By Allen Winold
J. S. Bach’s Suites for Unaccompanied Cello are one of the such a lot adored and often 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 examine. The musical examples herein comprise each notice of all hobbies (so one wishes no separate replica of the tune whereas examining the book), and undertakes either uncomplicated analyses—harmonic aid, practical harmonic research, step development research, shape research, and syntagmatic and paradigmatic melodic analysis—and really expert analyses for a number of the person routine. Allen Winold provides a finished research meant not just for cellists, but additionally for different performers, song theorists, track educators, and expert common readers.
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Additional info for Bach's Cello Suites: Analyses and Explorations, Volumes 1 & 2
They may be accented or unaccented; they may be consonant or dissonant. • Suspensions (Sus) are approached by the same note; they are left by step down. They are always accented; they are usually dissonant. The “same note” may be a tied note that begins in one chord and extends into a second chord before it resolves, or in some cases the note may be repeated at the beginning of the second chord before it resolves. • Anticipations (Ant) are approached by step or leap, either ascending or descending; they are always left by repeated note.
I label bar 1 as the beginning of the PRELUDE and bar 28 as the beginning of the FUGUE, even though Bach did not put these markings in the movement. The lute version of this movement, written by J. S. Bach, does contain the tempo marking “très vite” (very fast or lively) at the beginning of the FUGUE. I have referred to the lute version for assistance in determining some of the harmonic content of this and other movements in the Fifth Suite, and I discuss some possible alternate readings of the music of this suite in chapter 8.
A descending line in the upper voice of bars 44–48 leads to the fermata at the end of the 8th section. The ascending bass line in bars 55–59 creates a powerful opening for the Last section, and the descending middle voice step-line in bars 59–63 creates a convincing ending for the movement. 5. Second Suite Prelude: Melodic Feature Analysis The melodic material in the beginning of the Second Suite Prelude has a different character from the melodic material in the beginning of the First Suite Prelude.