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Behind Bars Part I: A Forensic examination

In this series of posts I am going to show how to use the Modal Method, as outlined in my book, to analyse a single bar of music, in this case, a bar from J. S. Bach’s Lute Suite II BWV 997. It is pretty standard level for Bach, containing four alterations in what amounts to a simple move back through the circle of fifths from A Harmonic minor to D Harmonic minor.

The use of the (+1) and (-1) method allows us to see how the modulation takes place incrementally which is extremely useful in understanding how Bach creates the sound that is all of his own. The change from A Harmonic minor (A B C D E F G#) to D Harmonic minor (D E F G A Bb C#) requires the alteration of 3 notes, G# to G, B to Bb and C to C#, but the order that the alterations can occur in are varied. For example, the G# in A Harmonic minor does not have to be flattened to G immediately, but instead can stay as G# as long as the composer wants, even being the last note to be altered in the bar before resolution.

The note of Bb substituted for the B would make A Neapolitan minor (A Bb C D E F G#), followed by the C becoming C# which makes D Hungarian minor (D E F G# A Bb C#) and so on. Let’s see how Bach approaches this simple move back through this specific instance.

Looking at the example below, you can see that Bach begins with a simultaneous modulation, two notes being sharpened or flattened at the same time, and it is a contrary simultaneous modulation, one note going up with the other going down. This is very common in Bach, especially in circle of fifths changes.

So, he takes the G# in A Harmonic minor flattens it, modally this makes the change of G# Alt bb7 (-1) = G Mixolydian. Now we are in C Major but at the same time he raises the root of C Ionian to become C# Altered (C# D E F G A B) which is mode VII of D Melodic. With me so far? Both notes are highlighted in the example.

Next, the G is raised again, this is unnecessary but he is creating internal movement in the line with this wave motion. From the previous bar, the sequence just with the note on G in this bar is:

G#- GG# - G.

This extra complication in the modulation sequence gives Bach his signature sound, a never ending series of changes that mesmerises listeners. This alteration occurs on G Lydian b7 (G A B C# D E F)), mode IV of D Melodic, and turns it into (G# A B C# D E F) which is G# Locrian bb7, mode VII of A Harmonic Major. This is quite a cool change, as the root of the scale is A and not D, so the listener is kept guessing where it is going.

The Bb comes next. The mode on B in A Harmonic Major is B Dorian b5 (B C# D E F G# A) and flattening its root, B Dorian b5 (-1) makes (Bb C# D E F G# A) = Bb Lydian #26, mode VI of D Hungarian minor. So now the scale has changed its root from A to D again. So far we have had:

A Harmonic minor – D Melodic – A Harmonic Major – D Hungarian minor

You can see the pattern in the root note of the scales mirrors the pattern of the G to G# changes mentioned above. This is an example of the level of thought that went into Bach’s music.

Finally, the G# in D Hungarian minor is flattened to reach our target destination of D Harmonic minor. G# Locrian bb37 (mode IV of D Hungarian minor) (-1) = G Dorian #4, mode IV of D Harmonic minor. Bear in mind, this is just a single bar of music, and one of average complexity for the maestro, but looking at it in depth like this helps to learn the sort of depth needed in one’s thinking to create sounds that are comparable to the man himself.

Next, an intermediate bar of Bach. Thanks for reading.


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