Table of Contents
I.
Chapter 1
Historical Background of J.S. Bach ............................................................................... 2
II.
Chapter 2
Bach’s Violin Sonatas and Partitas ................................................................................ 5
III.
Chapter 3
Sonata No. 1 in G minor: Adagio ................................................................................. 10
Form .................................................................................................................... 10
Texture and Harmony ....................................................................................... 13
IV.
Chapter 4
Sonata No. 1 in G minor: Fuga .................................................................................... 15
Form .................................................................................................................... 16
V.
Chapter 5
Sonata No. 1 in G minor: Siciliano .............................................................................. 21
Form .................................................................................................................... 21
VI.
Chapter 6
Sonata No. 1 in G minor: Presto .................................................................................. 24
Form .................................................................................................................... 26
VII.
Chapter 7
Overall Connections...............................................................................................28
VIII.
Appendix
Graphs of Form ......................................................................................................30
Annotated Score .....................................................................................................35
IX.
Works Cited .................................................................................................................42
1
Chapter 1
Historical Background of J.S. Bach
Johann Sebastian Bach was born March 21, 1685 into a musical family. Living in
Eisenach, Bach’s father, Johann Ambrosius, began to teach him to play the violin and the
harpsichord. Soon after, J.S. Bach’s uncle, Johann Christoph Bach taught him how to play the
organ. He became very prolific on all three instruments. Unfortunately, due to poor living
conditions, Bach lost both his mother and father and was taken in by his brother Johann
Christoph. (Johann Sebastian Bach, Eisenach)
Johann Christoph, an established organist, continued to teach his younger brother
harpsichord and organ, even composition. While in grammar school Johann Sebastian was
offered a position in the choir of the Michaelis monastery at Lüneburg. While living in
Lüneburg, Johann Sebastian participated in the choirs as a soprano. As he matured, he was given
a position as a violinist in the orchestra, and employed his harpsichord skills as rehearsal
accompanist. As a student he was able to explore German music as well as French and Italian
compositions. (Johann Sebastian Bach, Lüneburg)
At eighteen, Johann Sebastian went to Weimar and was offered a violin post of the
chamber orchestra of Duke Johann Ernst. Later, he was offered the position of organist at
Arnstadt. While employed at this church, he took the opportunity to hear Buxtehude, Reincken
and Böhm, filling him with new ideas and musical inspiration. (Koster, Weimar (I))
In 1707, Bach won the position of organist in Mühlhausen. Soon after, he married his
cousin, Maria Barbara, and began to organize church music and train his choir and orchestra.
This inspired the renovation of St. Blasiuskirche, including the construction of a new organ
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under Johann Sebastian’s watch. However, due to religious controversy in Mühlhausen, Bach
resigned and returned to Weimar. (Koster, Mühlhausen)
In Weimar, Bach returned to his post under the Duke of Sachsen-Weimar. Being
promoted to the leader of the chamber orchestra, he demanded the organ be rebuilt. Bach’s
composition of organ pieces flourished, as he experimented with preludes and fugues; testing his
improvisational techniques on organs all over Germany. Unfortunately, with the death of his
Capellmeister, he was passed over for a promotion. Bach was then introduced to the Court of
Anhalt-Cöthen and took a position as Capellmeister. (Johann Sebastian Bach, Weimar (second
term))
In Cöthen, Johann Sebastian was able to focus on his music, composing most of his
chamber music, including his violin concertos, sonatas, and keyboard music. While Bach was
away traveling with the other court musicians, his wife, Maria Barbara passed away, leaving her
children behind. Bach was lucky to find and marry Anna Magdalena Wilcke, to care for his
children and bear thirteen more, all while supporting and aiding Bach in his musical endeavors.
(Johann Sebastian Bach, Cöthen)
Wanting to give his boys a noble education, he moved the family permanently to Leipzig,
where he took post as Cantor and Music Director. Bach’s duties included organizing music for
the four main churches in Leipzig and training a choir with the children attending Thomasschule.
He also worked with the orchestra of twenty members for masses, as well. Each mass consisted
of a motet, hymns, an organ voluntary, and a cantata. Bach composed his cantatas in parallel to
each Sunday of the liturgical year. In 1729, he became the director of Collegium Musicum (a
secular music organization). (Koster, Leipzig)
3
As highly celebrated as he was, Johann Sebastian toured, trying organs at many churches,
as well as harpsichords and the newly crafted pianoforte. In his final days he worked on
finishing his chorale fantasies, Contrapunctus XI and his fugue featuring the theme B-A-C-H (B
being Bb in German notation and H being B natural) which was never fully completed.
On July 28, 1750, Johann Sebastian Bach died and was buried at St. John’s Cemetery.
He was exhumed and moved twice, finally coming to rest at Thomaskirche. Bach passed away
as a highly revered, exceedingly celebrated musician. (Johann Sebastian Bach, Leipzig 3)
4
Chapter 2
Bach’s Violin Sonatas and Partitas
Johann Sebastian Bach completed his six sonatas and partitas for solo violin in 1720
(Bach, J.S.). These six compositions are a collection ultimately meant for performance, but also
as training to fully understand the techniques of the violin.
In this set, there are three sonatas and three partitas. The three partitas are written in
church sonata form, or sonata da chiesa (Lester, 7). They exhibit a series of dance movements
that differ between each partita. Partita No. 1 in B-minor features an Allemanda, Corrente,
Sarabande, and Borea/Bourree. Partita No. 2 in D-minor has the same dance movements and
ends with a Giga and Chaconne. Partita No. 3 in E-Major has a completely different set of
dances: Preludio, Loure, Gavotte en Rondeaux, two Menuets, Bourree, and a Gigue. (Bach, J.S.)
The sonatas are in chamber sonata form, or sonata da camera. These pieces each consist
of the following movements: a slow movement, a fugue, another slow movement, and a fast
finale (Lester, 7). The similarities of the three sonatas go way beyond just their structural
formation. Tonalities and harmonic progressions are reflective from sonata to sonata, as well as
the compositional and contrapuntal material employed by Bach from piece to piece.
Although all three sonatas are not entirely similar, Sonata No. 1 in G minor and Sonata
No. 2 in A minor have the most aspects in common. Beginning with form, the structures of each
of the relative movements are strikingly analogous. Each of the first movements- despite the G
minor’s title Adagio and the A minor’s Grave- create a significant form highlighting distinctive
chords and sections within the overall construction. Most importantly is the improvisatory feel
of substantial chordal landmarks filled in with winding melismatic melodies. Furthermore, each
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of these opening movements serves as a prelude for the succeeding fugal movement. As the Gminor Adagio as a prelude is explained in chapter 2, the A-minor Grave prepares the listener for
the fugue in an even more meticulous way. Bach uses the last few lines to modulate to E-Major
in provision for the E-Major opening of the fugue.
The second movement of each sonata – both entitled Fuga- are each based on a short
subject of identical length. Despite the brevity of each subject, the material within varies greatly.
While the G-minor spans only a fourth (from D down to A), it is mostly stepwise and features at
most a skip of a third. In the A-minor, however, the subject exceeds an octave and features
many skips and leaps. Furthermore, where the G-minor subject sets up for a strictly tonal answer
on the sub-dominant, the A-minor has a tonal answer. Each composition is of considerable
length; however, Bach became more creative with each of his fugal movements. The A-minor is
nearly twice as long as the G-minor. Despite the vast difference in length, each movement
encompasses the rhythm of eighth note- two sixteenths throughout, and each features the flow of
sixteenth notes that make up nearly each episode. Most important to note, Bach used many more
contrapuntal devices in the A-minor to make it so expansive compared to that of the G-minor
Fuga.
The third movements are less alike, as the G minor encompasses a Siciliano and the A
minor an Andante. Despite the difference in these titles, the overall materials are reminiscent of
each other. Each movement has two distinct voices that are significant in understanding the
evolvement away from a bass accompaniment. Furthermore, Bach allows only the third
movements to begin in a contrasting key, while every other movement begins in the tonic. The
G-minor’s Siciliano is in the key of Bb Major and the A-minor sonata’s Andante is in the key of
C-Major. (In Sonata No. 3 in C-Major, the third movement begins on the subdominant F6
Major). Tonality is also a major distinguishing factor between the sonatas and partitas, as all the
movements of the partitas remain in the tonic key.
The final movements are of perpetual motion and in an A-B form. The G-minor Presto
and the A-minor Allegro both highlight similar tonalities and the tonic-dominant relationships. It
is interesting to note the absence of dynamics in the first sonata compared to the second. Bach
had marked in the dynamic echoes necessary for performance in the Allegro, however, in the
Presto it is up to the performer to highlight cadences within the constant line and truly
understand the underlying harmonic language Bach chose to use. Furthermore, Bach’s choice of
tonalities of G-minor and A-minor work so perfectly for the violin’s tuning pattern. G and A
minor are stable sonorities and are compatible with the open strings- being very resonant and
useful in each of the movements.
All six solo pieces explore a wide range of music for the violin at this time due to the
application of tonalities, types of movements, and techniques. There is no record of musical
compositions coming close to that of the complexity of Johann Sebastian’s writing (Lester, 9).
Bach’s Sonatas and Partitas truly offer violinists an array of musical, technical, and
compositional opportunities.
As we know, Bach was more than just a composer and organist, but an accomplished
violinist, as well. It is no wonder he understood how to write for the violin so well!
Bach’s original score tells a lot about how he intended the piece to be performed and
interpreted. It is very significant to note Bach’s original title page stating: “Six Solos for the
Violin without Bass Accompaniment. First Book. By Joh. Seb. Bach. In the year 1720.”- The
7
most important phrase being: “without Bass Accompaniment” (Lester, 11). During this time in
compositional history, the basso continuo was such a standard texture creating fixture in the
repertoire that Bach had to be sure to emphasize the lack of this part in his composition. How
was Bach able to leave this voice out of his writing?
Well, Bach wrote more than just the musical line for the violin in his sonatas and partitas.
Rather, he created texture with chords and other methods, which allowed these pieces to be
performed without the accompanying bass line. Embedded into the complex lines of music are
principal “bass notes”- usually the lowest pitch of a group of notes- that are meant for the
violinist, in performance, to hang on to and make stand out so the listener’s ear grabs on to it.
This helps establish tonality and fill in the missing bass part the listener aspires to hear.
Understanding the fact that Bach wrote his sonatas based on the church sonata is
imperative to appreciating his use of church modes, especially in the G minor. Despite his
emphasis of “G minor” he wrote his entire composition with only one flat, instead of two. In G
minor, the relative major is B♭which has two flats (B♭and E♭). Because this sonata only has
one flat (B♭) it employs the use of the church mode of G Dorian. At this time is musical history,
it can only be assumed there was a discrepancy of which accidentals belonged in minor
compositions’ key signatures, hence the absence of the lowered sixth scale degree. Bach retains
this one flat key signature throughout the sonata, despite the Siciliano in the key B♭Major. With
the absence of the second flat, the Siciliano seems to be composed in F Lydian. Despite Bach
following the more conservative approach to key signatures, he keeps his composition fully tonal
as we expect minor and major to be today. (Lester, 13-14)
8
We are truly fortunate to have Bach’s original manuscripts because it tells the performer
so much about how to execute each note and nuance. Each stem and beam creates a visual idea
of the shape of the line, painting exactly which notes to emphasize and where to pull back or
push forward in tempo. With a computerized arrangement, you lose the flowing look and feel of
Bach’s actual writing, leaving the performer unsure of how to properly execute the dynamic
contour of the piece. (Lester, 16-17)
9
Chapter 3
Sonata No. 1 in G minor: Adagio
In baroque compositions, it is customary for a fugue to be preceded by a prelude. As in
Bach’s Preludes and Fugue sets, the Adagio movement of the G minor Sonata serves as a prelude
to the second fugal movement (Lester, 25). The G-minor Adagio is a masterful display of
contrapuntal techniques and expertly prepares the listener for the Fuga that is to come. The
purpose of this introductory movement is to establish the tonic key and this is accomplished
through the initial tonic chord of G-minor and, after wandering through the pre-dominant and
dominant keys, arriving yet again on the G-minor chord precedent to the fugal subject.
Despite Bach’s intent of developing material to prepare the listener for the fugue, he
greatly contrasts what is to come. The fugue exemplifies a specific structure and rigid form,
while the Adagio demonstrates free, flowing material with an improvisatory composition style of
melismas and motives.
Form
In the G- minor Adagio, there are three distinct sections of music, with definite cadences
denoting the beginning and end of each. The compositional material found in these three
sections seem to exhibit a clear exposition, development, and recapitulation, and may be
mislabeled as the classical style of “sonata form”.
In classical sonata form, the exposition highlights the tonic with one theme and moves to
another closely related keys- usually either the dominant or relative major (if in minor) to form
the harmonic background of the second theme. This modulation prepares the development
section. Here, the composer embellishes on ideas from the exposition while ambling through
10
several harmonies and tonalities. The close of the development is marked by the modulation
back to the tonic key and reiterating the previous themes in the third and last section titled the
recapitulation. The purpose of this final segment is to restate the first theme in the tonic key
again, and for the listener to hear the second theme in the tonic key, as well. (Lester, 40)
The form of the Adagio differs from that of the assumed sonata form. In the “exposition”
section Bach, although he modulates expectedly, does not emphasize two distinct themes within
the section. The “development” section also acts as anticipated, modulating often. However,
Bach does not return to the tonic before the “recapitulation”, but continues to shift keys. Upon
the start of the “recapitulation”, the tonality of the piece has not cycled back to the tonic of Gminor, but rests on the subdominant of C-minor. Although the listener hears similar material to
the opening of the piece, it is actually a transposition and new figuration of the previous music
over parallel chords to that of the opening.
There are obviously too many differences between the Adagio and sonata form to classify
it as true sonata form. Is this possibly a ternary form that can be labeled A B A1 or even A B C?
Well, in reality, the Adagio is a through-composed movement that reflects often on previous
material. Bach, at the end of the Baroque era, was a pioneer of this pre-sonata form, which was
later adopted by classical composers including Mozart and Beethoven (Lester, 41).
Although the G-minor Adagio is through-composed, specific sections and motives are
used by Bach to create continuity throughout the movement.
Section I: (m1-9)
The piece begins in G-minor, opening with a tonic chord. The power of the open G and
D strings allow the violin to ring and fully establish the harmony in the listener’s ear. Harmonic
11
motion begins very slowly, changing at every half measure, and hastens to every quarter note,
before slowing once again. The chord progressions are predictable, however, the use of
embellishments fill in the chords and set the improvisatory style of the piece. It is important to
note the progression of the opening as it reappears in section III:
i iiø7 V7 i VI6 (V) VI7 iv7 V7 i
The tonic chord at the conclusion of this succession is a pivot chord that allows the
tonality to shift to the dominant of G-minor: D-minor. The texture in the D-minor section is
thicker, as there is more depth in the chords. There is less of an ornamental feel, as the primary
note value is sixteenth notes- a little more steady than quarters and eighths embellished with
thirty-second and sixty-fourth note flourishes.
Section II: (m9-14)
Section II is an area for modulation and development of material. Bach meanders
through D-minor to G-minor, progressing to C-minor and E♭-Major (still tonicizing C-minor),
and moving back to C-minor in preparation for section III. There seems to be no specific
number of measures before Bach continues on with another modulation. He also shifts smoothly
between these closely related keys by using pivot chords to transfer fluently.
In this middle segment, there is a combination of chords and embellishment. Each
landing point is surrounded with a swirl of notes that pulls the ear to and from each cadence.
The most intriguing aspect of this section is the intensity of the harmony as it progresses. The
highest pitches build from a D(4) to E♭ to F# to G and finally to an A♭ before resting on an A
12
diminished seventh chord (A°7) voiced with an A♮ 2, G♭ 3, and an E♭ 4. There is an importance
to the half step relationship of the A♭ to the A♮ despite the octave placement.
Section III: (m14-22)
Section III encompasses similar material to that of section I. Despite still being in the
subdominant (C-minor), the return of the harmonic progression from section I is prominent.
Bach takes advantage of the open strings of the violin to create the depth and texture that would
be missing because there is not a basso continuo. This works effectively in both G-minor and Cminor, as G and D are diatonic in each tonality.
This last section seems to continue with the tension prepared in section II before
unwinding into a simple line. Thickly stacked chords are close together and seem incessant.
Gradually, building again to an A♭ reaching beyond to the A♮, the line tumbles down to the
lowest note on the instrument, the open G string. As the line cascades, everything unfolds into a
single thread of notes, the bass descending lower and lower, until the last flourish of notes entice
the listener to the final G-minor chord, concluding the movement.
Texture and Harmony
As the G-minor Adagio progresses, Bach uses distinct cadences to outline the tonalities
within his modulations. The violin is very comfortable in the tonic, and Bach utilizes the open G
and D strings to this advantage. The violin is able to sound so full in this key especially due to
Bach’s implement of all four of the strings. The fullness of these tetra-chords creates the rich
texture and makes up for the fact that there is no separate instrument providing a bass line. Bach
uses the lowest notes, usually on the G string, to point out these bass notes. When performed,
13
these are meant to be held onto to emphasize the tonality and pedal necessary for the upper notes
to flourish over.
Bach understood his use of harmonies to shift mood and style to highlight each of the
sections within his composition. A clear mood is established with each measure. When the
texture is heavy and fiery there are thick, consequent quadruple stops and when the texture thins,
a single melodic line is spun. Distance is also created this way, especially with somewhat
disjoined pitches across strings. There seems to be a lack of a prominent bass line, as the ear
tries to hold onto that last pedal.
14
Chapter 4
Sonata No. 1 in G minor: Fuga
Bach was clearly a master of the fugue. He knew exactly how to craft each fugue,
stringing his ideas together perfectly. From his subjects to his answers, from the entry groups to
the episodes, he gives the listener so much to listen to and the performer the opportunity to
energize each section.
As discussed, the Adagio is essentially a prelude to the Fuga movement in the G-minor
sonata (Ledbetter, 100). Bach accomplishes more than just this prelude/fugue relationship
between these two movements. Even the material embedded within subconsciously sets up the
listener for the music that is to come in the opening exposition of the fugue. In the Adagio there
is a juxtaposition of A and Ab representing the difference between G-minor and C-minor.
Although Bach passes through C-minor before concluding the movement in G-minor, in the last
flourish of sixty-fourth notes, he subtly adds an Ab (note this pitch is significant in the
subdominant of G-minor: C-minor) (Lester, 68). But why was Bach so moved to add this nondiatonic pitch as he cadences in the tonic so strongly four pitches later?
The one measure subject of the Fuga is the perfect explanation. Beginning on the
dominant, Bach set up perfectly to answer in the subdominant. Although this is uncommon, for
a tonal answer, it was impossible to answer on the dominant due to the quality of the pitches of
the subject. Since the listener would expect the answer to be on the dominant and not the
subdominant, Bach prefaces C-minor with the ending of the Adagio, hinting the Ab so the
listener is not caught completely off-guard. The motive of the subject supports the fact that Bach
begins on the fifth scale degree and is then able to write a tonal answer on the tonic.
15
Form
The overall form of the fugue is relatively standard. Bach uses vital cadences to
sectionalize his thoughts and ideas, creating a flow and understanding of entry groups and
episodes. He was creative in transforming the material in each section, being sure that if he had
similar notions in any, they had a completely different purpose. As the piece progresses, Bach
adjusts each section with texture, figuration, contrapuntal devices (sequence, imitation,
fragmentation, etc.), and register. These sections are denoted by cadences. Furthermore, Bach
initiates these other contrapuntal devices to create heightening activity throughout the piece and
keep the listener’s interest as he progresses from entry group to episode.
It is important to realize that cadences do not necessarily occur exactly at the start and
end of each section. Extended contrapuntal passages often obscure where cadences are expected
to be heard. For example, in measure 55, you would expect the cadence to arrive as the texture
changes, yet the actual cadence occurs three measures later. Bach does not stick to a specific
“form” but, instead, uses an improvisatory feel (as the Adagio) to intensify activity throughout
the Fuga.
Exposition (m1-7)
The fugue begins with a simple one measure long subject composed of only four pitches.
It begins as a three voice fugue, yet there are four entries in this exposition in preparation for a
fourth voice that enters well into the composition. In G-minor, the voices enter subject, answer,
answer- link- subject. This is slightly unusual to have two answers in a row (answers begin on
the dominant; D-minor). Furthermore, the positioning of the link in the exposition is also
unconventional. It is not uncommon for a link in this area, however, it is expected to be placed
16
after the first answer, with other voices entering after its completion. In the case of the Fuga, the
link is heard after the second answer (third entry). There is also an extension at the conclusion of
this section that is unseen in most fugal expositions.
It is important to note that Bach only begins subjects and answers in this section on G and
D. He also does not have a countersubject present, although he does have consistent
counterpoint.
Episode 1 (m7-14)
This section is very different. Obviously the purpose of an episode is to develop material
and modulate, but texturally this is very different. Bach employs sequences of running sixteenth
notes before it is interrupted by a fragment of the subject, which is also sequenced. Bach also
explores D-minor, B♭-Major, and back to G-minor.
Entry Group 2 (m14-21.5)
Bach creates the following entries of the subject in a circle of fifths pattern: D, G, C, F.
He creates counter material from an eighth note pattern and a fragment of the rhythm from the
subject, an eighth note and two falling sixteenths. This continues throughout each of the entries
in this entry group.
Episode 2 (21.5-24.5)
This episode is much shorter than the first, but takes importance as it presents
counterpoint that allows the modulation to D-minor. It encompasses the rhythmic pattern of the
subject; however, melodically it is unfamiliar. The line also falls almost a complete octave
before a cadence on octave D’s.
17
Entry Group 3 (m24.5-28.5)
This third entry group also uses the circle of fifths with entries on D, G, and C. This is
the first time where a consistent countersubject is present. The rising whole tone eighth notes
counteract the descending shape of the subject itself.
Episode 3 (m28.5-m55)
Episode 3 is very similar to that of Episode 2, with the addition of the third voice.
Furthermore, the content in this section is expansive and is broken down into subsections to
separate differences in texture and rhythm. In the first section, the top voice mimics the
rhythmic pattern of the subject, while the lower two voices support with short eighth note chords.
In section 2, beginning in m. 35.5, the texture drastically changes. The first two and a
half measures prepare what is to come. It could be stretched to say the E’s are a ii pedal,
followed by an A as a V, and finally, in m. 38 reaches a tonic D pedal, lasting four measures.
The third and final section is again different in texture, as it resolves to a single voice.
The arpeggios of sixteenth notes are reminiscent of episode 1. It functions to modulate to Cminor as it progresses through. At this point there is the significant entrance of the fourth voice
in the fugue. This is the first time the fourth voice is present. The tenor voice in m. 52 enters
with a statement of the subject, however, it is not to be confused as the start of the following
entry group! The fourth voice keeps pulsing on the dominant open G string, until finally
cadencing on the tonic on the downbeat of m. 55.
Entry Group 4 (m55-64)
18
In this final entry group, Bach uses the circle of fifths for each entry (C, F, F, Bb), but
again, uses the fourth voice for the first time in the whole fugue. The previous countersubject of
rising eighth notes is now transposed. Bach explores quadruple stops to present the subject in
the highest voice, as the lower three support it. Furthermore, the fourth voice functions to fill in
chord structure.
At the start of this entry group, Bach drops out all of the voices but one, and gradually
builds the texture as each voice enters with the subject material. The fourth voice never gets the
subject for itself, but reinforces the subject two-plus octaves above. As the section concludes,
Bach removes the strength of the bass and lightens the texture until it dwindles to a single line in
the following episode. At the conclusion of this section an extension serves to modulate to Bb
Major.
Episode 4 (m64-80)
This episode also is broken down into multiple sections determined by texture.
Beginning with a single voice of running sixteenth notes, Bach builds upon Bb Major before
using arpeggios to modulate to G-minor. There is also a combination of bowings, including
separate sixteenths, three slurred sixteenths and one separate, and two slurred sixteenths. The
second section uses the subject rhythm and sequences it in a descending fashion. The last
section combines the sixteenth notes in the upper voice with supporting sixteenths beneath.
Entry Group 5 (m80-87)
This is a partial entry group, as it features two subject entries, both on D. Although it is
not strictly melodic and has octave displacement, it is reflective of the opening and serves to
conclude the Fuga.
19
Coda (m87-94)
This selection of measures ties in the previous episodes with the sixteenth note patterns
and re-emphasizes the G-minor tonality of the entire movement. In the penultimate measure
Bach introduces for the first time in the movement 64th notes and 32nd notes, relating the entire
Fuga to the previous Adagio movement, enforcing that the two movements are strongly related.
20
Chapter 5
Sonata No. 1 in G minor: Siciliana
The Siciliana is a dance movement marked in 12/8. It is characterized by an inflected,
dotted rhythm followed by a decaying eighth note (Schröder, 69). The texture of this movement
is much lighter than the Adagio and Fuga movements. Therefore, the performer must display the
correct character through bow use. Often this movement is understated by using an agile bow
weight with swift bow speed.
As discussed previously, the Siciliana is written in Bb Major- the relative major key of Gminor, the tonality of Sonata No. 1. This allows for tonal alleviation after the heaviness of the
previous two movements. In the Adagio and Fuga, the key of G-minor sanctions the use of the
open G and D strings for a serious, compelling aspect, while emphasizing the tonality. However,
in the key of Bb Major, the use of the open strings is irrelevant in setting up this tonality.
Because the solidity of the open strings has been removed, it presents a lighter dance feel, and
furthermore, the proper execution of the dotted eighth-eighth note rhythmic motive (Ledbetter,
105).
Form
Like the Adagio movement, the Siciliana is through-composed and there is little
repetition within the overall composition. There are three sections within, each beginning with a
simple motive and ending with a convincing cadence. The material within each section
intensifies, as in the Fuga. With each division, Bach’s composition becomes more and more
intricate and complex, feeding off of the original motive, yet being careful not to have full
imitation.
21
Section 1 (m1-4.5)
The tonality of Bb Major is the basis for the entire opening section, initiating a Bb Major
triad and closing with strong tonic cadence in the same tonality. The movement begins with this
simple motive- a compilation of eighth notes, dotted eighths, and sixteenth notes. The first half
bar outlines a Bb Major triad, and fills it in the missing pitches with a sixteenth note figure. This
structure is transposed and incorporated in each section; however, each restatement is a different
structure of composition. For example, the voice in which it appears varies, yet it is always an
unaccompanied figure. By changing the figuration of the motive, it prepares the key change that
occurs in section 2.
Section 2 (m4.5-8)
This section begins exactly like the opening of section 1, and the motive is still heard in
the third voice. With the completion of the statement, the motive is transposed to D-Major and
again to G-minor, outlining the dominant tonic relationship in the modulation from Bb Major to
G-minor. The modulation to the relative minor is odd for this type of key change. It is expected
that Bach would modulate to the dominant of Bb Major, which is F-Major. However, the Sonata
itself is in G-minor, it seems reasonable to highlight the key and use the open G string in a new
and lighter form. It is important to note that F-Major exists nowhere in the entire movement.
This possibly could be due to the relationship of F-Major to the key of G-minor. Although the
presence of both F♮ and F# are incorporated throughout the entire sonata, the discrepancy of
minor keys at this time may have discouraged Bach from using this tonality.
Section 3 (m9-18)
22
Section 3 begins with an elision of the previous section and octave G’s (G-minor). Upon
the arrival in G-minor and the presentation of the motive yet again, Bach quickly shifts back to
Bb Major with a circle of fifths progression. The tonic arrives on beat three of measure twelve in
a weak cadence due to the suspension held over the downbeat. Another set of circle of fifths
occurs one measure later (m. 13-15), remaining in Bb Major at the conclusion of the line. The
addition of a third voice becomes prominent in this concluding section, filling in the implied
harmonies. This section avoids another cadence in Bb Major until the downbeat of the
penultimate measure, where the Coda, or cadential reiteration begins.
Coda/ Cadential Reiteration (m19-20)
This concluding measure extends the piece and reincorporates the motive from opening.
Bach carefully crafted the motive to outline a tonic chord, followed by a dominant, and closing
on a 6/4-5/3 suspended cadence. This keeps the light feel of the piece.
23
Chapter 6
Sonata No. 1 in G minor: Presto
The Presto is the perfect summation of all of the movements in a perpetual motion of
constant sixteenth notes. As a result of the continuous sixteenths, a system of metrical patterns is
created and can be broken down as follows:
FIGURE 1: Metric Hierarchy (Lester, Figure 5-2, 112)
This explains the “feel” of the sixteenths as accents occur not only on the expected strong
beats in 3/8 time, but the stresses on unexpected beats, as well, emphasizing the conflict and
creating metric ambiguity. It makes the listener question the overall meter of the piece: is it 3/8
or 6/16 meter? For example, in the opening, the vagueness of where the beat actually is can be
interpreted in two different ways. In 6/16 time, it feels as if there is a triplet pulse that creates an
overall pulse of two dotted quarters instead of hearing individual sixteenth notes. However, it
can also be divided into a 3/8 feel of three eighth notes in each measure (See FIGURE 2). To
make it even more complicated, Bach does not allow the listener to experience either long
enough to determine the meter. Instead, he feeds off of this metric abstruseness and spins the
entire piece. (Ledbetter, 107)
24
FIGURE 2: Example of division of sixteenth notes.
The next issue of the Presto is the slurring patterns that exist throughout the piece. In
Bach’s original manuscript, he marks in the bowing that he wanted executed throughout the
piece; they are very demanding and difficult if you do not understand the intention. (See
FIGURE 3)
FIGURE 3: Examples of slurring patterns.
Each of these bowings must be executed exactly in the right portion of the bow for the preceding
and following groups of sixteenths to be performed properly. For example, bowing “3” cannot
be performed with even bow distribution. However, if it begins at the frog of the bow, the player
can achieve it as best a possible moving closer and closer to the tip, aiding in the decrescendo.
25
Form
The Presto is in binary form and has two sets of repeat signs. The material within each
section has similar influences. At the opening of each there is similar introductory thematic
material and at the conclusion of each section there is the similar cadential material. Despite
these similarities, the bodies of each section differ with compositional material, as well as the
tonalities that are highlighted.
As in the Fuga, Bach heightens the level of intensity and activity. For example, he
increases the harmonic motion. In the opening it remains the same for four measures before
shifting to every measure, but to make it even more powerful Bach goes as far as changing
harmonies every half measure. Furthermore, in section A, the highest pitch is a high Bb, where
in the section B, the highest note is pushed even further to a high D- the uppermost note in the
entire Presto.
As stated earlier, the concluding cadences in both section A and B, become more intense.
The first cadence is more abrupt and simple, where the concluding cadence of the Presto is
prolonged and extended with a pedal on D and features an ascending bass line leading to the
actual concluding D-Major dominant chord resolving to the G-minor tonic.
Section A
This first section is the shorter of the two and begins in the tonic of G-minor. There is
lots of arpeggiation in this opening as each triad reinforces the key. As the movement
progresses, there is the shift from G-minor to Bb Major as the music becomes most intense at this
point. Bach employs harmonic progressions, as well as sequences to move through the
movement. This creates motion and line. (As a performer, one must use the shape of the lines to
dictate dynamics and direction).
26
Although there is the importance of the feeling of 3/8 versus 6/16 time, there is further
metric obscurity within each measure. For example, in measure 43, the bass notes are extremely
significant in pointing out underlying rhythmic patterns. Despite the running sixteenths, the bass
notes suggest a quarter note- eighth note rhythm. In measure 25, Bach implies a duple rhythm of
two dotted eighth notes, which also helps to speed up the motion of harmony.
Harmonically, the progressions are expected and simple. At the conclusion of this
section the material settles and is reminiscent of the opening as it modulate to D-minor in
preparation for the next section.
Section B
Beginning in D-minor, this opening starts with an inverted motive of the very beginningan arpeggiation spanning over two octaves. Bach uses much of the same material from section
A. He uses similar patterns as previously heard transposed into the new key. However, Bach
does use this section to intensify the composition. He expands beyond the sequences and
develops new material featuring different harmonic progressions to link familiar compositional
material.
Bach also uses elisions to end and begin new phrases seamlessly. For example, in
measure 82, the downbeat concludes the sequence that preceded it, yet sets up the material that is
to come in this new section. With the use of new contrapuntal writing, Bach further obscures the
beat. Beginning in measure 117, there is a combination of sequence and the complexity of the
bowing pattern.
Bach follows the same harmonic motion as in section A, utilizing stepwise motion as a
basis for this entire composition.
27
Chapter 7
Overall Connections
The G-minor tonality of Sonata No. 1 in G minor is ingenious for the violin. Bach
understood the complexity of the sound of the violin and was able to use this to his advantage.
Because the lower two strings are G and D, the instrument is able to respond well to this key and
use these lower strings beyond tonality. Texture is the most important aspect of this sonata.
With the use of all four strings, Bach is able to create a depth to the sound and utilize the whole
range of the violin.
The flow from one movement to another, although strictly following the form of a sonata
da camera, is perfectly crafted. The Adagio appropriately prepares the sonata as a prelude-type
movement, featuring very improvisatory lines and melismas, acting as an introduction to the
Fuga. The second movement follows this fugal design and is expanded from entry group to
episode, seamlessly weaving together subject after subject.
The Siciliano is written in Bb Major, the relative major of G-minor, and offers relief from
the intense fugue that preceded it. The major key helps to lighten the depth of the fugue. Also,
the 6/8 time signature creates a lilt to the musicality and pulls the listener onward. Finally, the
Presto, a movement of perpetual motion is the perfect conclusion. Featuring the G-minor tonic,
Bach throws harmonic motion into full throttle and runs with it. The constant sixteenths and the
underlying ever changing rhythm pull the listener and create a sense of suspense for the listener.
The concluding authentic cadence is reminiscent of the opening G-minor chord, tying in the
overall structure of the entire sonata.
Each of the movements features little aspects that offer material that is linked to each of
the other movements. Most notably, the Presto and Adagio movements encompass a hidden bass
28
line throughout that offers harmonic stability. In the Adagio, these bass notes are adjusting the
listener’s ear to the fact that there is no supporting bass instrument. The use of the open G string
helps to develop the tonality and harmonic movement throughout. In the Presto, the bass notes
create the underlying harmonic and rhythmic line. These notes point out the melody in the
continuous sixteenth note pattern, giving the line direction.
Furthermore, there is an importance of the relationship between each of the bass notes.
In the Adagio, the bass notes are the root position tonic of each chord change. The harmonic
outline is very easy to see and is simply embellished by the rest of the notes on the page. In the
Presto, the bass notes are related more so by melodic inspiration than purely harmonic. In a way
all of the other notes outline these. It is important to notice, also, that as the line moves stepwise
in one direction, the other sixteenths seems to also move in similar patterns in the opposite way.
The relationship is clearly meant to drawn in the listener as more than just the perpetual line, but
“hidden” melodies within.
Bach’s Sonata No. 1 in G Minor encompasses so many techniques that make the
composition as a whole truly remarkable. From the Adagio, to the Fuga, to the Siciliano, and
concluding with the Presto, each of the movements emerge seamlessly, stringing together the Gminor tonality and the melodic lines Bach spins from such simple ideas. Johann Sebastian Bach
was truly a master of counterpoint and composition during the Baroque Era.
29
Adagio: Through-composed : A B A1
A
A1
B
m1
m5
m9
m13
m14
transposition of m 1-9
with new figuration
i iiø7 V7 i VI6 v6 VI7 iv7 V7 i
i iiø7 V7 i VI6 VII7 VI7 iv7 V7 i
mod. gm, cm, EbM
mod. cm
mod. dm
dm: v7 VI
dm: V i
EbM: V vii°7
V
cm: i
30
gm:
m22
mod. gm
gm:
i
Fuga: Fugue
Exposition1
Episode1
m1
m4
A3g
1
m4.5
m6
Entry Group2
m7
m14
S4d
L
Episode2
m19
S5d
S7c
S9Bb
S1d
I
N
(tonicization of dm, BbM)
ext.
S6g
S8f
N
K
3
m21.5
L
I
2
m20.5
K
A2g (real)
S10a
mod. dm
HC
Entry Group3
gm: V i
dm: i
Episode3
m24.5
m27.5
S13c
1
HC
Entry Group4
m28.5
m35
m42
m52
a
b
c
d
31
gm:
m55
m60
S16f
S17Bb
S19c
S18d
S20eb
L
S12g
2
[CS------]
I
sequence
N
pedal D---------------------
3
S11d
[CS------]
K
S14c
Entrance of countersubject
Entrance of 4th voice
S15f
4
mod. cm
dm: vii°6/4
cm: V---------- i
Fuga: Fugue (Continued)
Episode4
m60
m61
m64
S21d
1
Entry Group5
S23f
a
m74
m77
b
c
m80
m81
S24d
L
sequence
I
2
22
S
sequence
f
CODA
m82.5
m84
m94
L
I
ext.
N
N
m87
K
K
S26d
3
mod. BbM
BbM:
32
sequence
mod. gm
i
gm: V
i
gm: V7 i
V i
Siciliano: Through-composed: A B C
A
B
2
3
4
4.5
5
6
7
motives
BbM:
8
9
mod. gm
HC
V
gm: V7 i
I
Cadential Extension/Reiteration
9
19
Circle of 5ths
sequence
mod. BbM
V
I
20
33
m1
C
Presto: Binary Form: A B
Section A
m1
Section B
m14
m25
m47
Harmonic sequences
m55
pedal A
(Circle of 5ths )
mod. BbM
m63
m82
mod. cm
dm: vii°7 i V7 I || I
m107
Harmonic sequences
mod. gm
m136
Increased
Harmonic motion
mod. gm
cm: V I
gm: V7 i6
i6/4 V7 i
34
BbM: I
gm:
gm: I
mod. dm
Annotated Score
*
35
* mod. = modulation to new key
Sn = Subject Entry Number
36
An = Answer Entry Number
37
38
[ ] m. 1-2 = motives
39
[ ] m 9, 19 = significant cadence marking
a new section
40
41
Works Cited
Bach, J. S. "Sonata No. 1 in G Minor." Six Sonatas and Partitas for Solo Violin. Ed. Ivan
Galamian. New York: International Music. 1-7. Print. IMC2525.
"Johann Sebastian Bach." Baroque Composers and Musicians. Web. Fall 2010.
<http://www.baroquemusic.org/bqxjsbach.html>.
Koster, Jan. "Johann Sebastian Bach's Life." 29 Mar. 2002. Web. Fall 2010.
<http://www.let.rug.nl/Linguistics/diversen/bach/map.html>.
Ledbetter, David. Unaccompanied Bach: Performing the Solo Works. New Haven:
Yale UP, 2009. Print.
Lester, Joel. Bach's Works for Solo Violin: Style, Structure, Performance. New York:
Oxford UP, 1999. Print.
Schr der, Jaap. Bach's Solo Violin Works: a Performer's Guide. New Haven:
Yale UP, 2007. Print.
42