The repetition bars helps us find out the end of each section. PS - we don't have to dwell on this to death, I'm sure things willbecome clearer in time as I study more and more pieces. - the bottom onesparsely filling in the harmony and gradually adding some animation(forward motion) to the piece. This minuet is actually compiled as a pair - one in G major (which we're doing today), and another in G minor. The wholereason I learned the piece in the first place LOL! 2, Minuet, BWV Anh. 7th in bass with E- F# in Soprano. First off, the instrumentation is certainly different, with A Lovers Concerto featuring vocals, lyrics, drums, bass, guitar, and horns. So the next time youre at a fancy cocktail party looking to drop some classical music knowledge and impress your friends, mention the pop hit written in 1700s Baroque-period Germany mistakenly credited to Bach for over 200 years. This Minuet by Bach is in binary form. Bar 21, is a continuation of the half cadence in D. We have still not seen the confirming cadence in the key of D necessary to confirm an actual key change. Ive seen modulations like this before and would like to know what it is. It should be required reading for anyone with love of, or interest in, classical music. >> Aurally, we have seemed to already modulated to the dominant as soon> as this section starts! 124 (1730), Sheet Music: Bach-March in G; Publisher: TobisNotenarchiv, ed. As written, the tonal scheme is I ~> V ~> I >>>>>V4/3 -V6/5 | I (I6) | ii6-V-V | I>>>>The ii6 is a common thing to have on beat 1 of bar 15.>> now that one DOES sound nice with the full triads under it. 21 (1890) There is an accented passing note on the 3rd beat giving a 4-3 sequence of intervals with the bass. Arrangements work for two trumpets or can be used I see it now.>>Good, I hate this Belwin edition. My teacher said they (Dover)weren't bad as a general rule. It has a fast and skittish undertone, with constantly racing notes and moving rhythms. I originally thought there was a simple, mechanical transformation(liketransposition to a minor key) that would turn the G major one into theG minorone. I>> * = same as previous. Its total sales exceeded two million copies. > That's a really good analogy, which I notice you have a tendency to> use good one's alot. I stand by what *I* said. Although I joked about getting the idea fromthe two of you, I wouldn't have follwed thru with my analysis in thatmanner if I hadn't seen some sort of connection myself. I have to admit I've never heard of Petzold. The predominant harmony in this bar is a 5/3 chord on the . There are enough in the 371 to cull examples. The first part has cellos and violas and the second part has clarinets. >>First, there seems to be no discernible melody in the>left hand part! (app and sus are>> explained pretty good, though). η η22. - the bottom one>> sparsely filling in the harmony and gradually adding some animation>> (forward motion) to the piece.>>Yes.>>>>> end A section.>> ___________>>>> B section>>>> Countermelody.>, >That term is usually reserved for a "secondary" melody occuring. I'll hazard a guess, though. 5 in E Major (L . Bach. recommends. Arrangement for Voice and Piano on 'Go, tell it on the mountain'. Counterpoint came first, chords later. Iwouldn'tSL>put too much emphasis on it (personally anyway). With that brief definition let us proceed with our analysis: The piece is in the key of G with a time signature of 3/4. It is quite possible that these were pieces Mrs Bach, and other members of the family, played at home. Extra submitted with the portfolio: Programme notes with some insight/analysis/thoughts about the submitted portfolio, compositions and arrangement. When the upper voices do come in, however, they help to create a very sublime moment within the music that is meant to reflect Spaffords profound declaration of praise in the face of the deaths of his daughters. You don't hover around the top! The bass never leaves the G (it's a half note).>>>That D4 is a third voice entering for just these two measures (later in >>>m.29>>>too).>> A -HA. Peters, n.d. (1888) I guess the best way to describe it would be that it flows very nicely together and seems balances., It is composed of several different lyrical speech-like phrases with rhapsodic emotions with a low level rhythm. Please allow a few minutes for this process to complete. The difference between how composers use the major and minor modes perhaps.? The third movement, Adagio molto e cantabile , was always the one I found the most difficult to understand. Please note: Topics: Binary form Just adding>> more animation to the part (kind of like the bassist is getting bored>> and want's to stretch a bit)>>Just adding forward motion - but there are NCTs there the C4 is UN (or App.) I just ignore it. In fact, this is the first >mention I've heard of it for a while. From "Anna Magdalena's Notebook"Form AABB Time Sig - 3/4 (obviously), Simple Melody with simple LH counterpoint, G * G/B C * G / / / ____ / / / ____. Public Domain - feel free to use, distribute, modify, (and play!) - some people consider app. (Major - upbeat, happy; minor - sadder/more emotional), Just a very basic opinion here, i realize that there's more to it thanmajor = happy and minor = moody, that there are exceptions andvariations and it's interpretive etc..so don't rag on me *too much*for saying that! Alex's RCL Blogging Site 2.0 (the Good One), Bach Suite No. The proper confirmation cadence in D happens at the end of bar 23. Its like these two pieces>evolved from a common ancestor, so to speak.>>Looking for landmarks: In the G major one, I only see a key change to D>major>(starting I think at bar 20 and changing back to G maj at 25 )>>In the G minor one, it is more complicated. I chose V6>> instead of viio in m.13 to give a ii-V-I here,but you could combine>> them and say V7 with3 in the bass.>>See above.>>>>> I chose vi instead of vi 6/4 in measure 14 because>> a) vi 6/4 seems a little weird here - my ears here it as moving DOWN>> to Em confirmed by>> b) substituting a low E note for the B, which sounded perfectly fine>> to me.>>vi 6/4 is absolutely unlikley. I'll hazard a guess, though. Understood. Dissonances are labeled in red and consonances in blue. Lo and behold, they've analyzed the first A in the bass as >passing. THE MUSIC SALON: classical music, popular culture, philosophy and anything else that catches my fancy Also important to note is that the sub dominant is a fifth below the tonic. Here is a list of the 42 greatest Catholic liturgical composers of all time, placed in chronological order. None [force assignment] Movements/Sections Mov'ts/Sec's: 2 volumes Book I 1. Gavotte from Mignon (A. Thomas) * Gavotte (J.B. Lully) * Minuet in G, Wo0 10, No. I also considered the fact that if I'm playingthe melody in the RH, I can only play close position chords in theleft, which is not ideal for working this out. >There is of course evolutionary development, and the two co-exist, but, as >I've said before, everything does not have to be a chord. Once you get to the middle of this movement you can hear the woodwinds play. The middle section of the 2nd Minuet is a very lyrical but sad section. Audio: Youtube - rather than the "approached by leap (from below usually) and left by step in the opposite direction, like G D C that seems to be the "newer" definition). When people talk about analyzing music, what they are usually referring to is harmonic analysis. Here it's a IV6. The famous main melody, introduced after a few counts of quarter notes from the lower instruments, is played and repeated by the upper instruments three times with slight changes each time. The Suzuki Violin Method in American Music Education - John Kendall 1973 1) similarities in rhythmic placement: bars 22 -24 both pieces2)G - C change and corresponding similarities in rhythm of the sopranonotes mm 25- 26 both pieces3)Scalar run m 29 thru final cadence at 32 both pieces. In bar 6, the previous bar is repeated a step down over the scale degree. 1st E was a misread, 2nd time I was referring to the soprano D at theend of m19. Possibly composed by Johann Adolph Hasse. 116. At the end of bar 24, the key changes back to G major, the tonic where there is a C right at the last minute. >>> The change of the melody at m.15 gives it a feeling of finality> - the "answer" to the "question" raised at m.7. The 60s were quite an exciting time in American music. Once on measure 19 (through Gdur's superdominant becoming the supertonic of Ddur, its dominant), and then once again on measure 25, through the tonic of Ddur becoming Gdur's dominant. at will. A subreddit for people who care about composition, cognition, harmony, scales, counterpoint, melody, logic, math, structure, notation, and also the overall history and appreciation of music. outrageous.". 2, Minuet, BWV Anh. I get the urtext now that I've been hipped to it, most ofmy other editions are Dover publications. These two pieces are quite similiar; if we stripoutJ>>>>ornaments, shouldn't it be possible to transform one into theother??? The prinner terminates here into a half cadence and the C# on the first beat of the bar is a strong indication that the key has changed to the key of D from G. In many analyses, it is often bar 20 where the key change is noted. The Moon (1942-1944), NON PD-US (Copyright: Mainz: B. Schotts Shne, No.6839, 1944-46. Copyright: Public Domain, Barbara Murphy, Ph.D.Associate Professor of Music TheoryUniversity of TennesseeSchool of Music, This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License, Mainz: B. Schotts Shne, No.6839, 1944-46. Minuet in G minor 9. This is probably, Ive been lucky enough to have some nice pianos in my life. (Compare m. 5 with m.13.). )>>and the A3 accented PT (or app. In the background of the piece is the sound of a faint fiddle. IV-V7-I, etc) used in this analysis. Bach - WTC Fugue 2 in C minor. Browse: Bach, J S - Minuet in G major, BWV Anh. >AS far as I recall, Reaching >tones is a one off name and I don't hear it used. You've mentioned this a couple of times and I haven't >really said too much, but, most minuets kind of follow general patterns and >you could probably find many with even close parallels to both. Classic Chalkboard Theme by Edward R. Jenkins, modified for Edublogs, Bach Suite No. 2. The idea of the two piece pair evolved from the "dance and after dance" pairs of the Renaissance, as did the forms themselves. >Styles change (like in Bach's day many more things were written in C clefs >than today). I didn't think this book was a good idea when you first mentionedit. Minuet in G Major is one of the many famous compositions of Johannes Sebastian Bach. This results in parallel thirds with the bass (G-B to A-C). What I should have said is that the dominant is a fifth above the tonic and the subdominant a fifth below. 6 (1838-1839), Sheet Music: Chopin-Prelude No 6; Publisher Smtliche Pianoforte-Werke, 1838-1839 It was a waltz style jig that everyone knew, from the aristocracy to the proletariat. That C4 is problematic because it's not a chord tone, but it is a consonance. 28 No. Today, we remember Bach as an incredible musician and composer who gave us some iconic musical masterpieces such as his Cello Suite, Toccata and Fugue, and the Well-Tempered Clavier. Ah, back to the days of Minuets. 28 No. Minuet In G Major Anna Magdalena Notebook Easiest Piano Sheet Music - Johann Sebastian Bach 2016-01-15 . Theyr cadences are something like 3 2 1 in the Bass, and 1 7 1 in the melody (or inversions/variations). Due to its popularity in Western Europe, this compositional form was also popular with later composers such as Scarlatti, Mozart, and Haydn, who were able to take it and further expand upon it. link to The 42 Greatest Catholic Liturgical Composers of All Time, link to The 35 Greatest Classical Piano Sonatas. Publisher Info: Paris: Ivan Ili See, the problem to me is that the Honorable Mr.Piston only gave one example [8-13] - Beethoven sonata op.31 No.1, II. Suffice tosay, I don't understand it *at this point in time*. Topics: Binary form The slow second movement explores small sections of motifs in antecedent-consequent sometimes with the oboe until the thirds and final movement, the rondo. !>>>>>>(BIG disclaimer here - I'm looking at the Belwin edition that is>>>riddled with errors, so it's entirely possible that yours is different >>>from>>>mine (and mine is probably less correct, but I'll assume it is OK for >>>now).>>>> Nah. It seems to have two parts prior to the middle of this movement. >>>>only on a metrically weak position, but with the ET being shorter in value>>(like the 16th of a dotted 8th-16th pair).>> that's a helpful clue i haven't heard mentioned before. Copyright: Public Domain mm. Yet one of the great miracles of Bach's music for solo instrument (even in pieces for keyboard) is the rich harmony and harmonic motion accomplished by implication: harmonies are formed by a succession of arpeggiated notes - one at time - and our listening mind connects them into chords after the fact. They analyzed a few chords, and left a few for the student. Yes, but it's neither :-D - you've twice now invented em chords when there's no E present! The methods are applied in particular to musical key analysis (Chapters 2-4) and also adapted for use in performance analysis (Chapters 5-6). Bach) See, the problem to me is that the Honorable Mr.> Piston only gave one example [8-13] - Beethoven sonata op.31 No.1, II. Peters, n.d.(1890) The score arrangement, audio track . We cadence to Bb at meas.> 16.> Measures 17 -- 20 would seem to be in F and we are drifting back to> Bb in measure 22 and cadence to Bb in measure 24; then we slip into> G melodic minor ascending for the remainder of the piece (incidentally,> I still don;t know what to make of the G major in measure 25! Copyright: Public Domain 2 in C minor BWV 813 by J. S. Bach (binary form): . The metre throughout the piece changes, however the main one is 4/4. Topics: Binary form A Lovers Concerto is in fact the same song as Minuet in G, written 24o years earlier and it sold more than two million copies! It's about the harmonic interval of the 6th >preceding the Final, so both the final could be approached by step from >opposite directions. The Bill Withers classic song Aint No Sunshine is a funky R&B standard that has also found a home in jazz circles. Consider it. >> I still think that although you are most likely right from your side,> my way is valid also. Besides,to me these are just a preamble to the more ambitious worksof JSB - Inventions, Chorales,WTC and Goldberg stuff etc. Minuet in G minor, BWV Anh. Songbird Music Academy Pte. Now well fast-forward to the year 1965. I hear/see it clearly now, after a few more days playing it. It comes and goes. I'm a graduate of Berklee College of Music (summa cum laude) and am the host of the Nikhil Hogan Show, a music interview podcast. >I think you are over-anylizing these two pieces. Polyrhythm is used, which is when two or more rhythms with different pulses are heard together eg where one is playing in triple time and another is playing in quadruple time, three against four. The menuet or minuet is of French origin in ternary meter. Measures five to eight repeat a similar rhythmic section. Peters, n.d.(1890) The "B" on beat two is an upper-neighboring tone and the "G" on beat three is a passing tone - what could be seen as a 4-3 suspension. >Generally speaking, here's defs for above:>Incomplete neighbors: Two notes adjacent in pitch such as D C or C D where >it appears they could have been (or would often have been) part of the>"complete" neighbor figure C D C or D C D. This category also serves the >catch-all purpose of explaining "unprepared" suspensions or appoggiature, >thus in>D_D C or G D C the note that prepares the figure would be missing (or >shall we say, implied) and it would end up D C or, D C! 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