In this fourth instalment of my analysis of the second lute suite by Bach I shall be covering the Gigue. 48 bars of music in triple time makes up this movement and the key signature is C Major/A minor.
Straight off we see a typical wave sequence, repeated twice:
A H. minor – C Major – A H. minor – A Melodic – A H. minor – A Melodic
The A Harmonic minor is the centre with the first change to C Major, then back, then to A Melodic, then back and finally the second time A Melodic is heard, it is functioning as the gateway to the sequence that closes the first half of the piece:
(A Melodic) – A Major – A H. Major – A Major – D Major – E Melodic – E N. Major – E N. minor – A Hung. Minor – E H. Major – E H. minor – E H. Major
This sequence is purely about setting up the E Harmonic Major scale at the end in order to create the perfect cadence back to the beginning. It is worth noting that the E Harmonic Major is used as the dominant scale and not mode V of the A Harmonic minor, E Phrygian Major, which is more usual. Bach makes use of the Harmonic Major scale (1 2 3 4 5 b6 7) constantly, and I would recommend readers with an interest in composition to take note of how often the Harmonic Major occurs at the end of movements.
In the above sequence, you can see it begins with the change to parallel Major, then a wave with
A Major – A H. Major – A Major, back a fifth to D Major then D Ionian (+1) = E Melodic, 2nd is flattened, then 6th is flattened, minor 3rd is raised for A Hungarian minor, then the 6th is raised again for E Harmonic Major, which then concludes in a wave just like it started:
E H. Major – E H. minor – E H. Major
I am certain that Bach had a very mathematical mind and that he used a mathematical approach in constructing his sequences which, when combined with his deep knowledge of harmony, counterpoint etc, culminated in the level of complexity we are used to in his music. This mathematical approach is covered in depth in my M3 book.
The second half goes straight into the A Hungarian minor scale and then an ingenious little route back a fifth from A Harmonic minor to D Harmonic minor:
A Harmonic minor – A Harmonic Major – D Melodic – D Harmonic minor
The journey is as important as the destination, and we have have the parallel Major change followed by the flattening of the G# to D Melodic and then the flattening of the B to D Harmonic minor. This sort of move is used so often in Bach’s music that it is seen in almost every one of his works.
Next, a little wave sequence in bars 21 - 25:
(F Major – C Major) x2 – G Major – C Major
This motion creates uncertainty in the listener, a feint one way, repeated and then the other. Now, a nice little circular sequence in bars 29 - 31:
C Major – G Major – G H. Major – C Melodic – C H. minor – C H. Major – C Major
The change to G is misleading as this is followed by a gradual step by step change back to the pint of origin. Once all of the possible types of sequences are known, like this circular sequence for example, the construction of complex music is far easier as it is done in stages, one sequence type following another.
The final sequence of note takes the movement to a close, bars 39 – 48.
C Maj – D Mel – D Maj – D H. Maj – D Maj – G Maj – A Mel – A N. Maj – A N. min – D H. min – D Mel – A H. Maj – A H. min
This has a nice start, the motion is heading back a fifth to D minor with the use of D Melodic but instead Bach throws a curve ball and resolves to the parallel D Major. A little wave to Harmonic Major and back and then he moves back a fifth to G Major and raises the root for A Melodic.
Now, it would be very easy for him to resolve it to A Harmonic minor at this point, but instead, he flattens the 2nd for Neapolitan Major, then the sixth for Neapolitan minor. Now a simultaneous modulation to get to D Harmonic minor and then moves to D Melodic this time and raises the 4th for A Harmonic Major, resolving with a parallel minor change. Awesome way to end the movement and a perfect way to start the last one, the Double. See you soon.
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