
Niedt, Friederich Erhard, Musicalische Handleitung II: Handleitung zur Variation, 8–9, 12n9, 13n13, 85, 86 octave progressions: Cello Suite IV (BWV 1010), 34, 35, 36 (Figure 3.14); French Suite VI (BWV 817), 74–80 (Figures 6.3–6.8), 84n21; Keyboard Suite in A Minor (BWV 818/818a), 59–69 (Figures 5.3–5.8; 5.10–5.14); Orchestral Suite I (BWV 1066), 35, 37 (Figure 3.16); Partita V (BWV 829), 19, 20 (Figure 2.8), 21 (Figure 2.9), 38n12; Prelude in E Major (BWV 854/1), 73 (Figure 6.2) Oster, Ernst, 83n4, 84n6 Oster Collection (New York Public Library), 84n11, 84n14, 84n15, 84n19, 84n20
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92 parenthetical digression: Cello Suite III (BWV 1009), Gigue, 21, 22 (Figure 2.11); Keyboard Suite in A Minor (BWV 818a), Prelude, 59, 60 (Figure 5.4); Partita II (BWV 826), Allemande and Courante, 15, 17 (Figure 2.2); Partita V (BWV 829), Sarabande, 25n4. See also hypermeter; phrase expansion phrase expansion: Flute Partita (BWV 1013), Bourrée, 40 (Figure 4.2); Partita V (BWV 829), Sarabande, 25n4. See also parenthetical digression
Index Poulin, Pamela, 12n9, 13n13 Reincken, Johann Adam, xii; Hortus musicus, Sonata I, 9–10, 85 repetition, role of, 3–8 passim Rothstein, William, 52n3 Schenker, Heinrich, 22, 27, 35, 38n1, 38n3, 39, 53n6, 84n11, 84n14, 84n15, 84n19, 84n20; Free Composition, 69n2, 84n6, 84n9, 84n12; The Masterwork in Composition, 25n6, 69n2; Schenkerian graphs, xii, xiiin6
Schubert, Franz, 83n5 Schulenberg, David, xi, xiiin2, xiiin4, xiiin5, 9, 10, 11, 12n10, 13n14, 13n15, 38n7, 57, 69n1 seventh degree of the scale lowered (flat 7); Cello Suite IV (BWV 1010), 34–36, 38n11; English Suite I (BWV 806), 28–29; Partita I (BWV 825), 15–17, 28, 34, 38n6; Partita V (BWV 829), 19, 20 (Figure 2.8), 21 (Figure 2.9) Siegel, Heidi, 25n6, 69n2 Sisman, Elaine, 10, 13n14
Smyth, David, 84n21 Stinson, Russell, xiiin2, 12n10 style, consistency of, xi Taylor, Imgard C., 12n9 unity, xi–xii, 3, 8, 85–86 variation suite, xii, 8–11, 83, 85, 86 variation technique, role of, 3–8 passim Wolff, Christoph, xi, xiiin4, 12n11, 83n3
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Aspects of Unity in J. S. Bach’s Partitas and Suites David W. Beach Musicians—listeners, performers, and scholars alike—have often felt a profound connectedness between various movements in multimovement works by the great composers. But sensing musical unity is one thing; showing it is another. In Aspects of Unity in J. S. Bach’s Partitas and Suites, David Beach examines many of the forty-four works by Bach in this genre for keyboard, orchestra, and solo instruments, including the beloved solo works for violin and for cello from this perspective. Through careful attention to motivic and harmonic repetitions at various structural levels, made plain to the eye in numerous annotated musical examples and diagrams, Beach establishes that Bach often did link several movements of a suite in various ways, sometimes by overt but often by more subtle means. Aspects of Unity in J. S. Bach’s Partitas and Suites thus provides new insight into the inner workings of these great pieces.
“This intense investigation of suites by J. S. Bach reveals his profound and prolific invention, of a kind that has fascinated composers, performers, and theorists for nearly three centuries. Beach is the ideal connoisseur to lead us through this creative maze, with his intimate knowledge of the music, his sensitive musical perception, and a rare gift for truly lucid analytical explanation.” —Jonathan Dunsby, founding editor of Music Analysis and Professor of Music, University of Reading
David W. Beach is a renowned music analyst and historian of music theory who recently retired as Dean of the Faculty of Music, University of Toronto. He co-translated Kirnberger’s The Art of Musical Strict Composition and edited Aspects of Schenkerian Theory (both for Yale University Press) and is co-editor of Music Theory in Concept and Practice (Eastman Studies in Music, University of Rochester Press).
“An insightful study of inter-movement connections in the Bach Suites— some of the greatest multi-movement works ever composed. An important contribution to the scholarly literature.” —Carl Schachter, Distinguished Professor Emeritus of Music, CUNY, and author of Unfoldings: Essays in Schenkerian Theory and Analysis
“This book, with its meticulous analytical graphs and learned interpretations based upon many years of study, is certain to be of great interest to Bach scholars and to students of music in general.” —Allen Forte, Battell Professor of Music Theory, Yale University
