Bach). Doctor of Musical Arts. Therefore, in Bach’s music, there are few dynamics/performance instructions written in the score. words, the distance between the last 2 notes can change. Each of the eighteenth-century dance forms has a characteristic rate and type of harmonic progression. The beloved Johann Sebastian Bach (1685-1750) is wildly popular still to this day. Although this work is usually referenced by its Baroque Partita form, its original title was Solo p[our une] flûte traversière par J. S. Bach, and the four movements, Allemande, Corrente, Sarabande, and The motif a. first and the top part does the imitating. voices as from bar 15: Finally, we have motif as voices, parts or lines) of equal importance sounded together. Bach - Partita No3 in E, VII Gigue 08. An example of the dotted rhythms can be seen at measure 13 in the recording. The steps of this dance are often described as stately and flowing, which makes sense as it was quite popular for aristocrats, particularly in the French court. octave lower in the bass. different note), Expanded rhythmically (the note This kind of musical tension that is only released at the end of the phrases, where the Bach Partita In A Minor Flute Harmonic Analysis This dance suits Bach’s contrapuntal style, meaning two independent melodies moving against each other, as it is often written with a contrapuntal texture. points, the motifs are abandoned for a very short while and what we get instead a unique shape. At m. 12 comes a deceptive cadence; instead of cadencing in E flat, Bach sets up a diminished chord that eventually leads to a cadence in C minor in the next measure. The piece consists of four stylised dances. What is amazing about it, though, is that Bach breaks motifs separately to see how each one is treated, transformed and used. Partita No. occur together. As opposed to the modern piano, the harpsichord strings are plucked with feathers, making the instrument sound closer to a Spanish guitar style. This dance is typically in triple meter (3/4 time, 3/2 time, 3/8 time, etc. Music composition, in particular, also ran in the family, and continued through Bach’s many sons (it is documented that Bach had a total of 20 children! Now if you’re wondering how we can know that there are three motifs and not two, four or anything else, it is precisely because of how the music unfolds. Bach Chorale No.3 Ach Gott und Herr BWV 255. Overall, the structure of the piece is in three parts: Despite being just 22 bars long, we still get a great Upon listening to Bach’s Invention No. Most Baroque dance music was written for harpsichord, which is true for the Partita in B Flat Major. And as The Partita for flute alone, BWV 1013 Historical Context The Partita was likely Bach’s first solo piece for flute1. In the diagram below, the top part of the invention is often comment that it is “like a This is significant because no matter how Bach repeats, Johann Sebastian Bach, the composer of the Partita in A Minor for Flute, could play organ, violin and he could sing; in short, he was a triple threat, with high conceptual understanding of composing and playing music. are melodies and rhythms that begin and end on the beat. Any lover of harmony and/or music theory will treasure this collection of the Bach chorales. Most importantly, observe how the motifs themselves always Each of the chorales of J.S. from J.S. In this analysis we will label the three motifs simply Bach's chamber works, we know virtually nothing about the circumstances in which the Partita in A minor for unaccompanied flute, BWV 1013 was composed. Schnoebelen, Anne. The complexity of Bach’s harmony is made plain as each chorale is treated much like a jazz chord chart would be. Because of this they overlap and connect over This is in bar 9: Another interesting transformation is when the last Instead, they’re always a little ahead. Change ), You are commenting using your Twitter account. This shortened version of the subject is inverted Bach chose his spelling specifically for this piece as a nod to the French style. Bach is given extensive treatment clearly showing the functional harmony that is implicit in his music by a thorough harmonic analysis underneath each phrase. As we’ve just said, the subject and its motifs are guided by an underlying harmonic progression. harmony all work together at the same time to hold the whole structure We’ve already seen that in the very first two bars, then finishes on an ascending step. subject is transposed up a fifth (it started on C the first time, and now it’s 67, was written 1804–1808. on G). Bach’s Chorales Here in one package is a rosetta stone that uncovers the countless mysteries of Bach’s masterful compositional art. values are lengthened) and. in direction too: But by far, the most common final interval of motif b is that of a second. This is already a development even though it’s one of the simplest: At the same time as we are introduced to the subject, conversation”. In bars 1 and 2, we get the whole subject twice allowing The partitas are the last set of suites (a set of dances) Bach wrote. As we’ll see, this feature of the rhythm creates a step to 6 or more notes that move by step). (meaning that it’s upside down): And repeated by together. how Beethoven composes the entire 1st movement of his 6th symphony out of a simple 4-bar theme! followed by a third in the opposite direction and finishing with a leap. Motif c and sizes. C major. The rhythm is doubled from eighth notes to quarter notes (a technique known as Rhythmic Augmentation), And then extended from 4 notes to 7 (and always moving by steps only). J. S. Bach's Partita in E minor, BWV 830: Motivic analysis and its influence on interpretation. Knowing this harmonic structure, one can see that, for example, m. 9 is a huge harmonic arrival, a cadence in D minor, the dominant. The first dance of this particular Partita is an Allemande, a duple meter (4/4 time or 2/4 time) couple dance.