What is the role of the Prelude in the Cello Suites?

  Make sure to explain how this relates to the

invention principle and cite some of the methods Bach uses to unify movements throughout a
suite. Reference at least three different works.  The Partita in D minor BWV 1004 can also be
referenced as an example of how Bach uses the invention principle to unify movements
throughout a work.  (1-2 pages)

The role of the Preludes in Bach’s Cello Suites is structurally consistent: five of the six

preludes can be considered “pattern preludes,” in which there is a consistent motivic and

harmonic drive based on continuously elaborated chord progressions that, while repetitive, are

structurally developmental. The one standout prelude, the famous French Overture of the Fifth

prelude, still shares a similar penchant for structured and consistent motivic development. The

preludes, as a whole, serve as an introduction the tonality of the suites. Oftentimes, motive from

these preludes leak into the other movements in the suites. There are a few standout examples.

The first is the second suite: the prelude is famous for avoiding the dominant in its

introductory phrase – the diminished seventh chord that ends the first phrase, and the sonority it

produces pervades throughout the rest of the movements. By associating the diminished chord

with climactic moments through the work, the entire suite gains motivic cogency.

The third suite proves an excellent example through its scalar development: the prelude, a

development and expansion of a descending C Major scale, echoes through the other

movements. The Courante is the most openly related: it being an exploration of a descending C

Major arpeggio.

The fourth suite, with its improvisatory nature resting on an EbM chord, echoes through

the rest of the movements working around the pervasive resonance of this chord. The melodic

contour of the Gigue resting on this tonic chord.

What is “mixed style” and how does this manifest itself in Bach’s Unaccompanied works? Cite
at least two from the Violin Sonatas and Partitas and two from the Cello Suites. Be sure to
mention some of the individual characteristics of each nationalistic style represented in this
“mixed style” that Bach utilizes.  (2-3 pages)

For Bach – mixed style is his eclectic choice of structuring his unaccompanied works.

The Cello Suites are the most easy to notice his mastery: he blends together dances from a

German, French, English, and Italian styles and manages to make them cohesive and singular.

The German style, showing especially in his Allemande movements, are often more stately and

rhythmic. The English style shows in the rhythmic candor of his Gigues – almost always in

leaping compound meters. The French and Italian styles show in the contrasts of his faster

Courante movements: the French Courante was significantly slower than the Italian Courante,

and more stately and grave. The Italian Courante took its titling more seriously, and moved more

rapidly.

BMW 1002, the first violin partita, is interesting as it starts with a Allemande, in the

German style, moves to a clearly Italian Courante, a slow French Sarabande, and substitutes the

final Gigue with a French Bouree. Perhaps, this partita, with the unique doubles that proceed

each movement, Bach wanted a more French flavor.

BMW 1004, perhaps the most famous of the solo violin works, is interesting for how the

allemande that starts the Partita almost seems to draw an Italian influence. While the speed of the

allemande is certainly German – the rhythms can certainly trick unsuspecting listeners. This

Partita is unique for ending with a Ciaccona, a set of variations on a repeating bass tune. The

preceding dance are all significantly lighter, and the emotional weight of the suite is found in the

Ciaccona. The preceding movements are all of a faster, Italian feel (the Slow Sarabande being
the only “lugubrious” movement). Perhaps, by dipping into a more Italian style, Bach could

accelerate the earlier movements into the drama of the Ciaccona.

The cello suites are notably more consistent in their Dance forms: Bach may have been

thinking more individually, rather than hierarchically as in the violin works. The Allemandes of

almost all of the suites, but especially the first and second suites, have a strict German feel. The

Courantes, are notably more mixed, but the some of the most famous examples are in an Italian

style, such as in the second and third suites. The Galanteries, are perhaps where Bach

experiments the most. The suites variegates in pairs: minuets, bourrées, and gavottes

respectively. The most puzzling part of these suites, in terms of style, is the French overture stlye

in the Prelude of the Fifth Suite. Perhaps, for the operatic drama inherent to the key of C Minor,

Bach wanted a more dramatic, and operatic opening.

Name three examples of how Bach uses ritornello techniques in the Unaccompanied Works.  In
your response name the movement as well as measure numbers to explain where the Vordersatz,
Fortspinnung, and Epilog are found in your chosen examples. 

Prelude Suite 2:
Vordersatz: mm. 1 - 4
Fortspinnung: mm. 5 - 10
Epilog: mm 10 - 13

Prelude Suite 3:
Vordersatz: mm. 1
Fortspinnung: mm. 2 - 4
Epilog: mm. 4 - 5

Prelude Suite 3 Bouree 1:

Vordersatz: mm. 1 - 4
Fortspinnung: mm. 5 - 6
Epilog: mm. 7 - 8
Identify two examples of a tonal answer and two examples of a real answer in the Bach fugues
for solo string instrument. Make sure to mention measure numbers along with the name of the
work you are citing.

Bach Suite 5 Prelude (Fugue):

Tonal Answer: mm 35

Sonata 1 Fugue:
Real Answer: mm 2

Sonata 2 Fugue:
Real answer: mm 3

Sonata 3 Fugue:
Tonal answer: mm 4 - 5