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JOHANN SEBASTIAN BACH'S SUITE
NO. 6 FOR VIOLONCELLO SOLO, BWV
1012: AN ANALYSIS FOR PERFORMANCE

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ANDREW LANE HAMRIC

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J OHANN SEBASTIAN BACH’S SUITE NO. 6 FOR VIOLONCELLO SOLO,
BWV 1012: AN ANALYSIS FOR PERFORMANCE

By

Andrew Lane Hamric

A THESIS

Submitted to
Michigan State University
in partial fiilfillment of the requirements
for the degree of

MASTER OF MUSIC
Department of Music Theory

2003

ABSTRACT

JOHANN SEBASTIAN BACH’S SUITE NO. 6 FOR VIOLONCELLO SOLO,
BWV 1012: AN ANALYSIS FOR PERFORMANCE

By
Andrew Lane Hamric

While Bach’s Six Suites for Violoncello Solo are enormously popular, no single
suite has been the subject of a comprehensive theoretical analysis. The purpose of this
thesis is twofold. The first goal is to provide a Schenkerian analysis of the entire D-
major suite. The second goal is to use this analysis to generate performance ideas.

The document deals with each movement in turn, providing a graph of the
Background, a graph containing the Score, Foreground, and Middleground, textual

commentary on the graphs, and performance ideas proceeding directly from the analysis.

ACKNOWLEDGMENTS
This document would not have been possible without a great deal of assistance.
First and foremost, I would like to thank my advisor, Dr. Bruce Campbell, for his
invaluable expertise and insight. I would also like to thank my parents for their continued
encouragement during the many months over which this thesis evolved. A special word

of thanks goes to Leslie Kouzes for her limitless patience and support.

iii

TABLE OF CONTENTS

INTRODUCTION ............................................................................................................... 1
Manuscript History .................................................................................................. 2
Tuning ...................................................................................................................... 3
Layout ...................................................................................................................... 3
A List of Abbreviations ........................................................................................... 4
German Terms Explained ........................................................................................ 5
Pitch Reference ........................................................................................................ 5
Terminology Developed for this Thesis .................................................................. 5

PRELUDE
Prelude BG Graph .................................................................................................... 6
Prelude Score, PG, and MG Graph .......................................................................... 7
Commentary on the Prelude ................................................................................... 14

Overview .................................................................................................... 14
Linear Analysis .......................................................................................... 15
Impact on Interpretation ............................................................................. 18

ALLEMANDE
Allemande BG Graph ............................................................................................ 22
Allemande Score, F G, and MG Graph ................................................................... 23
Commentary on the Allemande ............................................................................. 27

Overview .................................................................................................... 27
Linear Analysis .......................................................................................... 28
Impact on Interpretation ............................................................................. 32

COURANTE
Courante BG Graph ............................................................................................... 36
Courante Score, PG, and MG Graph ..................................................................... 37
Commentary on the Courante ................................................................................ 41

Overview .................................................................................................... 41
Linear Analysis .......................................................................................... 42
Impact on Interpretation ............................................................................. 47

SARABANDE
Sarabande BG Graph ............................................................................................. 50
Sarabande Score, PG, and MG Graph ................................................................... 51
Commentary on the Sarabande .............................................................................. 53

Overview .................................................................................................... 53
Linear Analysis .......................................................................................... 54
Impact on Interpretation ............................................................................. 55

iv

GAVOTTES I AND II

Gavotte I BG Graph ............................................................................................... 59
Gavotte I Score, PG, and MG Graph ..................................................................... 6O
Gavotte 11 Score, PG, and MG Graph .................................................................... 62
Commentary on the Gavottes ................................................................................. 64
Overview of Gavotte I ............................................................................... 64
Linear Analysis of Gavotte I ...................................................................... 65
Impact on Interpretation (Gavotte I) .......................................................... 67
Overview of Gavotte II .............................................................................. 70
Linear Analysis of Gavotte II .................................................................... 70
Impact on Interpretation (Gavotte H) ......................................................... 72
GIGUE
Gigue BG Graph .................................................................................................... 73
Gigue Score, PG, and MG Graph .......................................................................... 74
Commentary on the Gigue ..................................................................................... 78
Overview .................................................................................................... 78
Linear Analysis .......................................................................................... 79
Impact on Interpretation ............................................................................. 82
CONCLUSION .................................................................................................................. 85
SELECTED BIBLIOGRAPHY ......................................................................................... 86

Introduction

Johann Sebastian Bach composed his Six Suites for Violoncello Solo between
1717 and 1725 while he was working in Kothen and Leipzig. These works remained
virtually unknown until Jane et Cotelle published them in Paris c. 1824 as Six Sonates ou
Etudea.1 As the title suggests, these works were often thought of as exercises. They did
not begin to gain stature as performance pieces until the beginning of the twentieth
century, when the great cellist Pablo Casals began playing them in recital. Since that
time, the Suites have become immensely popular, and are now considered cornerstones of
the solo repertory for the instrument.

While the Six Suites have enjoyed great popularity, no single suite has been the
subject of a comprehensive examination including both a theoretical and a performance-
related analysis. Some authors have dealt with one aspect of all the suites. Nancy
Snustad’s dissertation on the Allemandes of the suites is a case in pointz, and Laura
Kramer has written on articulation and slurs in the suites.3 These documents, while
extremely valuable in their content, do not encompass a single entire suite. Han'iet
Kaplan’s dissertation on the fifth and sixth suites covers two suites,4 but does not contain
an in-dcpth theoretical analysis and targets performers more than theorists. Only one
source seems to theoretically analyze a suite in its entirety: The edition of the suites by

Diran Alexanian.5 Alexanian includes all six suites, and his analysis is a fascinating

 

' Bettina Schwemer and Douglas Woodfull-Harris, eds., “Text Volume” in 6 Suites 0 Violoncello
Solo senza Basso, BWV1007-1012 (NewYork: Barenreitcr-Verlag, 2000), 5.

2 Nancy Snustad, “The Allemandes in the Six Suites for Solo Cello by J. S. Bach: An Analysis
and Comparison” (D.M.A. doc., Indiana University, 1994).

Laura Kramer, “Articulation in Johann Sebastian Bach’s Six Suites for Violoncello Solo (BWV

1007-1012): History, Analysis, and Performance.” D.M.A. doc., Cornell University, 1998.

4 Harriet Marlene Kaplan, “An Examination of Johann Sebastian Bach’s Fifth and Sixth Suites for
Solo Cello, BWV 1011 and 1012.” D.M.A. doc., University of Cincinnati, 1994.

5 Bach, J. S., Six suites pour violoncelle seul, ed. Diran Alexanian (Paris: Editions Salabert, 1929)

elucidation of voice leading by means of a unique notational system. However, this
analysis is not as rigorous as ones by Heinrich Schenker.6 Yet Schenker only examines
individual movements, and never whole suites. This document seeks to fill the gap in the
above sources. Its purpose is twofold: To provide a rigorous Schenkerian analysis of the
complete Suite No. 6, and to apply this analysis to performance.
Manuscript History

When one decides to engage in an analysis of a Bach suite for cello, the first thing
one must do is to examine the score. Precisely which score to examine becomes a central
issue. For many musicians, this task simply involves pulling an edition off the shelf and
assuming that it contains the piece exactly as the composer intended. Unfortunately there
exists no autograph manuscript of the Bach cello suites, and the extant copies are
frequently at odds with one another regarding slurs and even actual pitches. As Kramer
points out, even the manuscript presumably closest to Bach’s original, copied by his wife
Anna Magdalena, likely van'es fiom its source considerably regarding slur placement.
The solution to these discrepancies provided by Bettina Schwemer and Douglas
Woodfull-Han‘is in their “Scholarly Critical Performing Edition”7 (a misnomer, for one
cannot possibly perform from it) is to eliminate all slurs, provide variant readings of the
manuscripts within the score, and provide accompanying reproductions of the five
manuscripts upon which they relied. These five manuscripts include:

1) A copy of the suites made by Bach’s second wife Anna Magdalena

2) A copy made by Bach’s organist fi-iend Johann Peter Kellner

 

‘5 Heinrich Schenker, The Masterwork in Music, Volume 2 (1926), ed. William Drabkin, trans. Ian
Bent, et. a1. (Cambridge: Cambridge University Press, 1996)

7 Schwemer and Woodhull-Ham's, eds., “Scholarly Critical Performing Edition” in 6 Suites 0
Violoncello Solo senza Basso, BWV 1007-1012 (New York: Barenreiter-Verlag, 2000)

3) An eighteenth century manuscript known as the Westphal
4) An anonymous manuscript of the late eighteenth century, related to 3) in that it
was probably copied fi‘om the same lost (autograph?) manuscript
5) An edition published by Janet et Collette in Paris, c. 1824, which made the
unlikely claim that it was produced fiom the autograph manuscript
The author’s solution to the problem of discrepancies is to work from the edition of
Schwemer and Woodfull-Harris, eliminating all slurs as it has done, and making
decisions about note variants on a case-by-case basis.
Tuning
One cannot discuss Suite No. 6 without considering the instrument for which it
was composed. While most performers of today perform the suite on the modern four-
string cello, the sixth suite was originally written for a five-stringed instrument timed C,
G, d, a, e]. The exact instrument Bach had in mind is unclear. While the title page makes
the blanket statement “for Violoncello Solo,” modern experts believe that the instrument
must have been smaller than a regularly sized cello, because the gut e—stn'ng would be
under so much tension that it would tend to break very frequently. Thus the sixth suite is
commonly referred to as being scored for “Violoncello piccolo,” or a smaller, five-string
version of the cello. Despite the added technical difficulties associated with the suite,
many cellists have found overcoming these challenges to be worthwhile.
Layout
Each movement is introduced by 3 BG graph, followed by a graph of the Score,
PG, and MG, and finally the text commentary. The text is introduced with an Overview,

where measure numbers delineate the phrases and sections. The Overview is followed by

a Linear Analysis, in which the measure-to-measure procedures are explained.
Concluding the text is a section about the Impact on Interpretation, where performance

ramifications of the analysis are addressed.

A List of Abbreviations
Cadences
AC = Authentic Cadence
DC = Deceptive Cadence
HC = Half Cadence (Semicadence)
IAC = Imperfect Authentic Cadence

PAC = Perfect Authentic Cadence

Structural Level or its Graph
FG = Foreground
MG = Middleground

BG = Background

Miscellaneous
b., bb. = beat, beats
m., m. = measure, measures

s.d. = scale degree

German Terms Explained
Urlinie: The fundamental melodic line of a piece.

Ursatz: The Urlinie and the principal bass arpeggiation I — V — I.

Pitch Reference

Octave designations begin on C and continue through B. The lowest note of the
cello, open C (two ledger lines below the bass staff) is “Great C” and its respective
octave is GB. The next-highest octave begins on “small c” and is designated c—b.

Middle C is cland its octave is cl—b'. The highest octave used here will be cz—bz.

Terminology Developed for this Thesis

Incomplete double passing tone. A passing tone fills in the interval of a third.
Passing tones might occur between scale-degrees one and three by filling in a passing
scale-degree two. A double passing tone occurs when the space of a fourth between
scale-degrees five and eight (or one) is filled in by two stepwise notes. In this work, the
double passing tones are incomplete because even though they ascend to scale-degree
eight, they do not ascend from scale-degree five.

Structural rhythm. This term refers to the rhythmic placement of structurally
significant notes inside a measure. Those notes that are of greatest structural significance

are stemmed in the graphs. Such notes often occur on weak beats.

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Commentary on the Prelude

The preludes in Baroque dance suites have traditionally maintained an
improvisatory nature, and the Prelude of the sixth suite is no different. This
improvisatory nature is demonstrated by a more free structural and tonal plan than in the
other movements of the suite. Rather than being controlled by a two-part binary, the
Prelude’s tonal organization is driven by a move from one key-are to another. The
movement proceeds from D-major [I] to A-major [V]. It then moves to the key of e-
minor [ii] and to G-major [IV] before coming back to the dominant and finally returning
to tonic. Thematic unity is maintained by repetition of the opening motive during later
sections.
Overview

(l-ll) Section 1

(12-22) Section 2

(23-53) Section 3

(54-67) Section 4

(68-95) Section 5

(96-104) Section 6

Because the Prelude is modeled on improvisation, one is not surprised that
distinctive regular phrases do not exist. It seems best to trace the movement by its major
sections, which are delineated primarily by key area. Every time a key is presented for
the first time, it is accompanied by a pedal point.

Section 1 presents the first notes of the Ursatz at the outset, and modulates from
tonic to dominant. Section 2 begins with mm. 1-4 recast in dominant. It modulates from

A-major to e-minor. Section 3 begins with an extended pedal on e', and concludes with a

modulation to G-maj or. Section 4 begins with mm. 1-4 recast in the subdominant.

14

Section 5 projects A—maj or which concludes when the opening theme is recast in the
dominant. The closing Section 6 restates s.d. 3 of the Urlinie and completes the descent.
Linear Analysis

Section 1 begins with a statement of the fundamental bass d and f# (b. 2 third
eighth-note). Scale degree 3 is prolonged by an arpeggiation through a (b. 2 third eighth-
note) and d1 (b. 4 third eighth-note). The bass note d is repeated as a pedal note
throughout the first four measures. The second measure repeats the first. In measure
three, the upper voice moves from the preceding f# of mm. 1-2 up to a (m. 3, b. 3). The

downbeat b is an incomplete upper neighbor to a, and along with the bass pedal (1 forms a
pedal 2 chord. Measure 4 repeats m. 3. Measure six marks the beginning of a stepwise

descent in the upper voice, which continues from g (downbeat) to C# (m. 8 b. 1). The
accompanying bass initially moves from A (m. 5 b. 4 second eighth-note) to d (m. 6
second eighth-note) creating a V7 — I progression. The A is initially prolonged by an
arpeggiation from the preceding e (m. 5 b. 1) and C# (b. 3 second eighth-note). The tonic
chord is prolonged by a move from d (m. 6 second eighth-note) to A (b. 4 second eighth-
note). This motion is filled in by a double passing tone. In m. 7, the bass moves down to
G# (second eighth-note), creating a V7 / V when the upper voice moves to the seventh d
(b. 3). Measures 8-11 establish the new tonic of A-major, with the bass arpeggiating
from A (m. 8 second eighth-note) to a (m. 10 second eighth-note), while the upper voice
arpeggiates from c# (m. 8 downbeat) up to a1 (m. 10 downbeat).

Section 2 begins in m. 12 and replays the first six measures of the movement,
which have modulated to the dominant. The a-c#1 pairing in m. 12 move to V7 in m. 16

and resolve to the tonic in m. 17. In m. 18, the bass moves to d# (second eighth-note),

15

which is an incomplete lower neighbor to e (m. 19 second eighth-note). The upper voice
moves form C1 (m. 18 downbeat) to b (m. 19 b. 2). The two voices taken together create
a vii°7 / V in the key of e-minor. Just as in the conclusion of Section 1, the end of Section
2 brought about by arpeggiations of the e-minor triad. The bass e in m. 19 (second eight-
note) arpeggiates up to e1 (m. 21 second eighth-note), while the upper voices moves form
b (m. 19 b. 2) to e2 (m. 21 downbeat).

Section 3 begins with an extended e-minor harmony, with e1 being sustained in
the lower voice from m. 23 to the downbeat of m. 31, while the upper voice arpeggiates
the tonic triad, filling in the passing tones along the way. In m. 31, a stepwise descent in
the bass leads to a# in the bass (m. 32 downbeat) and e1 in the upper voice (second
eighth-note), which form pans of a V7 of b-minor. In m. 33, the applied dominant
resolves to its tonic, with b in the bass (second eighth-note) and f#1 (third eighth-note)
being the principle voices. Thus the sequence of key areas has been one of ascending-
fiflh: D-major, A-maj or, E-minor, b-minor. The remainder of the section touches on
various key areas, but b-minor is the structural anchor. The main structural notes of the
bass voice (MG) arpeggiate a b-minor triad: b occurs in the bass at m. 33 (downbeat),
and moves down to d (m. 39 downbeat), B (m. 40 b. 3 second eighth-note), and F# (m. 42
downbeat) before moving upwards again, to d (In. 45 b. 3). The upper voice follows a
similar pattern. Measure 49 tonicizes the subsequent D-major chord of m. 50 with c#-g,
which resolve inwards to d-f#. In m. 51, c1 is introduced in the upper voice, turning the
D-major chord into a V7 of G. The resolution to G-major and g-b comes during the first

beat of m. 52.

16

Section 4 projects G-maj or as an upper neighbor to the dominant A-major.
Measures 54-57 repeat the opening four measures in the key of the subdominant.
Measures 58-59 form a V7 with D in the bass (m. 59 downbeat) and c in the upper voice
(m. 58 downbeat), which resolve to G-B (I) in the first beat of m. 60. Measures 62-63
fi'om a dominant of D-major, which resolves to D in mm. 64-65. A in the bass (m. 62
second eighth-note) and c# in the upper voice (downbeat of m. 62) move up to d and f#
(first beat of m. 64). Measures 66-67 create a dominant of A with e in the bass (m. 66
second eighth-note) and g# in the upper voice (m. 66 b. l).

The resolution to A-major marks the beginning of Section 5, where a occurs in the
bass (m. 68 second eighth-note) and cat!1 sounds in the upper voice (m. 68 downbeat).
This a-c#l pair prolongs the a-c#I of mm. 90-91 (the opening two measures restated in
dominant) by two examples of voice exchange. The first voice exchange occurs between
m. 68 and 85, with a-c#l moving to c#-a'. The c# of m. 85 occurs on the downbeat and al
sounds during the last sixteenth-note of b. 1. This pairing is exchanged again with m. 90
such that c#-a1 move to a-c#1. Aside from the voice exchanges, the main propelling

action of the section is a linear intervallic pattern of sixths which extends from m. 75-82.

The A-major chord of mm. 90-91 is tonicized by the V? of m. 94, but is made unstable

because v? resolves to an A-major chord with a seventh in m. 95, or in other words, a V?
of D.

Section 6, the final section, completes the Urlinie, which is presented in its
entirety. The d-fi‘il (m. 97, first beat) of the fundamental structure is intially prolonged by
the preceding f#-al of the preceding measure. A subsidiary dominant-tonic relationship

is found in mm. 99-100, where A in the bass (m. 99 b. 3) and c#] in the soprano (b. 4)

17

resolve to din the bass (m. 100 downbeat) and d1 in the upper voice (b. 2). The
fundamental line continues its descent in mm. 102, moving down to e1 (b. 2) and
supported by an implied A in the bass. The Urlinie is completed with d1 occurring in the
following measure (m. 103 b. 4), with the completion of the fimdamental bass coming in
m. 104 (b. 1 third eighth-note). This dis coupled with the final D (b. 3), and along with
d2 of In. 103 (downbeat) and the other Ds of the final two measures, serves to complete
the V-I motion in all the registers heard in the movement.
Impact on Interpretation

The irnprovisatory nature of Prelude may lead the performer to wonder where the
music is leading, since the movemement seems to keep spinning itself onwards. The
fundamental structure provides relief, and presents goals to which the performer may
direct his attention.

In Section 1, mm. 6 and 10 mark such goals. After emphasizing the opening (1
and f# as the first notes of the underlying structure, one should underplay the IV: - I

motion, as it does not represent a goal, but merely a prolongation of tonic. Since m. 2
repeats m. 1 and m. 4 repeats m. 3, it is certainly appropriate to play these measure pairs
with an echo effect. However, since this is the beginning of the piece, one should be
sparing in the contrast; the movement deserves a strong opening. While the arrival of
tonic in m. 6 is in fact a prolongation of the initial tonic (see MG), it follows the first
introduction of a non-tonic harmony and should be brought out, since it is the first real
return to tonic. Likewise, one may emphasize the arrival in A-major in m. 8, and make a
general crescendo through mm. 8-9, with the loudest points being the al — a at the

downbeat of m 10.

18

Section 2 reiterates the opening of Section 1, and as such the IV: - I should again

be underplayed, since it is a prolongation of the harmony which opens the section.
Unlike Section 1, however, mm. 16-17 do not suggest much of an arrival. Instead, these
measures should be played through to m. 18, which is the dominant of the new tonic. As
in mm. 8-11, a crescendo seems appropriate for mm. 19-22.

Section 3 begins with an extended el pedal point (from mm. 23-31). The
performer should bring out the changing aspects of the “upper” (moving) voice as it
touches upon the tones of the e-minor triad. In m. 31, a crescendo should be made going
into the following measure, with a# serving as the arrival in the bass (m. 32 downbeat).
One should be especially careful to bring out the MG a# - b motion in the bass, neither
accenting the b. 3 f# nor emphasizing the c#1 — (11 across the barline, for those notes
obscure the MG harmony. Measure 34 should be underplayed because it is not a local
goal of motion, but rather a substitute for the local tonic. In mm. 35-36, the MG upper
voice a#1 - bl connection should be made distinct. Especially the b1 in m. 36 should be
brought out to remind the listener that the local key is b and not f#. In mm. 37-44, the
MG shows that the goals are all variants of the b-minor triad: m. 39 downbeat, m. 40 b.
3, m. 42 downbeat, m. 44 (where the upper voice arrives b. 2 and the lower arrives last).
These repetitions of the b-minor tonic should be pointed out by the performer, but no
general crescendo seems warranted. In m. 42 the b in the upper voice (b. 3) should be
emphasized in a fashion similar to b1 of m. 36, in order to reinforce b as the tonal center.
In mm. 48, 50, and 52, the new local tonicizations should be made clear, in order to

demonstrate the evolving key.

19

The beginning of Section 4 should be the strongest an'ival since the el pedal of the
previous section. The opening measures proceed as their counterparts from the first two
sections. One should highlight the first V7 — I progression of mm. 58-60, but in order to
make room for a gradual crescendo through the remaining measures of the section, a
subito piano seems appropriate for the third eighth-note of m. 60, with every two
measures being slightly louder than the previous two.

In Section 5, the opening two measures should crescendo to the arrival at m. 70.
Unlike mm. 36 and 42, here the lower voice a governs the fundamental harmony,
therefore it should be strongly sounded, with the upper motion played less forcefully.
Afier the a pedals conclude in m. 74, the next eight measures are governed by a
descending linear intervallic pattern, in which the performer may follow the fall of the
line. As the line rises in mm. 82-83, a crescendo seems appropriate. The peak of the
crescendo should be reached in m. 85, where care should be taken to bring out the bottom
and top notes of the sixteenth-note runs (see MG). In m. 90, the return of the opening
motive should be presented in a triumphant manner, and more forcefully than the same
motive when it is presented in mm. 92 in D-major: Since A-major is the active key
throughout, mm. 90-94 should be viewed as a I — IV -— V progression in A rather than a V
— I — V/V progression in D.

In the final Section 6, the notes of primary importance are, of course, the
fundamental structural notes. After the d-f#l pair in m. 97, one should not linger on the
chords in mm. 98-99. Since the descent to s.d. 2 has not yet occurred, there is no need to
stretch out these chords, as the whole piece has been preparing for the final descent. One

may take time after the last V, however, in order to reinforce the V — I motion across the

20

barline. In regards to the final three measures, the e1 (m. 102 b. 2) should be emphasized,
and its connection to d1 (m. 103 b. 4, NOT the d1 in b. 3) should be maintained.

Likewise, the third eighth-note of m. 104 should be brought out as the conclusion of the
fundamental bass, with a diminuendo occurring across the remainder of m. 104, since the

resolution of the fundamental lines has been completed.

21

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Commentary on the Allemande

In the sixth suite, all of the movements aside from the Prelude describe an initial
move in Part I from tonic to dominant, followed in Part II by a move to other key areas,
and a return to tonic. The Allemande does not prolong dominant harmony in Part II as
much as some of the other movements in the suite. Part I begins in D-major [I] and
modulates to A-major [V]. Part II returns to the tonic key almost immediately, then
touches on the key of f#-minor [vi] before concluding in D-major. The movement’s form

is Simple Binary, since little parallelism is found between Parts I and II.

Overview
(1-8) Part1
(1-3) Phrase 1
(3-8) Phrase 2
(9-20) Part 11

(9-10) Phrase 3
(10-14) Phrase 4
(14-17) Phrase 5
(17-20) Phrase 6
The phrase lengths in the Allemande are quite irregular. Part I consists of 8
measures divided into two phrases. The first phrase establishes the tonic with a PAC.
The second phrase elides with the first, and moves from tonic to dominant following
some chromaticism and a sequence of descending fifths, and it concludes with a PAC in
A-major.
Part 11 contains 12 measures divided into 4 phrases. Phrase three (the first phrase

of Part 11) moves from V to I. The fourth phrase moves fiom Ito iii (the tonicization of

f#-minor). The fifth phrase moves to I through a tonicization of ii, and the sixth and final

27

phrase moves through another descending fifths sequence and concludes with a PAC in
D-major.
Linear Analysis

The first phrase begins with an f#l anacrusis to m. 1. The f#1 is repeated on the
downbeat, and given support of d in the bass and a in the inner voice. This D-major

chord contains the fundamental bass note (1, which corresponds with the primary tone a'.

The tonic triad is prolonged through to the downbeat of m. 2 by means of a passing 2 (m.

1, b. 3). The bass passes from the d on the downbeat through e on b. 3 to f# on the
downbeat of m. 2. The fill1 (m. 1) skips down to d1 before descending to c#1 on b. 3,
which is an incomplete lower neighbor to the (11 found in m. 2. While it may seem odd to
have the primary tone a1 approached by f#1 and then (11 (which is not a first-order
arpeggiation (11 flat1 3‘), the MG shows that the a1 is being prolonged by the preceding
consonant skip from f#l.

The I6 on the downbeat of m. 2 is prolonged to In. 3, moving through ii and V7,
which sets up the AC that concludes the phrase. One will note that the b found in m. 2
(b. 2) serves as an anticipation of the inner voice of b. 3, not a true bass nOte. The
prolongation of tonic between I6 (m. 2) and I (m. 3) is effected by means of a descending
linear intervallic pattern of 10ths: The fill-al passes through e-gl on m. 2 b. 3 before
arriving at d—flll on m. 3 b. 1. The concluding tonic of the phrase is prolonged through the
second beat by means of a voice exchange: the d in the bass moves to f#1, while f#l
moves up to d2. This exchanges establishes the register that drives the upper voice in

phrase two.

28

Phrase two is driven by a move from I on the downbeat of m. 3 through an upper
neighbor II chord e—g#l (m. 5 b. 1) back to d-f#l (m. 6 b. 3). The latter D-major chord
moves down to c#-e1 on the second and third eighth-notes of m. 7, which represents a I6
in A-major and a preceding prolongation of the a-al occurring in m. 8. This prolongation
of I in A-major passes through the dominant e-b on b. 4 of m. 7, which along with the I in
m. 8 forms the PAC which concludes phrase two and Part 1.

While the underlying motivation of phrase 2 shown in the MG is fairly
straightforward (tonicization of b-minor and E-maj or), some of the internal workings
need more explanation. In mm. 3-4, the bass ascends from g# through a# to b,
accompanied by the soprano ascending b1 to c2 and b1 (literally b instead of b1). This
temporary tonicization of b-minor is fleeting for two reasons: b-minor gives way to D-
major on the second beat of m. 4, and the bass notes g# - a# - b in mm. 3-4 arise from the
inner voice a on the downbeat of m. 3. Therefore, they are also part of that inner voice.

The E-major chord of m. 5 b. 1 is tonicized by the preceding vii°6. The bass
moves in mm. 4-5 from f# through d# to e, while the upper voice sustains a1 before
resolving down to g#1 on the second eighth-note of m. 5. As mentioned earlier, the e-glifl
on the downbeat of m. 5 is an upper neighbor chord to the d-f#l that occurs on the
downbeat of m. 3.

The neighbor motion of e-glll concludes in conjunction with the descending fifihs
sequence, as the bass moves from c (m. 6 b. l) to a (b. 2) down to d (b. 3). The giltl in the
upper voice on the downbeat moves down to fit“ on b.3. One should note that the d1 (m.
5 b. 4) and c#1 (m. 6 b. 2) are not part of the melodic voice, but rather part of an inner

voice motion from b (m. 5 b. 1) through c#1 (b. 2) to d‘ (m. 6 b. 1) and back through

29

another c#1 (m b. 2) which is sustained through b. 3 of m. 6 and which really does not
resolve until the final beat of m. 7.

The move away from D-major in the second half of m. 6 occurs when the
ftmdamental bass moves from d to A: The d-f#l that occurs in m. 6 moves downward to
c#-e1. The c#-e1 pairing is actually an anticipatory prolongation of the A-al found at the
conclusion of Part I in m. 8. The prolongation of A-major, which has become the new
tonic, essentially derives form a I6 IV V I progression in mm. 7-8: The bass moves from
c# (m. 7 b. 2) through d (b. 3) to e (b. 4), and finally to A coming as the fourth beat of m.
8. The melody moves from c1 (m. 7 second eighth-note) in a descending step-wise
motion to b (b. 4) which continues in another register to the primary a1 (m. 8 b. 3).

Phrase three begins in much the same fashion as phrase one: the anacrusis and
downbeat el prolong the primary tone 31 (m. 9). The primary tone is prolonged through
the next measure by means of a passing seventh gl that resolves downward to f#1 (m. 10
b. 4) with a cadence in D-maj or. The movement of the bass facilitates the modulation
back to D by making a stepwise descent 5-4-3-2-1 from A (m. 9 b. 1) to d (m. 10 b. 3)
with a register transfer occurring between G (m. 9 b. 3) and f# (m. 10 b. 1).

Phrase four moves from D-maj or to f#-minor mainly through the use of a
stepwise descending bass moving from d (m. 10 b. 3) to F# (m. 12 b. 4), and the primary
tone al is prolonged via another consonant skip to f#'. Analyzing in f#-minor, the B in

m. 11 is part of a iv6 and the G# in m. 12 is part of a vii°6. After moving to i (m. 12 b. 4)

where the primary tone a1 is again heard, f#-minor is confirmed by the progression V% i6

V i which concludes the phrase.

30

Phrase five moves from f#-minor back to the tonic key in m. 16, with a

confirming progression of I V/V V3 I6 which follows through b. l of m. 17. The initial

movement is that of descending fifth, as the bass moves from F# (m. 14 b. 3) to B (m. 15
b. 1) and then to e (m. 15 b. 3), which serves as the bass of an upper neighbor chord to
the D-maj or chord of m. 16. The e-g1 move down to d-f#l. However, unlike the d, which
occurs early in m. 16 (second eighth-note of b. l), the flat1 does not occur until b. 4. It
carries a flag to indicate that it is part of the preceding and subsequent D-major harmony

which is not being locally supported (the f#1 is heard out of harmonic context, since the

governing harmony on b. 4 is V3). The primary tone’s prolongation can be explained as

follows: a1 had previously been prolonged by the fit1 in m. 14. That f#I continues to
operate in phrase five, resolving back up to al in m. 17 (fourth sixteenth-note). The fit1
itself is prolonged with an upper g1 occurring on the third beat of m. 15.

Phrase six moves from the I6 in m. 17 through a sequence of descending fifths to a
IV in m. 18 (b. 3) and on to an authentic cadence. This phrase also marks the descent of

the Urlinie from aI to d'. The a1 is prolonged through bb. 1-3 of m. 17 by repetition. On
b. 3, the harmony changes from I to Vg/ii, which explains the d# in the bass. As the al
moves down to g1 (b. 4), the bass moves sequentially to ii7 with e in the bass. The g1 is
prolonged through b. 1 of m. 18 by its repetition on the sixth thirty-second note of the
measure and accompanied by a move to V? (c# in the bass on b. 1). The Urlinie

continues its descent to f#1 on the second beat of m. 18, paired with the fundamental bass
note (1. This chord is prolonged through to beat two of m. 19 by a move to I6 (F#-a1).

The third scale degree descends to e1 on b. 4 of m. 19, accompanied by the fundamental

31

bass A. A returns to d on the downbeat of the final measure, while (11 is not heard until b.
3.

One will note that the c-naturall in the F G occurring in m. 17 (b.2) is given a flag,
and is connected via dotted slur to the c in m. 18 and the c1 in m. 20 (final thirty-second
note of b. 1). When it first appears in m. 17, the c1 is implied as the seventh of a V7/IV.

As a seventh, it is supposed to resolve down, but no resolution is forthcoming in m. 17.

In the following measure, the same note is transferred down an octave as part of a V‘zt/IV.

Yet it too is unresolved. The resolution comes in the final measure, when the c is
returned to its original register c1 and moves down to b.
Impact on Interpretation

The structure underlying the Allemande needs to be elucidated. The performer
needs to take care, because the notes and passages deemed significant by the analysis are
sometimes surprising. Musical instincts can lead us to emphasize certain notes and
passages more than is appropriate, since the passage may function as a bridge between
more important harmonic structures, or in some other capacity that is locally insignificant
to the structure. Examples of each of these can be found in the first phrase (mm. 1-3).

The flat1 at the beginning of the phrase is the first melodic note to be heard. While
the initial D-major chord is structurally important because it establishes the fundamental
bass (1, it is not as important for the melodic note, and should be allowed to dissipate. In
fact, the whole first measure and the downbeat of m. 2 deserve a general decrescendo
since the passage serves to prolong bass of the Ursatz. Thus, despite the fact that the
downbeat of m. 2 is considered a “strong beat,” it should be even softer than b. 3 of the

first measure. The primary a', on the other hand, occurs on a decidedly weak beat (fourth

32

thirty-second note of b. 1 of m. 2). Yet it is an exceedingly important note for the
movement and should be emphasized more strongly than any of the preceding melody
line. In addition, the accompanying b that falls on b. 2 should be played less, since a1
should be heard as a part of the D-major harmony.

On the other hand, one may be inclined to play out when it is not warranted. Such
a place occurs on b. 2 of m. 3. The sudden introduction of such a high register may
suggest the need for additional vigor, yet f#l-d2 is “only” a voice exchange. It is
subservient to the initial d-ftt1 and should therefore receive less attention than the
downbeat.

Phrase two involves some chromaticism that merits consideration. The g#-a#-b of
mm. 3-4 tonicize b-minor, while the f#-d#-e in mm. 4-5 tonicize E-major. The performer
should make an effort to ensure these tonicizations are heard. Yet the E-major chord is
structurally more important than the b-rninor chord, and should be played more loudly.

Following the first E-maj or in m. 5, a descending fifths sequence leads the listener
back to D-major. While the sequence is not structurally significant, the realization of its
existence provides the performer with an opportunity to shape the passage accordingly.
A way of doing so would be to emphasize the sequence of roots, and therefore bring out
the b in m. 5 (b. 4 second eighth-note) and the a in m. 6 (b. 2 second eighth-note). Since
the goal of motion is the D-major chord on b. 3, a crescendo during the sequence seems
appropriate. Likewise, the goal of motion in m. 7 is the A-major of m. 8, so the
ascending bass from c# to d to e (m. 7, bb. 2, 3, 4) could make a crescendo here as well.

The a1 of b. 3 and the A of b. 4 are the most significant notes since d-aI of mm. 1-2.

33

Therefore, bb. 3 and 4 of m. 8 deserve more emphasis than the downbeat a, which merely
anticipates the final A.

Part II begins much like Part I, with the opening chord being structurally
significant for its bass rather than its melodic note. In similar fashion to the behavior of
phrase one, the melodic e prolongs the subsequent al heard on b. 3 of m. 9. Like its
counterpart a1 in m. 2, its accompaniment includes a note that does not belong to the
structural harmony. Thus, the chord on b. 3 should be played such that the a1 is the
strongest note and the passing seventh G should not be given as much emphasis. The
arrival at d (m. 10 b. 3) and f#1 (b. 4) should be emphasized as the goal of motion of the
phrase.

The fourth phrase is driven by a modulation to f#-minor, and therefore the f#-
minor chords in mm. 12 (b. 4) and 14 (b. 3) are the most important. One should also take
care to emphasize the relationships which f#-minor creates. The upper-neighbor b1
embellishment of the primary tone al (m. 12 bb. 2-4) should be brought out. The bass,
too, creates its own relationships, which one should attempt to demonstrate. G# in m. 12
(second eighth-note) moves to F # (b. 4, literally f#), and in m. 14, c# (b. 2, literally c#')
moves to F# (b. 3, literally f#l). The V-I relationship is clear in m. 14. Even though the
motion is implied in a different register than which it occurs, the original register still
exhibits a V-1 motion. In m. 12, however, care must be taken, since the vii°6 proceeds to I
in a different register.

In the fifth phrase the Ursatz notes d-a] are the most important. In much the same
fashion as the first measures of Parts I and 11, d (m. 16) and a1 (m. 17) do not literally

occur at the same time, being spread across a measure. The a1 is especially reminiscent

34

of m. 2, since in both places it occurs as the fourth thirty-second note of the measure.
Prolonging the a1 is a preceding f#1 (m. 16 b. 4). Despite the fact that the fit1 is heard
within the context of a V of D-major, and sounds out of place, one should not be shy
about bringing it out. One should also note that the downbeat of m. 15 embellishes the
third beat e-minor chord (which itself is an upper neighbor to D-major), which suggests
the use of crescendo.

The final phrase is driven by the descent of the Urlinie through all of the
remaining scale degrees. Each should be brought out: a1 to g1 (m. 17 bb. 3—4), f#1 and its
accompanying d (m. 18 b. 2), el (heard as e) and its accompanying A (m. 19 b. 4), and
the final d-dl of m. 20. One will note that unlike m. 8, the fundamental bass occurs on
the downbeat instead of b. 4, therefore b. 1 should be played strongly and the final
cadence should diminuendo rather than ending forte. As previously stated, the final
resolution of the cl-c-cl given flags in the graph does not come until the b on the second
beat of m. 20. This resolution serves as a secondary emphasis in the final measure (with

d-dl getting the primary emphasis).

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Commentary on the Courante

The tonal plan of the sixth suite’s Courante is quite typical of Bach’s baroque
dance movements. Part I begins in D-major [I], but modulates to A-maj or [V], which is
firmly established by the third phrase beginning in m. 20. Part II begins after the repeat
and prolongs the dominant harmony until the return to D-maj or in m. 64. The

movement’s form is a Balanced-Binary because the material of mm. 20-28 is recast in the

tonic key at the end of Part II.
Overview
(1-28) Part I
(1-8) Phrase 1

(8-20) Phrase 2
(20-28) Phrase 3

(29-72) Part H
(29-42) Phrase 4
(42-51) Phrase 5
(51-59) Phrase 6
(60-64) Phrase 7
(64-72) Phrase 8
Part I consists of 28 measures divided into three phrases. The first phrase
establishes the opening key of D-major with a perfect authentic cadence. The second
phrase modulates from the tonic to the dominant by means of a secondary dominant. The
third phrase projects A-major and concludes with an IAC; this phrase acts both as a
dominant preparation of the return to D-major on taking the repeat, and as a confirmation
of the secondary key area when it continues to the next section.

Part 11 comprises 44 measures divided into five phrases. The first phrase of part

II, which is the fourth overall, moves from A-major to b-minor via a linear intervallic

41

pattern. The fifth phrase moves from b-minor back to the tonic key. The sixth phrase
reinvigorates scale-degree five of the Urlinie and remains in the tonic key. The seventh
phrase activates the descent of the Urlinie through scale-degree four to scale-degree
three. The eighth and final phrase completes the descent of the Urlinie, which concludes
with a PAC.

Linear Analysis

The first phrase begins with a first-order arpeggiation from (11 up to a1 (third beat
of m. 2). The 31 serves as the primary tone of the Urlinie and initiates a small-scale
descent that governs the phrase as a whole. It is given consonant support by the initial
bass note d. The upper line descends to g1 and is supported by an implied G in the bass
(see MGl). As the bass moves up to an implied A in m. 4, g1 becomes the seventh of the
dominant. The resolution of the seventh occurs in m. 5, to f# rather than f#1 because of
register transfer. This descent to f# mirrors the descent of the Urlinie proper at the end of
the movement (mm. 63-63, see below). The third beat of m. 6 introduces e, which is
supported by the bass A on the third beat of m. 7. Conclusion of the descent occurs in m.
8, with the d in the upper voice on the downbeat, coupled with the D in the bass occurring
on beat two.

The second phrase can be divided into two subphrases (mm. 8-15; 15-20). Phrase
2a is elided with the first phrase, and inverts the descent of phrase one: (1 ascends to a. In
m. 8, the d is supported by bass D, while the e on the downbeat of m. 9 is supported by
the C# occurring on the second eighth-note of the measure. Likewise, the f# in m. 10 is
supported by the bass note d occurring on the second eighth-note. While the b occurring

on the m. 11 second eighth-note serves as the bass in that measure (albeit implied as B),

42

the downbeat d1 is not primary as in the previous three measures. Instead, the f#' on beat
three is a prolongation and register displacement of the f# in m. 10. The g# of m. 12 is
supported by the second beat e (which transfers down to E on the second beat of m. 13)
and passes through a (m. 13) on its way to b (m. 14). Even though the a and b in mm. 13-
14 occur on the second eighth-note in the measure, they are structurally more important
than the downbeats c#1 and (11, which act as an upper descant. The anival in m. 15 on a
(and A in the bass) marks the end of the first part of phrase two and the beginning of
phrase 2b.

Phrase 2b prolongs a, which is sustained in mm. 15-16 through arpeggiation and
in mm. l7-20 by the use of an incomplete double passing-tone figure of f# - g# - a. The
f# itself is prolonged through arpeggiation in mm. 17-18, and supported by an implied D.
The g# (m. 19) is also sustained through arpeggiation and supported by an implied E.
The a in m. 20 (second eighth-note) serves both as the resolution of the melodic voice

and as the bass.

The final phrase of Part I is essentially a I — V? — I in the local key of A-major.

The a occurring on the second eighth in m. 20 is transferred up to a1 on the downbeat of
m. 21 and prolonged through arpeggiation until the third beat of m. 22, where it returns to
the original register. In m. 24, the b and g# act as double neighbors to a, and in the
process they form a V6. In the upper voice, an upward arpeggiation of the e dominant-
seventh in mm. 24-25 facilitate the register transfer from b to b1 on the downbeat of m.
26. The implied resolution of this upper neighbor b (b') occurs at the level of a1 in m. 27,

or a in m. 28.

43

The fourth phrase can itself be divided into two subphrases (mm. 29-34; 34-42).
Phrase 4a is governed by a stepwise descent from the primary tone al (on the downbeat of
m. 29) to the d occurring on the downbeat of m. 34. The initial a1 is transferred down to
a (third beat of m. 29) through an arpeggiation. The a descends through an implied g
passing seventh (final eighth of m. 30) to an implied f# on the downbeat of m. 31. This
construct is transferred up an octave exactly one measure later, as the g1 descends to ftt1
across the barline into m. 32. The a1 and a are supported by an implied A in the bass, but
the f#1 and f# are consonant with the implied D of m. 31 and literal d on the third eighth
of m. 32. Since the g and g1 arise as passing sevenths over an A, the effect is a
tonicization of D-major. Subsequently, the upper voice descends from e1 to d1 on the
downbeats of mm. 33-34, with the bass moving in contrary motion from A to B, thus
effecting a deceptive cadence on the downbeat of m. 34.

Phrase 4b is controlled by a linear intervallic pattern of descending tenths from
mm. 34-40, concluding with a V — I relationship in the key of b-minor. Though the
cadence is a PAC, the upper voice’s a# (m. 40, second beat) initially resolves in the
register of b1. The b1 is then transferred downward to its more appropriate register on the
downbeat of m. 42.

The fifth phrase is also governed by a descent, this time from b] (m. 43, second
beat) to the cadence on d1 (m. 51 downbeat). The initial b is again transferred back up to
b1 on beat two of m. 43, where it is given support by the implied bass e. As the melodic
line descends from b1 through a1 (mm. 44-45) to g1 (downbeat of m. 46), it is
accompanied by a descending-fifths bass progression: The b1 is supported by the implied

e, a1 is supported first by a (occurring on the fourth eighth-note of m. 44), then by an

implied d. The g1 in m. 46 is given support by means of g, which like a, occurs on the
fourth eighth-note of the measure. g1 is prolonged to the third beat of m. 48 through
arpeggiation. This prolongation is supported harrnonically by a bass arpeggiation of an A
dominant seventh in mm. 46-48. The V — I motion in D (into m. 49) provides the
consonant support for the descending f#l, which continues downward to e1 on the third
beat of the measure, which is supported by an implied A. The e1 — A pairing, in turn, acts
as a dominant to the conclusion of the phrase on the downbeat of m. 51, with implied (11
over the bass (1.

Unlike all of the other phrases, phrase six is directed primarily by the smooth
motion of the bass voice, which helps demarcate this phrase as the final place where a1 is
actively heard as a tone of the Urlinie. The bass initially descends from the downbeat d
of m. 51 to c# on the second eighth-note of m. 52, and then returns back to the d on the
second eighth-note of m. 53. The upper voice moves from an implied d1 in m. 51 through
an a on the downbeat of m. 52 to b on the downbeat of m. 53. The overriding motion
controlling the voice-leading from mm. 52-55 is a linear intervallic pattern of parallel
sixths. This passage is also the mostly highly chromatic place in the movement, signaling
that the Urlinie is about to begin its final descent. The final sixth in m. 55 provides (1] on
the downbeat in the upper voice. The goal of that d1 is the last active place for the
primary scale degree five, a], which occurs on the second beat of m. 57 (but is anticipated
on the last eighth-note of m. 55). The b and its transfer to b1 in m. 56, which intervenes
between (11 (m. 55) and a1 (m. 57), does not inhibit the move between those notes because
it acts as an incomplete upper neighbor to a (and a1). The g bass support given to b in m.

56 and continued in m. 57 acts as an upper neighbor to the f# in mm. 55 and 58. To

45

finish out the phrase, the bass moves from the f# downbeat of m. 58 through the e
downbeat of m. 59 to the d occurring on the third quarter of that measure. Again, al has
been prolonged from m. 57 onward. While it is unusual for a phrase to be directed from
the bass, that fact coupled with the extreme chromaticism suggests a sort of
“announcement” that the Urlinie will soon make its final descent.

Phase seven projects from scale degree five as the active tone of the Urlinie
through scale degree four (g1) to scale degree three (implied f#l). On the second beat of
m. 60, the a is a register transfer down from and a prolongation of the al from mm. 57-59.
Consonant support is implied at the level of A on the downbeat of m. 61. The a is
prolonged through an upward arpeggiation to the g1 on the second beat of m. 63. Here
the g1 acts as scale degree four of the Urlinie, and also becomes the seventh of a
dominant. It resolves to f# on the downbeat of the next measure, supported by d in the
bass. This resolution to f# (rather than fit“) was anticipated by the first descent in mm. 3-
5.

In the final phrase, the f# moves up through a to d1 on the downbeat of m. 65 by
arpeggiation. That (11 is still supported by d in the bass (second beat), though in the
following measure, the upper voice is prolonged while the bass shifts to A (on the second
quarter). The d1 is prolonged through arpeggiation until the third beat of m. 66. In m. 67,
the e and c# act as double neighbors to d, and in the process they form a V6, which
becomes V7 as the bass implies A in m. 70. The e in m. 68 also anticipates scale degree
two of the Urlinie, and is transferred to the latter el through arpeggiation. The d1 of m. 66

therefore moves up to e', the penultimate note of the Urlinie, in m. 70. Measure 71

46

serves as the resolution of the fimdamental structure; the Urlinie resolves on an implied
(11, while the bass ultimately resolves to D.
Impact on Interpretation

One aspect that deserves interpretive attention is Bach’s use of structural rhythm.
While performers are often told that in a 3/4 dance meter, the first beat is the strongest,
many times Bach places structurally significant notes on weaker beats. Notes important
to the underlying structure often occur on beats two or three. For example, the initial
first-order arpeggiation from d1 to a1 is reached on the third beat of m. 2, and thus the a1
deserves quite a bit more weight, and the performer should consider making a crescendo
toward it. Measure three is an even more interesting case: Though the b1 on beat three is
the highest pitch level reached anywhere in the movement, it evolves from a secondary
motion. It serves as a register transfer fi'om b, which itself is the first note of the
incomplete double passing tone b — cattl -— (11. The most important note in the measure is
the g1 on the second beat, for it serves as the second note of a “mini-Urlinie” descent that
directs the first phrase. Such a reading suggests two hierarchies of importance in mm. 3-
5. The higher level is the descent fiom g1 to f#1 and should be emphasized more
strongly. The lower level of importance is the incomplete double passing tone. The fact
that dI of the double passing tone occurs on the second eighth-note of m. 5 raises another
issue.

Many measures in the movement begin with a certain characteristic rhythm - one
ei th-note, followed by a rising, stepwise figure consisting of two sixteenth-notes and

another eighth-note (Rhythm A). Measures 1, 3, 4, 5, 6, 9, and 10 all contain this

47

common gesture. However, Rhythm A’s significance can be classified into two different
paradigms.

The first of these paradigms is more common, classifies the first sixteenth-note as
a structurally significant bass note, such as the d1 in mm. 1 or 5. Bach uses this paradigm
more frequently than the second. The second paradigm classifies the first sixteenth-note
of the gesture as an ornament on its way up to the second beat. The first paradigm is used
in all the measures in the preceding list, with the exception of m. 3, where the first
sixteenth of m. 3 (e1) merely ornaments the beat two g, which is locally 3 very important
tone.

One needs to exercise great caution when examining Rhythm A. For example, if
one were to assume that m. 3 should be interpreted like its neighbors in mm. 1 and 4-6,
emphasizing e1 and backing off from g1 would completely destroy the descending line
governing the phrase. Another similar place occurs in mm. 20-22. Rhythm A in m. 20
subscribes to paradigm one, where the sixteenth-note a serves as a bass. However, mm.
21-22 fit into paradigm two, and so the second beat of those measures should carry more
weight. This is especially true of m. 21, where the a in the bass on beat two is prolonged
from m. 20.

Other things that warrant careful examination are the melodic sequences. Just
because the melodic material is in sequence does not mean that the underlying structure
follows suit. By looking at the second middleground of mm. 15-18, one sees that the a in
m. 15, beat two is prolonged on the downbeat of m. 16. Also, the downbeat of m. 18
ornaments the more significant f# (m. 17 downbeat), and so lacks structural weight. The

sequence in mm. 23-25 is another case in point. Though the a of m. 23 (third beat) is the

48

most important melodic voice in the measure, because it sustains al from m. 21, the
equally significant note in m. 24 is b on the downbeat, and m. 25 has no structurally
important notes (see MG2).

On a final note, the culmination of the entire movement occurs in phrase six (mm.
51-9). All indicators point to its importance. Instead of a smooth upper voice controlling
the motion, as in all the other phrases, the bass is the more conjunct, controlling voice.
Also, mm. 51-55 exhibit the most chromaticism in a short temporal duration (only five
measures) during an ascending linear intervallic pattern. Lastly, scale degree five (a') of
the Urlinie is repeated three times in the final three measures of the phrase. All of these
things suggest that the performer make a large crescendo in the course of this phrase,

culminating on the a1 on beat two of m. 59.

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Commentary on the Sarabande

Sarabandes are the slowest movements of the suite, and traditionally emphasize
the second beat of the measure. The tonal plan of this Sarabande can be seen as follows:
Part 1 begins in D-major [I] and modulates to A-major [V]. Part II continues in the
dominant key, modulates to G-major [IV], and returns to the dominant before concluding
in tonic. The form of the Sarabande is continuous binary, since the material from Part I is

not recalled at the end of Part 11.

Overview
(1-8) PartI
(1-4) Phrase 1
(5-8) Phrase 2
(9-32) Part 11

(9-12) Phrase 3
(13-16) Phrase 4
(17-24) Phrase 5
(25-32) Phrase 6
Part I contains 8 measures divided into two phrases. The first phrase establishes
the opening key of D-major with an IAC. The second phrase modulates to the dominant
and concludes with an IAC in A-major.
Part 11 comprises 24 measures divided into four phrases. The first phrase of part
II, which is third overall, moves from A-maj or to E-maj or via an applied dominant. The
fourth phrase modulates to G-maj or. The fifth phrase returns to the dominant with the

help of a linear intervallic pattern. The sixth and final phrase prolongs the dominant

harmony and then concludes with a IV - V7 - I progression.

53

Linear Analysis
The first phrase begins with a D-major chord, with the Ursatz notes d in the bass

and f#1 in the upper voice. The tonic chord is prolonged through m. 2 by means of a
voice exchange, and it passes through a vii°§ (bass g with a doubling G) on the way to 1".

Measures 3-4 repeat the prolongation by voice exchange, as the I6 fiom m. 2 becomes a I
on the third half-note of m. 4. Another voice exchange occurs in mm. 2-3: the g-el of m.
2 become e-gl in m. 3.

The second phrase modulates to the dominant through the use of an applied
dominant. The phrase begins with a vi chord B-g#l. On the downbeat of the following
measure, B and g#1 are exchanged with G# and bl. The addition of an e in an inner voice
creates a V7, which resolves to the new tonic of A in m. 7. The resolution of the G# and
b1 in m. 6 will be discussed later. A ii6 — V — I confirmation of A-major concludes Part I.

The third phrase marks the beginning of Part II with an A-major chord (A and el
in the outer voices). The bass makes a stepwise descent through G (m. 9), f# and e (m.
10) before coming to d# (m. 11), which then returns to e (m. 12). The upper voice moves
from c1 (m. 9) through filll (m. 11) up to g1 (m. 12). The d#1 and c-naturall on the second
and third beats of m. 10 are inner voices. The tenth formed by D# and fill1 in m. 11
moves up by step to E—gl in the following measure, thus creating the IAC in m. 12 which
concludes the phrase.

The fourth phrase begins with a vii°6 / G. The outer voices a-c2 act as a neighbor
to the G-chord (m. 14). This progression signals a modulation, which is confirmed in

mm. 15-16 by the I6 — IV - V7 — I progression in IV. However, the move to the

54

subdominant key area is, on a middleground level, a motion that neighbors the dominant
of mm. 9 and 24, and serves to prolong it.

The fifth phrase uses a G-major tenth, g-bl in a descending intervallic pattern.
The tenth descends to flat-a1 in m. 19 and e-g1 in m. 21. Strict use of the intervallic pattern
ends in m. 21 and is marked by a texture change of increased double-stops. The e on the
downbeat of m. 21 moves through d (m. 22 downbeat) to c# (m. 23 downbeat), which
then resolves up to d (m. 23 b. 2). The soprano voice g1 in m. 21 is sustained until it
moves downward to f#t1 on the fourth quarter-note of m. 23. This move recalls tonic and
suggests that the ultimate conclusion of the movement is not far off. On the final beat of
m. 23, the outer voices have moved to b-g#l, which act as a neighboring dominant chord
to the A-major goal of m. 24. One will note that the G#-b1 pair back in m. 6 also
precedes an A-major goal. With these two pairings, Bach has set apart the first and last
sustained dominant harmonics in the movement.

The sixth and final phrase projects A-major from the initial In. 25 through the
downbeat of m. 28 by means of a subdominant pedal that is first major (m. 25) and then
minor (m. 27). On the second beat of m. 28, an f# dominant-seventh chord tonicizes the
following b-minor chord. The third beat of m. 29, a d dominant-seventh chord, tonicizes
the following G-major chord, which acts as the subdominant to the tonic key. Though
mm. 29-30 have complicated surface harmonic motion, they ultimately prolong the
subdominant, which moves to V7 on beat two of m. 31 and conclude with a PAC.
Impact on Interpretation

Sarabandes traditionally have strong second beats. This particular Sarabande is

no exception, and the second beats frequently contain either harmonic changes (e. g., m.

55

3, 24), or completion of a harmony with the rest of the upper voices (e. g., mm. 5, 13).
However, Bach has frequently placed structurally important notes on downbeats instead
of second beats. Following the structure leads the performer to stress both downbeats
and second beats.

In the opening measure, one should play the downbeat strongly, since it presents
the Ursatz. The second beats of mm. 1-2 are merely a continuation of the harmony
established at the outset. No accents should be made aside from the initial downbeat.
While the doubling of the G-g would typically suggest an important note, here it is just
reinforcement and does not indicate structural weight. Beat two of m. 3 can have some
more weight, but as in m. 2 it is an upper neighbor to the concluding D-major chord.

The most striking chord in the second phrase occurs on the downbeat of m. 6,
because it is the most distant fiom the tonic, and because its range is larger than any other
chord in Part 1. Such a chord should be played with more vigor than virtually all of the
other chords in the movement. Continuing in the phrase, the downbeat of m. 7 marks the
first tonic in the new key of A-major. This tonic chord is a structural arrival, so one
should stress it, making a decrescendo through the remainder of the phrase.

The phrase three (the first of Part II) exhibits some of the same complexities
involving the importance of beat two as did phrase one. Like m. 1, m. 9 introduces a note
of the Urlinie, and it also prolongs the initial harmony from b. 1 to b. 2, except a passing-
seventh G is introduced in the bass to create forward motion. Since the downbeat of m. 9
introduces notes of the Ursatz, it should be much stronger than b. 2. Measures 10-11, on
the other hand, include suspensions that are resolved on beat two (d#1 to c1 in m. 10, c1 to

b in m. l 1). Although these suspensions occur in an inner voice (and not the principle

56

melodic voice) they still need to be made clear. The final measure of the phrase, m. 12,
also behaves in similar fashion, with the b-g1 occurring on b. 2 completing the e-minor

harmony. Since this chord is the goal of the phrase, it should be brought out more than
any other chord of the phrase except the first.

Phrase four introduces c2 on the second beat of m. 13, which moves to b1 on the
final beat of m. 14. This connection should be made clear. The b1 is part of a G-major
harmony, which serves as a neighbor chord to the A-major of mm. 9 and 24, which it
prolongs. Therefore, G-major should be played with more strength than any of the other
chords in the phrase. As in mm. 7-8, the G-major chord in m. 14 is an arrival, so the I6 —
IV — V7 — I progression in m. 15 merely confirms G-major. A decrescendo through mm.
15-16 is appropriate.

The fifth phrase moves through a series of tenths on the downbeats of mm. 17, 19,
and 21. The first of these deserves more weight than the rest, since it continues the G-
major neighbor motion to A-major. Following the opening of the phrase, one should
make a gradual diminuendo until m. 23 where the harmonic rhythm increases. A
crescendo through m. 23 seems appropriate, since it leads to the return of the dominant in
m. 24. The move from b. 3 of m. 23 to b. 1 of m. 24 should be especially strong, as the
B-giltl in m. 23 represents a voice exchange with the downbeat of m. 6. With a strong
downbeat in m. 24, the upper part of the chord re-struck on b. 2 need not be accented, but

rather should be less than the preceding beat.

The sixth and final phrase is begun with a prolongation of V via a pedal 2 that

generates surface interest by alternating major and minor. The downbeat of m. 28 marks

the return to V. At this point, the bass A is a repetition of the fundamental bass, which is

57

linked to s.d. two of the Urlinie, e'. That principal melodic note is only sounded for an
eighth-note on the first beat, so it is reinvigorated during b. 2. This emphasis is achieved
by the sudden chromatic alteration of the bass to A#. In the remaining measures, the
downbeat of m. 30 should be emphasized, since it contains the last active e1 of the
Urlinie. Likewise, the second beat of m. 31 contains the last A of the fundamental bass.
In the final measure, the lower D of the downbeat chord should be firmly struck, since it
marks the conclusion of the fundamental bass. The upper voice does not reach
completion until b. 2, so the final doublestop should be voiced such that the d1 is more

clear than the f# (which is only an inner voice).

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Commentary on the Gavottes

The Gavottes are formally the most straightforward of the movements in the sixth
suite. Each is a strict Rounded Binary form with regular four-bar phrases that are clearly
demarcated. Yet while the typical binary movement has a strongly established dominant
key area in Part H, the Gavottes do not. It seems that Bach has chosen to increase
expectation of the phrase regularity while at the same time challenging expectation in the

realm of tonal organization.

Overview of Gavotte I

(1-8) Part1
(1-4) Phrase 1
(5-8) Phrase 2
(9-28) Part 11

(9-12) Phrase 3
(13-16) Phrase 4
(17-20) Phrase 5
(21-24) Phrase 6
(25-28) Phrase 7
The phrases of the first Gavotte are all four measures in length and they begin
with the characteristic two quarter-note anacrusis. Part I consists of 8 measures divided
into two phrases. The first establishes tonic and concludes with an IAC, while the second
continues in tonic and concludes with a HC.
Part 11 contains .five phrases. The first phrase of Part II, which is the third phrase
overall, tonicizes e-minor. The fourth phrase touches upon both D-major and b-minor.
Phrase five tonicizes A-maj or. The sixth phrase repeats phrase one, creating the rounded

binary form, and concludes with an IAC in tonic. The seventh and final phrase ends on a

PAC that concludes the principal melodic line and firndamental bass.

64

Linear Analysis of Gavotte I

The first phrase begins with the principal notes of the Ursatz, fit1 and d in the
anacrusis to m. 1. The melodic line in mm. 1-4 describes an arc, ascending in stepwise
motion from fit1 to g1 and a1, then descending back through g1 to f#l. The accompanying

bass outlines the tonic triad, moving from d (m. l) to f# and a (m. 3), before returning to

d (m. 4). The underlying motion of the first part of the phrase is a I — V2 — I6 progression,
with V2 falling on the downbeat of m. 2 and I6 falling on the downbeat of m. 3.

However, the first chord of m. l is a curious iig. Just as theVfi of the following measure
serves as a neighbor chord to 16, so too does the iig’. What makes this chord unusual is its
lower notes G-d, which are also heard in the V; chord in m. 2 (third quarter-note). In the

V3 chord, however, the d is an anticipation of the next tonic. The G-d is certainly a
strong element of the composition, and its prominent registral position (lower than the
underlying I — V2 - 1") would suggest added meaning. This proximity of D-maj or and G-
major foreshadows the key scheme of the second Gavotte, which moves from D-major in
Part Ito G-major in Part II.

The first four beats of phrase two are parallel to those of phrase one. The phrase
deviates from its predecessor beginning on b. 2 of m. 6. The primary tone is prolonged
via a voice exchange between d-f#1 at the anacrusis to m. 5, through to b. 2 of m. 6 (f#-
d'). Measure 5 still contains G-d, but the function here is more obviously that of a
neighbor chord to the I6 of m. 6. The G coupled to g (m. 5) is an incomplete upper

neighbor to fit (m. 6) and the e1 (m. 5 second quarter-note) is a passing tone between f#I

65

and (1‘. The final note of m. 5, g1, is given a flag because it serves as an upper neighbor
to fit1 and does not resolve down to that note until m. 14. The phrase concludes with a ii7
— V progression, which sees the fundamental bass move to A and the Urlinie move to s.d.
2.

Phrase three modulates to e-minor and opens with a ii - V7 — i progression in that
key. The upper voice moves from a1 (anacrusis to m. 9) to g1 in m. 10 (downbeat) and
down to e1 in m. 12 (third eighth-note). In the bass, f# (anacrusis to m. 9) and B (m. 9)
move to e (m. 10). In m. 11 the bass completes an outline of the tonic triad of e-minor,
moving to g and b before returning to e.

Phrase four touches on tonic and then tonicizes the sub-mediant. The bass first
moves from c down to (1 (mm. 12-14), and then moves down to B (m. 16 downbeat), with
an anticipated b in m. 15. The upper voice moves from g1 of phrase four down to f#1 (m.
14) and d1 (m. 15). The d-f#l in m. 14 are a resumption of the Ursatz following the
interruption of Part I. The move to e-minor in phrase three and to b-minor at the end of
phrase four serve to prolong the d-f#l by acting as neighbor motion.

Phrase five moves away from b-minor to A-major. The b-minor chord at the
anacrusis to m. 17 serves as an upper neighbor to the A-major chords of mm. 18 and 20.
The bass moves from B through G# (m. 17) to A (m. 18 b. l, coupled with the a of m. 20
b. 1). The upper voice moves fi'om (11 up to e1 (m. 20 b. 1). The e1 is prolonged by the
preceding c#1 (m. 18 second eighth-note). Despite the tonicization of A-maj or by an

applied dominant (m. 17), the final chord of the phrase has a decidedly HC feel due to the

outlining of a tonic triad in the melodic voice in m. 19.

66

Phrase six repeats phrase one. The principal melodic line and fundamental bass

pairing d-fIt1 is prolonged throughout the phrase by the same underlying progression as
the first phrase: I — V2 — I6 — V7 — I. The pairing is also prolonged from the previous
statement in m. 14 by the intervening motion to V (a-e‘, m. 20 b. 1).

Phrase seven is very reminiscent of phrases one and six. The underlying I — V2 —

I6 - V7 —— I progression of those phrases is present here, but with a twist. Bach has made
the first chord a b-minor chord (vi). Thus, from the conclusion of the previous phrase,
the bass outlines a sub-dominant triad d B G (mm. 24-25). The vi may be seen as helping
to prolong IV, which itself serves as an upper neighbor to I‘5 as in the parallel phrases.
The underlying bass must presume a motion from d (which is literally present as an inner
voice in m. 24 b. 2 and present as the actual bass on b. l). The bass ascends through c
(m. 26) to f# (m. 27). The bass of the Ursatz moves up to a (m. 27 b. 2) and returns to the
tonic in m. 28. The upper voice prolongs f#l (anacrusis to m. 25) by moving up through
gI to a1 (m. 2). The upper voice moves down to s.d. 2 (e‘) on the final quarter-note of m.

27, and concludes the Urlinie on d1 in the final measure.

Impact on Interpretation (Gavotte I)

The opening phrase of the Gavotte presents some interesting interpretational
challenges. Certainly the pillars of the phrase are the d-fIIl which make up the principal
melodic and bass voices, and these are to be found at the beginning and ending of the
phrase. However, typically the anacrusis to a downbeat would be played less than the
downbeat itself, and the motion is typically V to I (see the beginning of the Gigue). Yet

here the downbeat of m. l is IV, and within the context of the phrase it serves as an upper

67

neighbor to the I6 of m. 3. Each chord should be nearly equal in dynamic. A crescendo
should accompany m. 3-4, as the motion continues back to the pillar of d-f#1.

Phrase two presents a similar dilemma with the IV chord on the downbeat of m. 5.
In this place, it is clearly subsidiary to the I6 (m. 6 b.‘2), which itself is a continuation of
d-fIt1 by voice exchange. Therefore a general diminuendo through the first two measures
of the phrase seem appropriate, followed by a crescendo to A-e', the preliminary descent
to s.d. 2 and the bass motion to V.

The third phrase calls for a crescendo to the downbeat of m. 10, where e-minor is
established. Since the remaining two measures are merely a confirmation of that key
area, a decrescendo seems appropriate. One should also highlight the upper voice
motion, which occurs as a suspension at the downbeat of m. 10 (al -g1).

The fourth phrase is a bit unusual, since the main notes of structural importance
occur in the middle of the phrase. The d-f#' in m. 14 reestablishes the Ursatz. Since d-
f#1 are prolonged by the upper neighbor motion from e-minor, that relationship should be
brought out. Especially important is the g1 to f#1 motion occurring at the downbeat of m.
14: One will recall the flagged g1 found in m. 5, and here is its resolution. The
remaining tonicization of b-minor is a prolongation of D-major, and this subservient
relationship would appropriately be interpreted by a decrescendo.

Phrase five is controlled by the move to the dominant, which serves as an
intervening motion between the two tonic pillars of m. 14 and m. 20 (b. 2). Since the
goal of motion is the tonic key, a gradual crescendo throughout the phrase is appropriate.

One should pay particular attention to the upper voice motion so that the e1 (m. 20) is

68

made to sound more important than the c#1 (m. 18 second eighth-note), as e1 is
essentially a lower neighbor to the two statements of f#1 (at m. 14 and 20).

Phrase six is identical to phrase one. The structural notes behave the same way,
since in both instances the Ursatz has yet to move from d-f#1. Within this repetition lies
the danger of boring the audience, however. One may consider accenting or de-
emphasizing the IV chord on the downbeat for the sake of variety.

The seventh and final phrase will differ in its interpretation depending on whether
one is playing it before or after Gavotte II. If it is the first time through, then the first
Gavotte is sustaining s.d. 3 throughout both Gavottes. Therefore the goal of the phrase is
to sustain f#l. This concept justifies an alternate interpretation of the chords in m. 27:
The second, third and fourth quarter-notes of the measure may be interpreted as all being
part of a single tonic harmony. Accordingly, the flat1 should be strongly emphasized at its
last sounding, with the final chord being softer. When the piece concludes after the Da
Capo, the second half of m. 27 is interpreted as in the graph, with the motion to a-el
being critical to the resolution of the Ursatz. Therefore, upon the last playing, one should
crescendo to the end of the phrase and bring out those tones, with the strongest chord

being the final one.

69

Overview of Gavotte II

(1-4) Part I

(1-4) Phrase 1
(5-24) Part 11

(4-8) Phrase 2

(9-12) Phrase 3

(13-16) Phrase 4

(17-20) Phrase 5

(20-24) Phrase 6

Like the first Gavotte, the second consists of regular four-bar phrases beginning

with a two quarter-note anacrusis. As previously mentioned, the tonal organization of
Gavotte II is quite static. Part I consists of only one four measure phrase. The first
phrase establishes tonic and concludes with a PAC. Part 11 contains five phrases. The
first phrase of Part 11 (second overall) contains a tonicization of G-maj or. The third and
sixth phrases are identical to the first phrase, whereas the fourth and fifth phrases are
repetitions of each other and serve as a static harmonic bridge (a D-pedal is constant

throughout) between the two repetitions of the first phrase. The constant alternation

between tonic and sub-mediant frustrates the establishment of a firm key area.

Linear Analysis of Gavotte II

Structurally speaking, the second Gavotte prolongs the primary Ursatz notes d-fttl
throughout, so it should not come as a surprise that this dance is the most static of all the
other movements in the Suite. Phrase one opens with those notes in the anacrusis. The
bass arpeggiates from (1 up to f#, then passes down through e to d (m. 2). The soprano f#l
skips down to d1 (m. 2). The second two measures of the phrase are almost identical to

the first two, and serve as a reinforcement of what happens there.

70

Phrase two begins in D-major and concludes with a HC in that key. However, the
fact that D-major chord occurs on the anacrusis to m. 5, in conjunction with the c-naturalI
in m. 5 suggest that the D chord is V7 / IV. Also assisting this interpretation is the fact
that the beginning of the phrase begins with a chord in first inversion, emphasizing the
bass motion from f# (anacrusis to m. 5) to g (downbeat of m. 5). This motion is again
emphasized from the second beat of m. 5 to the downbeat of m. 6. At the second half of
m. 6, D-major reasserts itself as a tonic rather than dominant, and therefore the bass
motion moves from d (m. 6) to f# and back to (1 (both in m. 7) and to an implied c# (m. 8
downbeat). The upper voice prolongs f#1 by sounding (11 (mm. 5 and 7, second quarter-
note), and prolongs the (11 through the use of b (mm. 5-7). The soprano then moves up to
e1 in m. 8, on its way back to fit1 in the following measure.

Special attention must be paid to the concluding chord of the phrase. It is a
dominant-firnction chord which sounds like a HC. However, instead of a literal c# in the
bass, d is heard as an anticipation of the next harmony. The preceding measure’s e-c#1 of
b. 2 suggests a prolongation into the downbeat of m. 8 by means of a voice exchange.
Schwemer and Woodfull-Harris recognize the uniqueness of d in the bass in their
“Scholarly Critical Performing Edition” redaction by placing the note in parentheses,
despite the fact that it is clearly a d in all of the manuscripts.

The third and sixth phrases are identical repetitions of phrase one and behave in
the same fashion in prolonging d—f#'.

Phrases four and five are repetitions of each other and are extremely static
harrnonically since a d pedal-point is sustained throughout, while above it tonic alternates

with dominant. The upper voice prolongs f#1 by arpeggiating the tonic triad, from d1 in

71

m. 12 to f#1 in m. 13, back to (il in m. 16, up to fttI again in m. 17, and down to a in m. 20

before retmning to fit1 in the following phrase.

Impact on Interpretation (Gavotte II)

Unlike the other movements, this Gavotte relies more on surface variation to
account for interpretative diversity. Phrase one begins with the primary notes d-f#l and
repeats them in m. 2 b. 2. These are the strong points of the phrase. One should consider
a subito piano at the downbeat of m. 1 and a gradual crescendo through the f#1 that ends
m. 2. After building tension, it should be released in a decrescendo through mm. 3-4.

In the second phrase, one may assist the tonicization of G-major by playing the
downbeats of mm. 5-6 strongly. Conversely, one may play the afierbeats in m. 6 (b. 2)
and m. 7 (b. 1) stronger than chords occurring on the beat, in order to bring out the return
to tonic. Of course, a crescendo should be made to emphasize the dominant in m. 8 that
returns the Gavotte to tonic for its remainder.

Phrases three and six may be varied by making a crescendo or decrescendo.
However, one should still remember that fIII is the active melodic note and should remain
a note of emphasis.

Phrases four and five may contain a pedal-point, but melodic and harmonic
interest can be found by emphasizing the dominant feel in mm. 15 and 19 by bringing out
the c#‘, which creates a nice dissonance with the pedal. One may also consider making

the fifth phrase an echo of the fourth.

72

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Commentary on the Gigue
The suite concludes with a lively Gigue. The tonal plan is straightforward. Part I
begins in D-major [I] and modulates to A-major [V], which is strongly established by the
time the fourth phrase (beginning m. 17) is reached. Part H prolongs the dominant
harmony and returns to the tonic key in m. 53. The form of the movement is binary.
Material from the A-major section Part I is re-cast in the tonic and used to conclude the
movement. One could call this movement a balanced-binary, but unlike the Courante, the
concluding material is amalgamated from different bits of Part 1 (instead of an entire
linear section) and also includes some paraphrase.
Overview
(1-28) Part1
(1-4) Phrase 1
(5-8) Phrase 2
(9-16) Phrase 3
(17-20) Phrase 4
(21-28) Phrase 5
(29-68) Part II
(29-32) Phrase 6
(33-36) Phrase 7
(37—40) Phrase 8
(40-44) Phrase 9
(44-52) Phrase 10
(53-56) Phrase 11
(56—68) Phrase 12
All the phrases of the Gigue begin with an anacrusis. Part I consists of 28
measures divided into five phrases. The first phrase establishes D-major with an IAC.
The second phrase moves to the dominant harmony. The third phrase completes a

modulation to A—major and oddly concludes with a pause on a V7 of A. The fourth

78

phrase is essentially the same as the first, transposed down a fourth. The fifth phrase
contains a 3+3+2 grouping which concludes on a PAC in A-maj or.

Part H contains 40 measures, divided into seven phrases. Phrase six moves from
A-major to b-minor. Phrase seven continues in B-minor and concludes with a HC.
Phrase eight parallels phrase two and maintains an f# pedal. Phrase nine continues to
prolong b-minor. Phrase ten proceeds by tonicizing several different keys. Phrase eleven
prolongs D-major. The final phrase completes the descent of the Urlinie and concludes
with a PAC.

Linear Analysis

The first phrase begins with an al anacrusis to m. 1. The downbeat presents f#-dl ,
which establish tonic. These notes exchange to form the first notes of the Ursatz in m. 2,
d-f#1. The f#1 is prolonged through the measure by a consonant skip up to al. Measures
3-4 prolong the primary tone by repeating m. 1 and the first part of m. 2. As one can see
from the MG, the d-f#1 of the Ursatz are prolonged throughout the phrase.

Phrase two projects the dominant A harmony throughout. A repeating pedal a in
the bass provides the harmonic support, while the upper voice moves fi'om flatl down to e1
and d1 before returning. If one traces the third eight-note of every beat in this phrase, a
small-scale melodic descent of 5-4-3 will be noticed. It continues 5-4-3-2 before moving
down to l in the next phrase. This line is an “inner” voice even though it occurs above
the main melodic line, and is therefore omitted from the PG graph.

Phrase three provides the modulation to the A-major, and a stepwise descent from
f#1 to dl governs the melodic voice. This descent can be clearly seen in the MG, and

continues to c#I in phrase four. A prevalent feature of the third phrase is the

79

reinterpretation of notes depending upon on their context. For example, on the downbeat
of m. 9, ct!1 in an inner voice resolves in a 7-8 motion to (11. The (1', however, is not
simply part of a D-major chord; the following descent in thirds (F G mm. 9-10) suggests
that it is the seventh of a V7 / A. As a seventh, it must resolve down, but does not
continue down to c#1 until m. 11 in an inner voice.

Phrase four marks the confirmation of A-maj or by presenting phrase one in the
key of the dominant. The d1 of the previous phrase resolves to c#1 on the downbeat of m.
18, which is prolonged by arpeggiation through the a of the preceding measure. As in m.
1-2, the c#-a in m. 17 exchange with the A--c#1 in m. 18.

Phrase five, the last phrase of Part I, can be viewed as a compression of phrases
three and four: (11 is again established as the seventh of the dominant and resolves down
to c#1 and the tonic. The d1 is supported in m. 21 by G#, which prolongs the bass e in m.
22. The G# is given a flag in the graphs because it does not return to a until m. 28. An
upward arpeggiation prolongs the (I1 reached in m. 24; as that note is reached, the upper
voice (acting as the bass) prolongs e through a downward arpeggiation. In m. 25, the
dominant seventh is resolved, with cat‘1 in the upper voice, supported by e in the lower. A
three-stage melodic sequence that descends by fifth (m. 25 beat 2 through m. 26)
prolongs the c#l, while the bass moves to first-inversion. After this prolongation, c#t1
moves to the primary e1 (m. 27) and then returns (m. 28).

The first phrase of Part II, which is the sixth phrase overall, moves from A-major
to b-minor. The a in the bass of m. 29 (b. 1) is reinterpreted as a# in m. 30 (b. 1 second
eight-note), creating a vii°7 of b-minor. The bass resolves to B (m. 32 b. 2) while the

upper voice e1 (mm. 29-30, downbeats) moves down to d1 (m. 32 downbeat).

80

Phrase seven projects b-minor and concludes with a HC. The initial outer voices
c-g1 (m. 33, bb. 2 and 1 respectively) serve as an upper neighbor to m. 34’s B-fhfl (bb. 2
and 1, respectively). The motion G (downbeat of m. 35) as an upper neighbor to f# (m.
36 b. 2) helps to establish the key area of f# as embellishing.

Phrase eight is parallel to phrase two. The f# pedal supports stepwise motion in
the upper voice, which moves fi’om dI to citl to b and back up.

Phrase nine maintains b-minor. The phrase begins with a 6-5 suspension of the
upper voice, g1 (m. 41 downbeat) to f#1 (m. 42 downbeat). This suspension occurs over
B in the bass (literally b1, mm. 41-42, b. 2 second eighth-note). The f#1 arpeggiates down
through d1 (m. 42 last eight-note) and then moves down to c#1 (m. 43 downbeat), which
is an upper neighbor to b (m. 44 downbeat, see MG). The bass moves in a I — V — I
pattern, with f# occurring in m. 43 (b. 2) and the final b occurring in m. 44 (b. 2).

Phrase ten progresses by means of three V - I relationships, each of which
tonicizes a different member of the D-major triad. In mm. 45-46, A-major is tonicized,
with G# in the bass moving up to A, while (11 is sustained through mm. 44-45 in the upper
voice. In mm. 47-48, e# in the bass moves to f#, while the upper voice maintains the
seventh as in the previous measures; it moves from b1 to al. The third tonicization occurs
in mm. 49-50, where the bass moves fiom c# to (1. As in the previous two tonicizations,
the upper voice carries the seventh g1 which resolves down to f#l. The phrase concludes
with a HC, following a I — IV — V progression in the bass, as G (m. 50) is coupled with g

(m. 51) and serves as a lower neighbor to a (m. 52).

81

Phrase eleven projects D-major without making any real change in harmony. The
upper voice maintains dl (m. 53), while the lower voice prolongs d (m. 54) with
arpeggiations from the preceding f# (m. 55 b. 2) and the subsequent a (m. 56).

The twelfth and final phrase begins by adding a seventh to the D-major harmony
that concludes phrase eleven, thereby turning it into a V7 / IV. The c-naturall is
introduced in the upper voice (m. 56 final eighth-note) and resolves down to b (m. 57).
The next few measures exhibit a rapidly changing set of chordal interpretations.
However, the underlying structure is a linear intervallic pattern of tenths: the G-b of m.
57 moves down to F#-a in m. 59 and E-g in m. 61. The bass passes through D in m. 62

on its way to C# (m. 63). Both the soprano g and the bass C# are transferred up an

octave, and as a v? they move inwardly to a restatement of d-f#l of the Ursatz, although

they literally occur upside down with d sounding a literal d2. The upper voice arpeggiates
down to dI (m. 65 b. 2 second sixteenth-note) before moving back up to s.d. 2 in m. 67
(b. 1 final sixteenth-note) and then completing the descent to d1 in m. 68 (downbeat).
The bass arpeggiates from d (m. 65 downbeat) to A (b. 2) and F# (m. 67 downbeat)
before moving to V and a (m. 67 b. 2), and finally completing the fimdamental bass in the
final measure (m. 68, fourth. sixteenth-note) and prolonging the d by means of the final D
an octave lower.
Impact on Interpretation

Because the Urlinie and fundamental bass are not heard until m. 2 and repeated in
m. 4, the first and third measures have an upbeat feel to them. Therefore, m. 1 and 3 are
weak, 2 and 4 are strong, and a crescendo should be made going from mm. 1-2, followed

by pulling back and starting another crescendo in mm. 3-4.

82

In the second phrase, one should attempt to shape the moving voices

The purpose of the third phrase is to help modulate to the dominant; therefore, the
goal is the V7 of A in m. 16, and one should crescendo to that point, making each
successive chord incrementally louder, from the downbeats of mm. 9, 11, 13, 14, 15, and
16. One should be especially careful to try and connect the G# (m. 15 downbeat) to its
resolution on A in the next phrase (m. 18 downbeat). Since these notes are fairly distant
from one another, an agogic accent of the A is the preferrable choice.

Phrase four restates the opening in A-major, and the same weak-strong measure
pairing is heard here. Given that each two measure pair (mm. 17-18; 19-20) exhibits the
same progression I6 — V7 — I, the performer may choose to make the first resolution to I
stronger than the second, and vice versa when playing the repeat.

Phrase five concludes Part I and moves the Urlinie from s.d. 3 to s.d. 2, e], in m.
27, and the bass moves to V in m. 28. Since these two notes are the goal of the phrase,
they should be brought out more than any notes since the beginning of the movement.
The preceding elaborate double-stop passage serves to prolong V / A (mm. 21-24), with a
move to I and back to V in mm. 25-26.

In the sixth phrase, one should bring out the chromatic alteration of a to a# (mm.
29-30), which underscores the ultimate goal of b-minor (m. 32). In the seventh phrase,
the opening motion is a neighbor chord, and therefore may be played smoothly into the b-
minor chord of m. 34. One should also make a general diminuendo into m. 37, since the
V / b (phrase eight) is merely a V chord between two i chords and not a goal in itself.
Since phrase eight is harmonically static, one should attempt to show the contour of the

line, but no major emphasis is suggested.

83

In phrase nine, care must be taken to bring out the b. 2 second eighth-note Bs (bl)
in mm. 41-42, since they serve as the bass voice. One should also trace and bring out the
stepwise descent of the upper voice from g1 to b in mm. 41-44.

Phrase ten projects three tonicizations. Each tonicization contains structural outer
voices which move sequentially: Each V7 — I relationship contains the same 7-1 in the
bass and 4-3 in the soprano. These motions should be emphasized as the most important
voices of the progression.

The eleventh phrase prolongs D-major, and one should bring out the initial (11 (m.
53 downbeat) and d (m. 54 b. 2), which are the governing pitches.

In the twelfth and final phrase, one traces a stepwise descent in the bass going
from G (m. 57 downbeat) to E (m. 61 downbeat), D (m. 62 downbeat) and C# (m. 63
downbeat), which ultimately moves up to the d of the Ursatz in m. 65. One should make
a crescendo throughout this passage, culminating with the descent of the Urlinie and
completion of the bass. In mm. 67-68, given the placement of the Ursatz notes a-el and
d-d', a hemiola is evident. Instead of dotted quarter-notes receiving the beat, mm. 67-68
behave as if dotted eighth-notes were getting the beat. Recognizing and emphasizing the

rhthrnic nature of this passage will help bring out the fundamental structure.

84

Conclusion

Suite No. 6 for Violoncello Solo is a monumental work for the instrument. While
Schenker’s ultimate background reduces all works to a very simple framework, it is the
detailed working out of that framework that provides interest to the musician. The
preceding analysis has shown that while certain elements are difficult to understand at a
surface analytical level, they are much easier to explain within the context of Schenkerian
levels. Schenkerian analysis is also inherently useful in making performance choices, for
within its context, a hierarchy of note importance is established. That hierarchy can serve
the performer as a basis for interpretation.

The author hopes that this document will prove enlightening to performers and
theorists alike, and that it might spark future theoretical investigation of the Bach cello

suites.

85

SELECTED BIBLIOGRAPHY

Bach, Johann Sebastian. Sechs Sonatenfiir Violine solo. Edited by J. Hellmesberger.
Piano accompaniment by Robert Schumann. Leipzig: C. F. Peters, n.d.

. 6 Suites a Violoncello Solo senza Basso, BWV 1007-1012. Edited by Bettina
Schwemer and Douglas Woodfull-Harris. New York: Barenreiter-Verlag, 2000.

. Six Suites for Violoncello solo. Edited by Edmund Kurtz. New York:
International Music Company, 1984.

. Six Suites for Violoncello solo, BWV 1007-1012. Edited by August Wenzinger.
New York: Barenreiter-Verlag, 1950.

. Six suites pour violancelle seul. Edited by Diran Alexanian. Paris: Editions
Salabert, 1929.

Bylsma, Anner. Bach, the Fencing Master: Reading Aloud from the First Three Cello
Suites. Amsterdam, 1998.

Forte, Allen and Steven E. Gilbert. Introduction to Schenkerian Analysis. New York:
W. W. Norton and Co., 1982.

Kaplan, Harriet Marlene. “An Examination of Johann Sebastian Bach’s Fifth and Sixth
Suites for Solo Cello, BWV 1011 and 1012.” D.M.A. doc., University of
Cincinnati, 1994.

Kramer, Laura Elizabeth. “Articulation in Johann Sebastian Bach’s Six Suites for
Violoncello Solo (BWV 1007-1012): History, Analysis, and Performance.”
D.M.A. doc., Cornell University, 1998.

Little, Meredith and Natalie J enne. Dance and the Music of J. S. Bach. Bloomington:
Indiana University Press, 1991.

Lester, Joel. Bach ’s Works for Solo Violin: Style, Structure, Performance. New York:
Oxford University Press, 1999.

Schachter, Carl. Unfoldings: Essays in Schenkerian Theory and Analysis. Edited by
Joseph N. Straus. New York: Oxford University Press, 1999.

Schenker, Heinrich. Five Graphic Music Analyses. New York: Dover Publications,
1969.

. The Masterwork in Music, Volume 1 (1925). Edited by William

Drabkin. Translated by Ian Bent, William Drabkin, Richard Karrner, John
Rothgeb, and Heidi Siege]. Cambridge: Cambridge University Press, 1994.

86

. The Masterwork in Music, Volume 2 (1926). Edited by William
Drabkin. Translated by Ian Bent, William Drabkin, John Rothgeb, and Heidi
Siegel. Cambridge: Cambridge University Press, 1996.

Snustad, Nancy. “The Allemandes in the Six Suites for Solo Cello by J. S. Bach: An
Analysis and Comparison.” D.M.A. doc., Indiana University, 1994.

Wampler, Stephen G. “A Brass Player’s Guide to the Transcription and Performance of
J. S. Bach’s Six Suites for Violoncello Solo.” D.M.A. doc., University of
Washington, 1998.

87

   

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