Allen Winold's Bach's Cello Suites: Analyses and Explorations (Vol. 1 & 2) PDF

By Allen Winold

ISBN-10: 0253218969

ISBN-13: 9780253218964

J. S. Bach’s Suites for Unaccompanied Cello are one of the such a lot adored and regularly performed works within the whole literature of track, and but they've got by no means been the topic of a full-length tune analytical research. The musical examples herein contain each observe of all routine (so one wishes no separate replica of the track whereas interpreting the book), and undertakes either simple analyses—harmonic relief, practical harmonic research, step development research, shape research, and syntagmatic and paradigmatic melodic analysis—and really good analyses for many of the person pursuits. Allen Winold provides a complete learn meant not just for cellists, but additionally for different performers, song theorists, track educators, and proficient basic readers.

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Extra resources for Bach's Cello Suites: Analyses and Explorations (Vol. 1 & 2)

Example text

The wide (2-octave) ambitus at the beginning and ending of the work stands in contrast to the narrower ambitus of passages, such as bars 21–26 and 62–69. 1, follows the same principles used in the ¤rst two pre- ludes. Melodic analysis con¤rms the basic structure determined by harmonic analysis. One of the most effective compositional strategies in the movement is the cessation of sixteenth-note motion at the quarter note chord in bar 77. The return to the opening sixteenth-note gesture in bar 78 sounds like an attempt to restart the motion, but this is cut short by two more quarter note chords in bars 79 and 80.

Bars: Chords: Riemann Functional Analysis: Roman Numeral Analysis: 16 G dominant seventh 17 C major {IV:D T}S V7/IV IV In the Riemann functional analysis of a secondary dominant progression I enclose the progression within curly brackets to indicate that the shift of tonal emphasis is not as long and strong as a tonal region. I write a Roman numeral after the ¤rst curly bracket to show what scale step the resolution chord of the secondary dominant progression would be in the current key. In this particular progression, the Roman numeral IV indicates the fourth scale step in the key of G major (C), and the fact that the Roman numeral IV is in upper case signals that the mode is major.

I reserve the use of under- 24 | Bach's Cello Suites, Volume I lining on variants of this gesture to those instances which preserve all three of the basic characteristics of the original gesture. These variants occur in bar 13 in diatonic transposition and in bars 40 and 42 with interval expansion. A possible variant (gesture a′) could be found in bar 15 if we consider the third and fourth sixteenth notes of this bar as a “diminution”13 or halving of the rhythmic values of the ¤rst two eighth notes of the original gesture.

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Bach's Cello Suites: Analyses and Explorations (Vol. 1 & 2) by Allen Winold


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