So the Antecedent phrase ends on scale degree 2 in the >melody, on a half cadence, the consequent phrase ends on scale degree 1 on >an authentic cadence.>>I picked up ^2 here because it's usually 2 with a caret on top in texts, but >it's hard to do in non-typingese like I type. I have read that often minuets were meant to be played in pairs andthat these two are companion pieces, but what is really important isthatthey sound so similiar and share many patterns. I'd claim this whole thing is a prolongation of D7, finallyreaching resolution at G in measure 16. (Orchestral Suite No. >>>>escape tones are "usually" approached by step, and left by leap in the>>opposite direction, like D E* C, C D* B, etc. The score arrangement, audio track . 7/29/2019 Touching a Mystery English Only 1/24Touching a MysteryA New Reading of Clavier Works by J. S. BachAnd itsPedagogical Application to Childrens Music School RepertoireSvetlana In Bar 17, its possible to view the piece in G on the scale degree, but we could also consider it the 1st stage of a modulating prinner as the scale degree in D major. The Bill Withers classic song Aint No Sunshine is a funky R&B standard that has also found a home in jazz circles. >>I can't provide any better definition of "alpha" other than>"look at measure 1 of G major minuet see the pattern? >(BIG disclaimer here - I'm looking at the Belwin edition that is >riddled with errors, so it's entirely possible that yours is different from >mine (and mine is probably less correct, but I'll assume it is OK for now). Part B . 1st E was a misread, 2nd time I was referring to the soprano D at theend of m19. Textbook. My old studio piano was a 1925 Kanabe 6 grand piano. Theyr cadences are >something like 3 2 1 in the Bass, and 1 7 1 in the melody (or >inversions/variations). Bach - WTC Fugue 2 in C minor. Copyright: Public Domain, Performer pages: Ivan Ili (Piano) This recording is performed on the harpsichord, an instrument that is the predecessor of the piano. >>Textbook.>> ^2, HC -^1, AC> could you explain what this means? Sheet Music: Wolf-In der Fruhe; Publisher: C.F. This opening lecture introduces themes, concepts, and terminology that will be followed and used throughout the series, including: concert music, classical music, popular music, and Western music. There is no nice clean melody in the left hand>part Not at first. I was trying to draw a parellel with the G minor version. >> bar 23 contains the 6th aloys. The meter is 3/4. In other words, >>the>>figure D C where D is accented>> again, I'm having problems with the word 'accented'.are we referring> to composer markings or metric position? Copyright: Public Domain, Album for the Young, Op. chamber music, BWV 1008. Sheet Music: Schumann-Ich Grolle Nicht; Breitkopf & Hrtel, 1879-1912 I pointed out to Sarah that the Minuet in G minor comes from the 'Notebook for Anna Magdalena', a collection of pieces, in two volumes, which Bach presented to his second wife. Analysis: https://songbirdmusicacademy.com/an-in-depth-harmonic-analysis-of-minuet-in-g-bwv-anh-114/. Just give the key and progression as you've done so I can figure out which it is from my edition! MP3. mm. Peters, n.d. (1888) Today, we remember Bach as an incredible musician and composer who gave us some iconic musical masterpieces such as his Cello Suite, Toccata and Fugue, and the Well-Tempered Clavier. Again, we're moving past that in the Baroque, and the >Direct interval of 3 to 8 (it's direct if they move in similar motion) has >become the cadential favorite now (then). I just wish he would have givenmore 'workbook' type examples that would help drive the point home. )>>>and the A3 accented PT (or app. >>>>>>> 21 22 23 24>> A Em* A D D A D D D7/C>> ___ / / / / / / / / />> V ii ii V6 I I6 V I I D:V7 of IV>> G:V7 of I. typing these long things from my handwritten notes gets confusingafter a while, I guess - I have no idea how that insanity got into bar22!!! Since this is in G major, we should adjust our scale and triads to G: Let's listen to the piece first. Also, Minuet in G is written in 3/4 time, while A Lovers Concerto is written in 4/4 time. There are two consecutive 9ths ascending and the reason this works is that the first A note is a passing note followed by another passing note of the B which is an accented (on the strong beat) passing note moving towards C. Nah. Its like these two pieces>evolved from a common ancestor, so to speak.>>Looking for landmarks: In the G major one, I only see a key change to D>major>(starting I think at bar 20 and changing back to G maj at 25 )>>In the G minor one, it is more complicated. Or upper neighbour. (Orchestral Suite No. (app and sus are>> explained pretty good, though). Audio: Youtube outrageous.". But Am works, too..>>For another viewpoint, I've looked at this in my Kostka/Payne workbook (I >rememebred it being there). (Major - upbeat, happy; minor - sadder/more emotional), Just a very basic opinion here, i realize that there's more to it thanmajor = happy and minor = moody, that there are exceptions andvariations and it's interpretive etc..so don't rag on me *too much*for saying that! I read the notes as G down to E, now that I'veactually LOOKED, I see it's G up to B. This then proceeds to A major, or the V of D. Bach is using a pivot chord to modulate from G major to D major. The C does go down to B (measure to measure),>>>and the 5th is omitted (a common omission). I understand what everything means except UN. And a word of caution here - one should always go back to the original manuscripts where you can to be completely accurate - you can never trust Schirmer, or CPP Belwin, or Mel Bay, or whomever. During Bach's lifetime, the piano did notexist yet. >Ahh, what about that V in bar 13 - now it makes more sense from above>doesn't it? vi even less so, especially since there's no >E. This book is the first dedicated volume of academic analysis on the monumental work of Elena Ferrante, Italy's . Some have considered the B bass note to be the scale degree in the key of G but it occurs on the weak beat of the bar and is more probably part of the inner harmony of the 5/3 chord on . In bar 20, there is an A major chord. Creative Commons Attribution Non-commercial Share Alike 3.0, March in G, from Notebook for Anna Magdalena Bach, BWV Anh. Minuet in G Keyboard Classics Moderato J. S. Bach More FREE music! η η30. λ λ embellished and shifted in time28.-------------------------------29. > How are you using the word 'accented'? What I should have said is that the dominant is a fifth above the tonic and the subdominant a fifth below. I see it, but looking at it that way takes those measures out of thecontext of the phrasing. 5 in E Major (L. Boccherini). That is a good correction! and publisher, 1730 Topics: Binary form 2 (L. van Beethoven) * Minuet from Sei Quintetti per Archi No. MP3. 28 No. Ive seen modulations like this before and would like to know what it is. Songs that are more regular in rhythm are catchy and more peaceful in a way. But I don't feel like those last 4 are a prolongation of V. Like the beginning second 4 measures of the phrase, it more harmonic activity pushing to the cadence. I notice that my post on Bach vs Beethoven keeps attracting readers so that now it is one of the top ten posts. I stand by what *I* said. Sheet Music: Wolf-In der Fruhe; Publisher: C.F. - the bottom one> sparsely filling in the harmony and gradually adding some animation> (forward motion) to the piece. I'd say in both meas. 68 No. It comes and goes. It seems to have two parts prior to the middle of this movement. I dread having to do that business withnumbering the 12 tone chromatic scale and writing things like[3, 8, 10, 12, 1, 3] for "alpha" but it may come to that >I stand by what I said. Minuet in G minor 3. Harmonic Analysis Part A. (app and sus are> explained pretty good, though). But Am works, too.. >>>>> OK - We are at the end of the first half of the melody, ending on a>> half cadence - which leaves it incomplete>>many use the term "open". Bach: Minuet, Prelude in C * Beethoven: Fur Elise, Minuet in G, Sonatina No. probablythatwas discussed in this thread but I don't have the conclusion in mymemoryand am too tired to dig through the thread again tonight). I'll hazard a guess, though. Yeah, and I hope the V in its two inversions ring true. We cadence to Bb at meas.16.Measures 17 -- 20 would seem to be in F and we are drifting back toBb in measure 22 and cadence to Bb in measure 24; then we slip intoG melodic minor ascending for the remainder of the piece (incidentally,I still don;t know what to make of the G major in measure 25! bach little fugue in g minor analysis bach little fugue in g minor analysis. !>>>>>>(BIG disclaimer here - I'm looking at the Belwin edition that is>>>riddled with errors, so it's entirely possible that yours is different >>>from>>>mine (and mine is probably less correct, but I'll assume it is OK for >>>now).>>>> Nah. (I play the G majoronewith no ornaments, then the Gm one, and then a fully embellished Gmajoragain, with no repeats). >here are>common patterns, except they mutate. vi even less so, especially since there's no E. It's simply a I6. (phrase end, that is), >>> 25* 26 27 28> G C G D7 G D> ___ ____ / / / ____> I6 Iv I V764 I V. m. 27: Here again is that problematic V6/4 or viio6 or V4/3 in the same place. Perhaps the most interesting to me is the repeated use of accented passing notes and the light 2-voice texture which nonetheless sounds full because of the movement of the melodic line. 116 Full Track $ 34 95 Buy license 1:55 Johann Sebastian Bach: Notebooks for Anna Magdalena Bach, Minuet in G major, BWV Anh. In bar 20, there is an A major chord. Bar 10 is similar to bar 3, except that the bass rises to B which is the 3rd of the 5/3 chord on the scale degree. Enjoy playing along with 1 backing tracks which you can control with the track display. This was domestic music, to be enjoyed by the family. Copyright: Public Domain There is an accented passing note on the 3rd beat giving a 4-3 sequence of intervals with the bass. This is a fascinating and fun little piece of music history that spans almost 300 years. Copyright: Creative Commons Attribution 3.0, Sheet Music: Brahms-Waltz; Publisher: Breitkopf & Hrtel, 1865 I started hearing it this way right before I wrote this analysis. "I started cracking up, and he said, "You laugh, but now you won'tforget it." It seemedlike he was trying to do a major key version of the i6-viio6-i fromm.27 of the minor piece we looked at. It subsequently returns back to G with the introduction of the C natural. Lo and behold, they've analyzed the first A in the bass as passing. Six Symphonies - Antonio Brioschi 1998-01-01 The introd. or even a 2 + 1 rhythm scheme Am - D6/4> into the G. I respect the fact that you know much more about the> history of counterpoint than I and are very knowledgable in general.> But the fact is there aren't any triads here.>> I'm not trying to argue you - I accept your solution as making sense> in context. What happens next is an exact repeat of bars 21 and 22 but in the key of G, reusing musical material to add to the cohesion of the return to the original key. Yet one of the great miracles of Bach's music for solo instrument (even in pieces for keyboard) is the rich harmony and harmonic motion accomplished by implication: harmonies are formed by a succession of arpeggiated notes - one at time - and our listening mind connects them into chords after the fact. I was basing that on the A in the bass and the C in the last 8th ofthe soprano- using D dom 7th. For years, classical music fans giggled at the idea that Johann Sebastian Bach had written a pop/rock vocal hit. The minuet is full of polyphonic texture, creating a dramatic . 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