Aspects of Unity in J. S. Bach's Partitas and Suites: An - download pdf or read online
By David W. Beach
Musicians--listeners, performers, and students alike--have usually felt a profound connectedness among quite a few hobbies 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 a few of the forty-four works via 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 cognizance to motivic and harmonic repetitions at quite a few structural degrees, made simple to the attention in different annotated musical examples and diagrams, seashore establishes that Bach usually did hyperlink a number of events of a set in a variety of methods, occasionally by way of overt yet frequently through extra sophisticated skill. facets of harmony in J. S. Bach's Partitas and Suites therefore presents new perception into the interior workings of those nice works. David W. seashore is a well known tune analyst and historian of tune idea who lately retired as Dean of the college of track, collage 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 track thought in idea and perform (Eastman experiences in tune, college of Rochester Press).
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29 vols. (New York: Grove, 2001), 24:665–84. 10. 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. 15 will have to consult the score. 11. 7 also plays a prominent role in the Sarabande. 12. 6, which illustrates the use of the octave progression as a unifying device in Partita V (BWV 829). qxd 03/08/2005 2:32 PM Page 39 4 Structural Associations a) Sarabande, 1-16.
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4. qxd 03/08/2005 2:31 PM Page 31 31 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 ! 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 ! 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 !
Aspects of Unity in J. S. Bach's Partitas and Suites: An Analytical Study (Eastman Studies in Music) by David W. Beach