Bach- Partita No. 4 in D, BWV 828: Sarabande and Gigue

Question 1

What is the background (more like Bach-ground amirite??) of Sarabande and Gigue?

Answer 1

They are two movements from a suite (or partita) which is a series of dances, usually in the same key. It was composed in 1728, which is the late Baroque era,

Question 2

Which era is Sarabande and Gigue from?

Answer 2

Late Baroque

Question 3

What was Sarabande and Gigue intended for?

Answer 3

Domestic performance on harpsichord

Question 4

By the composition of Sarabande and Gigue in 1728, the dances were often stylised. What did this mean?

Answer 4

It meant that the original dance elements were weakened as composers allowed their musical invention to operate freely.

Question 5

What is the metre of the Sarabande?

Answer 5

A slow, triple-time: 3/4

Question 6

In the Sarabande, which beat of the bar is emphasised, and how?

Answer 6

Either by length or accentuation.

Question 7

When is the Sarabande’s trait of a second beat emphasis only obvious?

Answer 7

Bars: 1-2, 14 and 29-30.

Question 8

Asides from when the second beat emphasis is obvious, what kind of movement does Bach use in Sarabande?

Answer 8

Elsewhere, Bach uses dance-like semiquaver and demisemiquaver movement.

Question 9

Gigues were traditionally in compound time, though the number of beats per bar were not firmly fixed. In this case, what is the metre?

Answer 9

Triple time: 9/16

Question 10

What happens in the Gigue in terms of movement?

Answer 10

There is an almost continuous semiquaver movement, with longer (dotted quaver) chords.

Question 11

In the Sarabande, the melody line is continually evolved from a basic motif. What is this process known as?

Answer 11

Fortspinnung

Question 12

What does Fortspinnung (having the melody line continually evolved from a basic motif) involve?

Answer 12

Repetition, Sequence, Variation of intervals and Rhythmic variation

Question 13

How does the Gigue open melodically?

Answer 13

With a broken-chord pattern

Question 14

What happens in the Gigue after its opening broken-chord pattern?

Answer 14

This then gives way to more conjunct movement

Question 15

Is there any chromaticism in Sarabande and Gigue?

Answer 15

Occasional chromaticism features in both dances.

Question 16

The harmony in Sarabande and Gigue is functional, and Bach uses many harmonic devices throughout. Give an example of where he uses a Dominant 7th.

Answer 16

Sarabande: Bar 8

Question 17

The harmony in Sarabande and Gigue is functional, and Bach uses many harmonic devices throughout. Give an example of where he uses a secondary 7th.

Answer 17

Sarabande: Bar 1, beat 2

Question 18

The harmony in Sarabande and Gigue is functional, and Bach uses many harmonic devices throughout. Give an example of where he uses a diminished 7th in both.

Answer 18

Sarabande: bar 12, Gigue: bar 45

Question 19

The harmony in Sarabande and Gigue is functional, and Bach uses many harmonic devices throughout. Give an example of where he uses a neapolitan 6th.

Answer 19

Sarabande: bar 23

Question 20

The harmony in Sarabande and Gigue is functional, and Bach uses many harmonic devices throughout. Give an example of where he uses a suspension.

Answer 20

Gigue: bar 78, 4-8 suspension

Question 21

What is the tonality of both Sarabande and Gigue?

Answer 21

D major

Question 22

How is the tonality of both Sarabande and Gigue clearly defined?

Answer 22

Through cadences and modulations to related keys, e.g. A major at bar 12 and E minor at bar 24 of the Sarabande.

Question 23

What is the structure of both Sarabande and Gigue?

Answer 23

Binary with repeats

Question 24

What does both Sarabande and Gigue do tonally and texturally?

Answer 24

In both, the first sections finish in the dominant key, and then return to the tonic through a variety of related keys in the second section.

Question 25

What is unusual about the second section of the Gigue?

Answer 25

It is the same length as the first; in most binary form movements, the second section is longer.

Question 26

What does it mean for Sarabande and Gigue that they were written for harpsichord?

Answer 26

They were intended for an instrument with a smaller dynamic range and less sustaining power than the modern piano.

Question 27

The Sarabande features a variety of textures. Where is it homophonic?

Answer 27

Bar 1

Question 28

The Sarabande features a variety of textures. Where is it monophonic?

Answer 28

Bar 2

Question 29

The Sarabande features a variety of textures. Where is it two part, with a steadily moving quaver bass supporting the more rhythmically involved upper part?

Answer 29

Bars 15-28

Question 30

The Sarabande features a variety of textures. Where does it have free-voiced texture, that is, a passage with varying numbers of part?

Answer 30

bars 11-12

Question 31

The Gigue opens fugally. What does this mean?

Answer 31

It opens with each part entering imitavively

Question 32

How does the second section of the Gigue open?

Answer 32

It opens with a new melody line which becomes a countersubject to the original subject when it returns in bar 55.