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Bach's Cello Suites: Analyses and Explorations, Volumes 1 & by Allen Winold

By Allen Winold

J. S. Bach’s Suites for Unaccompanied Cello are one of the so much adored and regularly performed works within the complete literature of track, and but they've got by no means been the topic of a full-length track analytical research. The musical examples herein contain each notice of all hobbies (so one wishes no separate reproduction of the song whereas studying the book), and undertakes either easy analyses—harmonic relief, useful harmonic research, step development research, shape research, and syntagmatic and paradigmatic melodic analysis—and really good analyses for many of the person activities. Allen Winold provides a accomplished examine meant not just for cellists, but in addition for different performers, song theorists, tune educators, and educated basic readers.

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Additional resources for Bach's Cello Suites: Analyses and Explorations, Volumes 1 & 2

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Bar 1/notes 3–5 and 11–13) • Turn patterns are similar to neighbor patterns, but they involve both an upper neighbor note and a lower neighbor note. (bar 24/notes 1–4) • Chordal patterns are leap patterns that involve movement from one member of a chord to another member. (bar 13/notes 1–4, and 5–8, bar 25/notes 1–4, bar 26/notes 1–4) • Mixed patterns use both steps and leaps. (bar 7/notes 9–12 and 13–16) 18 | Bach's Cello Suites, Volume I Often it is appropriate to analyze melodic features as combined pattern types.

Bars 11–13 present an expanded secondary dominant progression that includes a secondary subdominant chord ({III:S}) as well as a secondary dominant chord. The 3rd section begins with a fairly strong cadence chord on F major, but it does not remain long in this tonality. Instead, bars 14–15 present a secondary dominant progression on iv (G minor) and bar 16 moves to the tonal region of A minor (v). The 4th section is clearly in the tonal region of v (A minor), even though it begins on a VI (L) chord.

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. In both cases the melodic material is interesting and recognizable; however, it is more lyric and memorable in the Second Suite Prelude. This is because the melody is more varied in its rhythmic durations and pitch intervals, more lyric or well formed melodically, and more similar to the beginnings of other wellknown melodies.

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