By Allen Winold
J. S. Bach’s Suites for Unaccompanied Cello are one of the so much loved and often performed works within the whole literature of tune, and but they've got by no means been the topic of a full-length song analytical learn. The musical examples herein contain each notice of all hobbies (so one wishes no separate reproduction of the tune whereas examining the book), and undertakes either simple analyses—harmonic aid, useful harmonic research, step development research, shape research, and syntagmatic and paradigmatic melodic analysis—and really good analyses for many of the person routine. Allen Winold provides a finished learn meant not just for cellists, but in addition for different performers, song theorists, tune educators, and knowledgeable normal readers.
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Extra resources for Bach's Cello Suites: Analyses and Explorations (Vol. 1 & 2)
However, it is possible to suggest which voice might be presenting the subject at any given moment, based on the range of the statement. This range is given in the third column. Because of the limited overall range used in this FUGUE it is probably best to limit the number of implied voices to three. Typically an exposition contains the same number of statements as there are voices in the fugue. This exposition, however, contains four statements, and this requires us to label the last statement as an extra statement in the exposition.
This closing section shows many typical coda or ending characteristics. The harmonic movement toward the subdominant in bars 82–84 acts like a musical brake to signal the approaching end of the movement. The trill ¤gure on the leading tone in bars 85–86 is another strong ending signal. Bach’s repetition of the opening bar of the movement in the penultimate bar, followed by a four-part C major chord, is a marvelously effective way of ending the movement. 0. The Fourth Suite Prelude The Fourth Suite Prelude is in E major, the key of Bach’s Cantata No.
This movement to the parallel minor is an especially effective harmonic device for introducing a sense of chiaroscuro (light and dark) near the end of a movement. The darker color of the minor tonality in the 13th section heightens the brightness of the major tonality in the Last section. Bach intensi¤es the sense of tension before the return to E major by using the Neapolitan chord in bars 80– 81 shortly before the beginning of the Last section. The Last section brings back the harmonic progression of the First section and prolongs the dominant chord in bars 88–90.