The third movement in this suite is still quite lengthy compared to other Sarabande examples but it is relatively straightforward in its construction.
Moving straight into A Harmonic minor in bar 1, the music then moves back a fifth into D minor via D Melodic to D H. minor using the most basic of changes:
(C Maj) C Ionian (+1) = C# Alt (D Mel) – B Aeolian b5 (-1) = Bb Lydian #2 = D H. min
This route of moving from C Major to D Harmonic minor is the go to alternative to the other simple way of: C Major – F Major – D H. minor.
The route back to A minor is not quite as simple, in fact a very unusual sequence of scales are used in bars 6 – 9:
D H. min – D Hung. Min – A N. min – E Persian – E Persian nat 6 – E Ionian b5 – E Major – E H. Major – A Melodic
The switch from D Hungarian min to A Neapolitan min is common but then the route to E Major is very unusual, the alterations of the 4th and 3rd in the Neapolitan minor scale is a bold choice followed by the raising of the 5th in E Ionian b5 leads to E Major and then the flattening of the 6th to E Harmonic Major creates a nice cadence to A Melodic.
Bars 9 – 16 have a wave sequence with C Major at the centre:
C Major – F Major – C Major – D Melodic – C Major
You can see the effect that Bach is going for, and the D Melodic is a nice touch, creating a perfect cadence to the ii chord of D minor in the key of C Major. The modal sound is A Mixolydian b6 to D Dorian.
The second half has the typical modulation up a fifth to G Major and its relative E Harmonic minor:
(G Major) D Mixolydian (+1) = D# Alt bb7 (E Harmonic minor) – E Melodic
From here the move is back through the key of C Major to F Major and its relative D minor:
D Harmonic Major – D Harmonic minor – D Melodic – D H. minor – F Major
The clever move is the choice of E Melodic to D Harmonic Major, which occurs via two notes being flattened at the same time, in bar 24, leading the music into D Melodic.
All that remains is to return to the home key of A minor:
(C Major – A Harmonic minor) x2 – A Hungarian minor – A Harmonic minor
The Hungarian minor often makes an appearance at the end of a piece as the #4 creates the implied progression of B7 – E7 – A minor or a V – V – I minor.
Next, we have the Gigue and a return to complex sequences once more. Thanks for reading.
My book The Modal Method of Music (M3) is available here:
Don’t forget to sign up for alerts on my website when I post new material.
Comments