We have reached the final movement in this suite with the Double. Now, for those who are unaware, a double is often defined as a variation on the previous movement. That was the Gigue (Jig), so a triple time dance, just like the Double. We will be referring back to the previous movement, so I have the link to the analysis of it here for anyone who wishes to refer to both in two windows:
Now, before we rush off, I just want to add a quick note on simultaneous modulations.
There are two types of simultaneous modulations, which means two alterations occurring in the music at the same time. The first is a ‘contrary simultaneous modulation’, where one note is being altered by the process of being sharpened (+1) whilst the other is being flattened (-1). The second type is a ‘parallel simultaneous modulation’, where both alterations are of the same kind, whether (+1) or (-1). Both types of simultaneous modulation occur in this movement and I shall be pointing them out along the way.
We start with a simple wave sequence in bars 1 and 2:
A Harmonic minor – C Major – A Harmonic minor
Here, Bach is simply changing the G# in the Harmonic minor scale to the G of C Major and back again. It is so simple an idea, but imagine it being used in many ways, both on its own and within larger sequences themselves.
Next, a nice little circular sequence, beginning and ending in the same place, bars 5 - 7:
A Harmonic min. – A Hungarian min. – E Harmonic Maj. – A Melodic – A Harmonic min.
You can see here, that Bach simply raises the 4th of the Harmonic minor to D#, then the F to F# to get E Harmonic Major, both (+1) alterations. Then, he simply drops D# to D for A Melodic and then the F# to F to get back to A Harmonic minor again. Simple but effective.
So far we have had a wave sequence then a circular sequence. Moving on. Next, a little excursion into the key back a fifth, D minor, in bars 9 - 12:
A H. min – C Maj – F Maj – D H. min – D Mel – C Maj – G Maj – C Maj
Bach ends this sequence with a move that is typical for him, instead of ending back in the relative Major of the minor key the music is set in, he often goes past the key to the next, in this case G Major, before returning to C Major again. Its like a little uncertainty makes it a bit more interesting.
The final sequence of the first half adds a little variation on the one earlier, bars 12 -16:
A H. min – A Melodic – E H. Maj – E H. min – E H. Maj
The nice little change back to E Harmonic Major has it functioning as a dominant scale, a nice little substitute for the E Phrygian Major mode of A Harmonic minor. Notice the wave sequence from E H. Major to E H. minor back to E H. Major again.
Page two begins with a move back a fifth to D minor once more in bars 17 - 18:
A H. min - A Hung. Min – A H. min – D Mel – A H. Maj – D Hung. Min – D H. min
A wave starts our sequence and then moves into D Melodic with the first simultaneous modulation. Bach drops the G# to G whilst at the same time raising the C to C#, and voila, now we are moving into D Minor. A little interruption by raising G to G# once more, which takes us into A Harmonic Major and then the Bb moves us back towards D minor via the Hungarian minor which is resolved to D Harmonic minor when the G natural is played. A good selection of scales there, Harmonic minor, Harmonic Major, Hungarian minor and Melodic. Makes for an interesting listening experience as one can’t predict the outcome.
Next we move into C Major and a series of waves occurs in one long wave sequence in bars 21 -27:
(D Melodic) – C Major – F Major – (C Major – G Major) x2 – C Major – F Major
This is a symmetrical wave sequence, (C – F, C – G) (C – G, C – F) going out and then coming back. This is followed by a little diversion into the parallel minor of the relative Major, C Minor in bars 28 - 31:
A H. min – C Maj – G Maj – G H. Major – (C Hung. min – C H. min – C H. Major – C Maj)
This is a rather nice sequence, moving into the relative C Major then forward a fifth, and then the unexpected incremental change back to C Major with only scales that have their roots on C: E is flattened to Eb for G Harmonic Major, then the A is flattened for C Hungarian minor and then it is simply flatten the 4th, raise the 3rd and raise the 6th. The static sequence is one that has the same root note for all scales and is shown in the brackets above.
Bars 33 – 34 have another circular sequence:
A H. minor – D Melodic – D H. minor – F Major – C Major – A Harmonic minor
The very same simultaneous modulation as before starts this sequence, G# to G and C to C#. A change that Bach particularly liked at this point in his career, as it appears in more than one piece from this period. The rest of the sequence is standard stuff, Melodic to Harmonic minor, relative major, forward a fifth and relative minor to end.
The last sequence is somewhat unusual. Bars 42 – 48:
C Major – F Major – D Melodic – A Harmonic Major - A Harmonic minor – A Melodic
The unusual thing about this sequence is the change from D Melodic to A Harmonic Major and then the parallel minor to A Harmonic minor. It is much more usual to see E Harmonic Major to A minor but Bach opts instead for the static sequence, Harmoni Major, Harmonic minor and Melodic all on the bass note of A. A nice twist to the final movement and great as on to end the whole suite.
Thanks for reading, see you next time and if you enjoy my work, invite your friends.
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