By Allen Winold
J. S. Bach’s Suites for Unaccompanied Cello are one of the such a lot loved and often performed works within the complete literature of track, and but they've got by no means been the topic of a full-length song analytical research. The musical examples herein comprise each notice of all routine (so one wishes no separate replica of the song whereas studying the book), and undertakes either easy analyses—harmonic relief, practical harmonic research, step development research, shape research, and syntagmatic and paradigmatic melodic analysis—and really good analyses for a number of the person activities. Allen Winold offers a accomplished research meant not just for cellists, but additionally for different performers, song theorists, tune educators, and educated normal readers.
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Extra resources for Bach's Cello Suites: Analyses and Explorations (Vol. 1 & 2)
Analytical Concept: Musical Space Bach not only shapes this prelude through his masterful use of chord progressions, melodic ¤gures, and formal design, but also through his remarkable use of “musical space,” a special aspect of the musical characteristic of texture. The opening four bars cover a fairly wide ambitus or range of twelve or thirteen steps. This establishes a norm to which the music returns at signi¤cant points in bars 5, 8, 18, and especially 39–41. To provide contrast to this, Bach narrows the ambitus in bars 6, 11, 13–15, and especially in the bariolage section of bars 31–36.
Linear progressions contribute to motion and ®ow of the middle sections of the movement. Most of the movement remains in C major, except for a short tonal region on V (G major) in bars 7–13 and a slightly longer tonal region on vi (A minor) in bars 15–28. Bach introduces harmonic variety and motion through the use of several secondary dominant progressions. Two of these, in bars 21 and 26, have only one chord, the secondary dominant; they lack a secondary tonic as a chord of resolution. Instead, the secondary dominant is followed by another dominant seventh chord: this weakens the sense of resolution and emphasizes the sense of forward motion.
They may be accented or unaccented; they may be consonant or dissonant. • Suspensions (Sus) are approached by the same note; they are left by step down. They are always accented; they are usually dissonant. The “same note” may be a tied note that begins in one chord and extends into a second chord before it resolves, or in some cases the note may be repeated at the beginning of the second chord before it resolves. • Anticipations (Ant) are approached by step or leap, either ascending or descending; they are always left by repeated note.