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By David W. Beach

Musicians--listeners, performers, and students alike--have usually felt a profound connectedness among numerous pursuits in multimovement works through the nice composers. yet sensing musical harmony is something; exhibiting it truly is one other. In facets of harmony in J. S. Bach's Partitas and Suites, David seashore examines the various forty-four works by way of Bach during this genre-for keyboard, orchestra, and solo tools, together with the liked solo works for violin and for cello-from this attitude. via cautious recognition to motivic and harmonic repetitions at quite a few structural degrees, made undeniable to the attention in several annotated musical examples and diagrams, seashore establishes that Bach frequently did hyperlink numerous activities of a collection in a variety of methods, occasionally by way of overt yet usually through extra refined potential. points of team spirit in J. S. Bach's Partitas and Suites hence offers new perception into the internal workings of those nice works. David W. seashore is a well known tune analyst and historian of song thought who lately retired as Dean of the college of song, college of Toronto. He co-translated Kirnberger's The artwork of Musical Strict Composition and edited points of Schenkerian concept (both for Yale collage Press) and is co-editor of song conception in suggestion and perform (Eastman reports in song, college of Rochester Press).

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Additional resources for Aspects of Unity in J. S. Bach's Partitas and Suites: An Analytical Study (Eastman Studies in Music)

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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 (ϭ 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).

See J. S. ) 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. qxd 03/08/2005 2:30 PM Page 15 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.

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. ’ ” 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.

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