This page was last edited on 16/01/06

Topics To Research

Bach - life, works, style, importance
Baroque keyboard music
Baroque variation technique
Bach's keyboard music
Fughetta
Canon - Dux and Comes
Toccata

Bibliography

Grout - pp.417-435 esp. pp.423-426
Cambridge Music Guide - pp.184-204
Music in the Baroque Era - pp.260-306
Bach - Master Musician Series - Boyd
The Bach Family - New Grove Biographies

Questions

1. Give the precise location, stating the note name if necessary, of one example in the aria of each of the following:-
   
   
   1. mordent
      
   2. inverted mordent
      
   3. appoggiatura
      
   4. turn
      
   5. arpeggiation

2. Identify in the bass part, giving the precise bar and beat number and stating the note where necessary, one example of the following:-
   1. unaccented passing note
      
   2. lower auxiliary
      
   3. style brise-type figuration

3. Identify in the melody, giving the precise bar and beat number and stating the note where necessary, one example of the following:-
   
   1. chromatic upper auxiliary
      
   2. accented passing note
      
   3. lower auxiliary

4. Analyse the harmony and tonality of the aria. Compare this with the harmony and tonality of variations 10, 21, & 29 commenting upon and/or explaining any differences.

5. Analyse the phrase structure and formal construction of the aria.

6. What is a fughetta? Analyse the construction of variation 10.

7. Identify the main textures in evidence in each of these extracts.

8. "The Goldberg variations are in many ways a summary of the styles, is genres and forms of baroque keyboard music." What evidence for this statement can you find in these extracts?
   

6. What is a fughetta? Analyse the construction of variation 10.

A fughetta is a short fugue.

The first half of variation 10 is a fugal exposition for four 'voices' . The subject , stated in bars 1 to 4 of the bass part, is formed upon the contour of the Ground Bass . The notes G, F#, E and D of the falling scale (as found in bars 1 - 4 of the Aria) can be located in the variation 10. However, the melody of the Aria is also evident in the subject. The first G is repeated, and the falling triad A, F#, D occurs in bars 2.

The tenor part enters in bar 5 but, to avoid pulling the tonality too strongly towards the dominant (and to accommodate the harmonic scheme of the Ground Bass which is still evident in bars 5 and 6) Bach makes this a tonal answer . That is, the first semiquaver is C natural, not C# and the step which occurred from 2 ⁴ to 3 ¹ is replaced by a leap of a 3rd. The bass, meanwhile, takes on the role of the counter-subject, but there is not a regular counter-subject in this fughetta; the tenor and soprano parts can be seen to be different once they have stated the answer, or subject respectively.

The Soprano enters at the start of bar 9 but the only the first two bars are exactly as heard at the outset. The harmonic scheme of the passacaglia forces Bach to leap a 5th from 10 ⁴ to 11 ¹ and the échappé figure (from bar 4) is changed when it occurs in bar 12.

The final entry (alto) cannot begin at the correct pitch being a tone higher until bar 15.

~~~~~~~~~~~~~~~~~~~~~

7. Identify the main textures in evidence in each of these extracts.

The Aria demonstrates style brisé . The arpeggio chords in bars 1 - 6 of the left hand, and the contrapuntal three-voice texture of bars 7 - 12 are example of this texture.

Variation 10 is a four voice fughetta using a subject formed upon the contour of the Ground Bass and incorporating some of the melodic shape of the Aria. Fugal procedures dictate that each part enters in turn, so the texture thickens towards bar 16.

Variation 21 has the texture of a trio sonata. All 3 parts are of equal importance and there are examples of rhythmic imitation throughout, employing the semiquaver figure heard in bar 1. However, the upper two parts are engaged in a canon at the 7th. This is a strict canon except for some chromatic changes here and there.

Variation 29 is a toccata which uses three types of texture. i) the rapid alternating chord heard in bars 1 - 3 and 5 - 7 (and 16); ii) the two - part counterpoint of bars 4, 8 and 15; and iii) the monophonic figure passed between the hands in bars 9 - 14.