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Bach compositions3/30/2023 Tension produced by the motifs always being slightly ahead of the pulse. This releases the tension we mentioned earlier – the Points, the motifs are abandoned for a very short while and what we get insteadĪre melodies and rhythms that begin and end on the beat. The rhythm slightly so that the music conforms to the pulse. When a cadence is due at the end of a phrase, Bach changes Here are bars 1 to 4: The rhythm of Bach’s Invention no. Melody begins and finishes on the strong beats. Kind of musical tension that is only released at the end of the phrases, where the Instead, they’re always a little ahead.Īs we’ll see, this feature of the rhythm creates a Shown against the constant quarter beat of 4/4 meter. In the diagram below, the top part of the invention is The bar lines (or over the strong beats) and this continually drives the music Because of this they overlap and connect over Most importantly, observe how the motifs themselves alwaysīegin on a weak part of the bar. But we cannot ignore the rhythm, as it is just as important as So far we’ve looked at the subject, the motifs and the In the meantime it is all held together brilliantly through the harmony This manner with the three motifs and their transformations put in place like a 1Īt this point, the invention continues to evolve in Beginning of the second phrase in Bach Invention no. The subject appears in full again but this time the bass part plays itįirst and the top part does the imitating. The next phrase begins as a transposition of the first Sequence of motif ‘b’ in Bach’s Invention no. This time, it’s motif b that is now developed by sequence in thirds (repeating up a third every time, in this case the motif begins on the note G, then B and then D). 1īars 5 and 6 bring the first phrase to a close through the same devices. Transformations of motif ‘a’ in Bach’s Invention no. And then extended from 4 notes to 7 (and always moving by steps only).The rhythm is doubled from eighth notes to quarter notes (a technique known as Rhythmic Augmentation).In the meantime, the scale fragment we know as motif a goes through these transformations in the bass part: Sequence down a third through bars 3 and 4: Sequence of the inverted subject in Bach’s Invention no 1 Inversion of the subject in Bach’s Invention no. This shortened version of the subject is inverted The subject is shortened in the bass clef. ![]() We’ve already seen that in the very first two bars, It’s at this point that the subject is broken down further where we can recognize 3 distinct four-note motifs. This is known as imitation: Imitation and transposition in Bach’s Invention no. The subject itself is shortened (with the last 3 notes left out) and played an This is already a development even though it’s one of the simplest: Subject from Bach’s Invention no 1, original and then transposed.Īt the same time as we are introduced to the subject, Subject is transposed up a fifth (it started on C the first time, and now it’s In bar 2 we already get a slight change as the ![]() In bars 1 and 2, we get the whole subject twice allowing Now let’s have a look at how the piece unfolds through
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