Partita No. 4: Sarabande and Gigue

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  • Partita No. 4: Sarabande and Gigue
    • Melody
      • Conjunct movement
        • Scalic movement in faster passages
      • Disjunct movement
        • Often involves broken chords
          • Beginning of GIGUE - broken D followed ny broken D7
          • Minor 7th to outline crucial notes in 7th chord
            • 22 and 23 SARABANDE
    • Harmony/ Tonality
      • Use of major-minor tonality with modulations to closely related keys
      • Each movement begins D major - mods to dom. in A section
      • Return to tonic in B section
        • returns via related keys (B minor 19-20, E minor 29-30)
      • Functional harmony used
        • Largely diatonic
      • All sections end with perfect cadence
      • Lots of dissonant moments
        • Dim 7th over tonic pedal immediately before final chord of SARABANDE
        • Some chromatic movement - C#-C in top part (41-43)
      • 7th chords - 'broken' 7th bar 8 SARABANDE
      • Suspension - bars 75 and 77 of GIGUE
      • Appogiaturas add tension in closing bars both sections of GIGUE (41)
    • Rhythm
      • SARABANDE
        • Simple triple time with slow beat
        • Emphasis on 2nd beat only noticeable in both bars of opening phrase
        • Frequent passages of quavers in LH (3-4)
        • Use of syncopation - quavers beginning off beat (bar 5)
        • Use of complex rhythms (sounds like free improve)
      • GIGUE
        • Compound triple time - 3 sets of semi per bar
        • Almost continuous semiquaver movement
    • Instruments
      • No instrument specified
      • Partitas usually played on harpsichord
      • Some limited dynamic contrast available
    • Texture
      • SARABANDE
        • Almost two-part writing
        • RH melody with demisemi and semiquavers
          • MDH
            • LH supporting part with mainly quavers
        • LH supporting part with mainly quavers
        • Beginning/ end of each section, other parts added
        • Bar 2 is monophonic - one note at a time sounding
      • GIGUE
        • Three-part writing with some fugal textures
        • Opening 6 bars monophonic - establishes fugal subjects
        • Second fugal entry (answer) starts on dominant
          • Makes 2 part texture
        • Final entry (subject 1 on tonic)
          • Builds up to 3 part texture (bar 17)
        • 2nd section begins monophonically with new fugue subject (Bar 49)
    • Structure
      • SARABANDE
        • Rounded binary
        • Two sections
          • Section A ends in dominant
          • Section B returns to tonic
      • GIGUE
        • Binary
        • Fugal elements, but not a regular fugue
        • A ends in dominant key
        • B ends with tonic

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