Sarabande and Gigue - J.S. Bach Notes on the Bach piece 4.0 / 5 based on 4 ratings ? MusicAS Created by: AnnieCreated on: 18-01-11 20:25 Sarabande and Gigue from Partita in D - J.S.Bach - Background Two movements from a suite or Partita, which is a series of dances usually in the same key Composed in 1728 - late Baroque era Intended for domestic performance on a harpsichord Rhythm and Metre Sarabande is a slow, triple time dance... In which the second beat of the bar is emphasised either by length or accentuation This trait is only obvious in bars 1-2, 14 and 29-30 Elsewhere, Bach uses less dance-like semiquaver and demisemiquaver movement 1 of 5 Sarabande and Gigue from Partita in D - J.S.Bach - (Rhythm and metre continued) The gigue is in triple time There is an almost continuous semiquaver movement with longer (dotted quaver) chords Melody In the Sarabande, the melody line is continually evolved from a basic motif This process (termed Fortspinnung) involves: Repetition and sequence Variation of intervals Rhythmic variation Gigue opens up with a broken-chord pattern, which then gives way to a more conjunct movement Occasional chromaticism features in both dances 2 of 5 Sarabande and Gigue from Partita in D - J.S.Bach - Harmony Functional with Cadences Dominant 7ths (some inverted) Secondary 7ths Diminished 7th Neapolitan 6th Suspensions Tonality Both dances are in D major, clearly defined by: Cadences Modulations to related keys, for example A major at bar 12 and E minor at bar 24 of the Sarabande 3 of 5 Sarabande and Gigue from Partita in D - J.S.Bach - Structure Binary with repeats In both dances, the first sections finish in the dominant key and then return to the tonic through a variety of related keys in the second section Unusually, the second section of the Gigue is the same length as the first Resources/Texture Written for harpsichord, so intended for an instrument with a smaller dynamic range and less sustaining power than the modern piano Sarabande features a variety of textures: Homophony (bar 1) Monophony (bar 2) Two-part counterpoint with steadily moving quaver bass supporting the more rhythmically involved upper part 4 of 5 Sarabande and Gigue from Partita in D - J.S.Bach - (Resources/Texture continued) Free-voiced textures, that is a passage with varying numbers of parts (bars 11-12) The Gigue opens fugally with each part entering imitatively The second section opens with a new melody line which becomes a countersubject to the original subject when it returns in bar 55 5 of 5
Comments
Report