By Allen Winold
J. S. Bach’s Suites for Unaccompanied Cello are one of the so much adored and often performed works within the whole literature of song, and but they've got by no means been the topic of a full-length tune analytical examine. The musical examples herein contain each observe of all routine (so one wishes no separate replica of the tune whereas studying the book), and undertakes either simple analyses—harmonic relief, sensible harmonic research, step development research, shape research, and syntagmatic and paradigmatic melodic analysis—and really good analyses for the various person activities. Allen Winold offers a accomplished research meant not just for cellists, but in addition for different performers, song theorists, song educators, and educated common readers.
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Extra resources for Bach's Cello Suites: Analyses and Explorations, Volumes 1 & 2
The 2nd section begins with a circle-of-¤fths progression, a harmonic progression in which the roots of the chords move by ¤fths, or by alternating fourths and ¤fths. The circle-of-¤fths progression is a linear progression, in which the functions of tonic, dominant, and subdominant chord classes yield to a sense of continuous harmonic ®ow or forward motion. In the functional harmonic analysis, each chord is designated as an L chord to indicate this linear function. The two chords of bar 10 sound as if they are continuing the characteristic forward motion of the circle-of-¤fths progression, but they do not have the appropriate chord roots to be analyzed in this way.
Analytical Concept: Fugue Analysis The PRELUDE of this movement (bars 1–27) serves as an introduction to the following FUGUE (bars 28– 223). In this respect it is also similar to the slow introduction in a Baroque French Overture. This suggests treating the opening PRELUDE in a “preparatory” or “anticipatory” manner, rather than treating it as a selfcontained slow movement. This is especially appropriate since this PRELUDE ends in bar 28 on a dominant chord. The PRELUDE is usually played in a slow Before we examine the FUGUE section of this prelude it will be helpful to discuss general principles and terms of fugue analysis.
The First through the 8th sections are uni¤ed by the insistent use of a single gesture consisting rhythmically of repeated eighth notes and melodically of broken-chord patterns in a wide range. This gesture is transposed and slightly varied throughout these sections. The 9th through 13th sections are marked by virtuoso use of sixteenth-note scalar and mixed motion gestures, interspersed with three brief returns to the broken-chord eighth-note gestures. The Last section recapitulates the First section and concludes with a cadential extension that brings back the sixteenthnote motion of the 3rd and 4th sections.