Braunschweig 2003 - Expanded Dissonance in The Music of J.S. Bach

Expanded Dissonance in the Music of J.S.
Bach
Author(s): Karl D. Braunschweig
Source: Theory and Practice , 2003, Vol. 28 (2003), pp. 79-113
Published by: Music Theory Society of New York State
Stable URL: https://www.jstor.org/stable/41054346
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Expanded Dissonance in the Music of J.S. Bach
Karl D. Braunschweig
"I cannot recommend strongly enough the

study of the bass motions in the works of J.S.
Bach."
"J.S. Bach remains the master teacher of a

genuinely contrapuntal bass."
- Schenker, Free Composition, §210, §257
The treatment of dissonance in the music of J.S. Bach - whose chorales have been
a pedagogical foundation for generations of teachers and students - would seem
to be a topic well covered in the analytic literature. Yet too often we overlook spe-
cial moments in his compositions, when he greatly expands the role of dissonance
beyond both the strict ("ecclesiastical") style and the common licenses of the free,
instrumental style of thoroughbass practice. Consider the passage from the St.
Matthew Passion shown in Example 1.
In m. 17, after a brief sequence (a fourth progression supporting repetitions
of the main motive and text), the voice arrives on E for the important word "Herz"
("heart"), which Bach emphasizes harmonically with til. This in itself is not
overly remarkable; but the voice holds its tone for a total of six beats (if one con-
siders the brief departure to B and Af to belong to a lower strand of a polyphonic
melody) while the bass descends through a mostly stepwise diminution outlining
the dominant. Finally, on the third beat of m. 18, the tone of the voice part
resolves down by step to D, as the bass diminution completes a V-I resolution.
This is a greatly expanded use of dissonance, if we take as a norm (from the estab-
lished rules of counterpoint) the notion that a dissonance and its resolution will
each take one unit of the meter in which it occurs. Here the expanded dissonance
occurs as 4 (E), which Bach establishes as a consonance, transforms into a disso-
nance (over more than one bass note), and finally resolves to 3 (D). Interestingly,
it extends the metric sense of the phrase, providing two additional measures to the
overall phrase length (which is already expanded beyond its model in the opening
ritornello with the aforementioned fourth progression and text repetition).
Whether the motivation for this expanded dissonance originates in the text or in
79

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80 Theory and Practice
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Expanded Dissonance 8 1
the voice-leading possibilities, the resu

marked or rhetorical moment within the
in the listener's experience.
This type of expanded dissonance is fa
documented in composition treatises of t
addressed indirectly in Schenker's writin
between eighteenth- and twentieth-centu
ical treatises present scattered examples
(some of which I will discuss below), Bac
ing consistency in his vocal and instrume
extended tone forming the dissonance by
ter, etc., while the bass remains active a
or stepwise diminution on the way to a l
important rhetorical or affective momen
ening the expectation of an imminent me
they are fundamentally distinct from con
mal deviations from the strict style. Exp
compositional style thus merits further an
be offered through a Schenkerian treatm
and their rhythmic settings. After a brie
teenth-century composition treatises, I w
Bach's favored configuration of expan
numerous examples illustrating the figur
texts.
General Principles of Dissonance:

Schenker and Eighteenth-Century Compositional Theory.
Let us begin with Schenker and then step backwards into eighteenth-century com-
positional theory. Schenker embedded historical concepts in his reformulations of
the basic "laws" of harmony, counterpoint, and voice leading in free composition;
and we can use his thoughts as a useful bridge to eighteenth-century concepts and
practices. In particular, Schenker's codification of the underlying principles of
counterpoint is useful, for he generalizes the treatment of dissonance (also imply-
ing rhythmic norms) and speculates on its origins. Particularly relevant here is his
assertion of the common properties of the passing tone of second species and the
dissonant syncope (suspension) of fourth species, from the first volume of
Counterpoint:
If we compare the dissonant syncope with the phenomenon ... of the passing dis-
sonance, we are surprised to find that they have a common characteristic, namely,
that in both, the dissonant element is situated between two consonances! ... In both
phenomena the essential course of events ... is the same:

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Example 2. Schenker, Counterpoint
^ [■<
i i i
8^8
m 'l'i
** i
Consonance - Dissonance - Consonance!
In this light even the dissonant syncope is fundamentally nothing but a type of
passing dissonance, a part of the general problem of dissonance altogether . . . }
Schenker quite rightly notes the basic rhythmic similarities of these differ-
ent types of dissonance; it represents his attempt to locate the origin of dissonanc
in an organic, generative sense. C.P.E. Bach made a similar assertion in hi
Versuch, when he described all dissonance to be derived from the appoggiatura.2
If we take this as our rhythmic/metric model, then we can define an expanded dis-
sonance as a rhythmic expansion of the dissonant portion of the basic figure:
Consonance - E xp an d e d Dissonane e - Consonance.
We can then represent the figure found in Example 1 by the rhythmic reduction
of Example 3, which vividly illustrates the expansion from the norm Schenker
generalizes from the counterpoint tradition.
Example 3. Rhythmic reduction of expanded dissonance from Example 1.
12 3 4
^^ 10 10
3 4 5 7 3
bw 5-66 6796
j l
4 5 %
til (V) I
That composers of
aware of this type of
examples typically ap
ture from norms of t

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Expanded Dissonance 83
appeared in treatises from Christoph Bernh

configuration used by Bach was mentioned
ties - Johann Gottfried Walther, Johann Da
Let us consider first the general examples
sion of dissonance according to as many as th
achieve the time-span of later expansions.3 M
ple appearing in an ordinary composition tr
Bach's music well but was not always an adv
Example 4. Johann Scheibe, Compend

Reprinted in Die deutsche Kompositionsleh
(Leipzig: Breitkopf & Härtel, 1961), 7
■ 0 « J-
|é»F ■ 0 « J-
[10 10]
l*«r 4 #6 67 667 98
2 5 5 5 4 3
In Example 4,
moves through
measure (as E ov
within an other
as a consonance
Expanded diss
thoroughbass, w
father's compo
A moving bass
stationary .... E
Such a relations
(retardatio).4
The first case (dissonance resolving to dissonance) is not reproduced here, as it is

a well-known license; the second case, the "delayed resolution," is given in
Example 5. This example features a double expanded dissonance: two upper-
voice tones (F and D) are prolonged during an extended interpolation of
thoroughbass chords, finally resolving (to E and C) along with the harmonies two
measures later.
As important as the preceding examples are, they are highly varied in their
departures from the strict treatment of dissonance, and do not correspond exactly
to the specific configuration of expanded dissonance that recurs with surprising
consistency in Bach's music. This configuration also appears in treatises by well-

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Example 5. C.P.E. Bach, Essay on

of Playing Keyboard Instruments
trans. William J. Mitchell (New Yor
iiji1 m1 i1 / i
rio 5 1
L 8 10 J
(l*r r r »j I j j »j ^
9
7 667 7
|t f5
f5 646 5
6
Example 6. Johann Gottfried W

oder Musicalische Bibliothec [1732
r 10 10-1
I- 3 5 7 4-3]
known theoretical authorities.5

being a family relative of J.S. Ba
voice G is prolonged while t
diminution; both resolve upon
3-5-7-3 (outlining an underly
through members of the domin
characteristic of Bach's usage, as
The passages from Riepel, in E
simple versions of two-part coun
the first, the interval progre
resolves to a major triad; in the
lying 10-5), and it resolves to a
types will be addressed below.
Heinichen's examples are addit
music, in that he harmonized eac
porting the expanded dissonance
the manner of Bach's vocal music
sages each show an expanded inn
third), while the bass diminutio
with the assistance of various pa
characteristic of Bach's practice
voice (Bb) and the bass moves in

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Example 7. Joseph Riepel, Anfangsgrü

Unentbehrliche Anmerkungen zu
Reprinted in Joseph Riepel, Sämtliche Sch
ed. Thomas Emmerig (Vienna: Böhlau
(a)
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r io io io io i
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fl^f^ J U J lr jr j|j j Jj1j^=
(b)
§ - r r r r
r 10 10 10 5-1
L3 5 6 3 3 5 7_65J
(b) with diminution
|4°nJ rrr
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of the dominant (with one passing tone)

3^-5-7-3 (an underlying 10-10). This p
nance, a bass diminution that outlin
counterpoint of their intervals - is what
consistency.
A Specific Set of Configurations (Theory).
Before considering specific examples of expanded dissonance in the music of

Bach, let us explore the overall theoretical possibilities. A systematic exploration
of voice-leading and rhythmic types will further our understanding of Bach's
unique employment of the technique.
The configurations in Figure 1 and Example 9 assist in sorting out some of
the features of expanded dissonance as it appears in specific compositional con-
texts.6 The arbitrary choice of C major represents a generalization of the
procedure from its many possible key contexts, including minor keys which
require very little modification of the models given here. The regions of Figure 1
are arranged by the number of arpeggiated bass tones (four, three, and two) and
by the type of bass resolution (by half-step or by fourth); all can be derived, in a
sense, from the basic paradigm at the top of the figure. The following are a few
important observations and explanations.
1. Scale-degree prolongation and harmonic motion. The prolonged upper-
voice dissonance appears primarily as 4 resolving eventually to 3, supported by
harmonic motion towards I. This paradigm appears first in each region of Figure
1. Alternately, ê is sometimes extended through a similar configuration before
resolving to 3; this version appears second in each region of Figure 1. When con-
sidered as events separated from context, these basic configurations resemble
Schenker's auxiliary cadence: that is, they begin with a consonant pre-dominant
harmony (IV, II, til) and lead through V to I. Typically, though, they form closing
portions of larger prolongations (e.g., of a linear progression, of a neighbor note,
etc.); more on this below. Additionally, hearing the arpeggiation as the important
motion in the bass (setting aside passing tones) is justified by a fairly unified har-
monic function: that is, 2, 7, and 3 (in descending order) usually support
dominant-function chords, often combining effects of the leading-tone seventh
chord with the fundamental dominant.
2. Underlying counterpoint. The bass usually counterpoints the upper- voice
dissonance (from preparation to resolution) with an underlying motion of 8-10,
10-10, 10-5, or 5-5, filling the time-span with diminution that leads from a con-
sonant starting point through descending stepwise and third motion - which
outlines an arpeggiation of a locally functioning dominant chord (frequently, a
combination of the dominant and the leading-tone seventh chord) - to a conso-
nant point of arrival. (In the last of these motions, 5-5, the expanded dissonance
functions as a voice-leading corrective.)
3. Role of the dominant. The arpeggiation of the dominant (or leading-tone
seventh) chord may or may not be cadential in function. If the composer empha-
sizes the V-I closure of the dissonance (Example 10a) then it forms an expanded

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Example 9. Other voice-leading p
(a) Harmonic motion to V.

A A A A
-Jj Gigue
8 io io io French Suite No. 6
I V VI V
(b) Expan
Jj " Air
10 10 Orchestral Suite No. 3
ii
(c) Double-dissonance figure.

A A
3 2
1 7
«T"1 I "Mache dich"

io 8 St. Matthew Passion
8 5
lfc;:J ^ j
I V
(d) Incomp
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I V

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type of cadence, a composing-out of an

Just as likely, though, it will offer a co
in a non-cadential manner (Example 10b)
8-10 or 10-10. In other cases, in which e
tion will be based largely on the com
passage (Example 10c).
Example 10. Probable sources of fo
(a)
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from
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IV V I
II
(b)
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(c)
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lyr-s-. J r J
II V I
4. Passing tones. The arpeggiation i

tones, although it is somewhat rare t
would resemble a foreground linear p
harmonized in the (implied) continuo p
ically include a 6/4 or 4/2 on the toni

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Expanded Dissonance 9 1
5. Combinations within dominant funct

configurations is frequently anticipated,
combinations of dominant function. The
6/5, 6, or 7-6, and the dominant note ca
9-8-7 if the resolution descends beyond 3
leading). Even if è is not the prolonged d
voice), it can play an inner- voice role and
of these possibilities illustrate Schenker's
"indirect ninth."7
6. '>VII-V combination. The shorter dim
are too brief and too common to invite sp
tVII-V combination, in which B'> (t>7) is f
4, but then is cancelled in the subsequent
ing tone is no longer in the bass). Sche
consideration under the "composing-ou
§181, using Handel's Suite No. 3 in D M
the tVII-V succession gave the effect of
t>VII functioned as a passing event within
succession later in Free Composition (§24
the third Partita for solo violin. In both
composed-out 9-8 suspension over a prolo
7. Context of phrase and section. It sho
sonance configuration tends not to appear
or major section because of the particular
texts. The suspended character of the u
motion of the bass) renders it unlikely as
sure on 1 of the Urlinie or a subordinate
definitive cadential event. Instead, it wil
longation of an upper-neighbor note or a
4 in both cases) through the normal "
Schenker. (In the hands of a skillful com
begin as consonances and are subsequen
being transformed into dissonances.)
Other possibilities include the expande
texts:
8. Harmonic motion to V (Example 9a). Bach occasionally orients the

expanded dissonance towards V, prolonging Î before its resolution to 7. Most
often, this includes the suggestion of V/V through the use of f 4 in the bass. The
analyses that follow include two such configurations: the gigue from French Suite
No. 6 and the opening chorus from the St. Matthew Passion.
7. An applied dominant to various scale-degrees (Example 9b). Similarly,
rhythmically limited versions of the figure can be used to tonicize other scale-
degree triads, usually in sequence following an underlying linear progression in
one of the outer voices. We will see several examples of this, including passages
from the Air from Orchestral Suite No. 3 and the second movement of the D-
Minor Violin Concerto, BWV 1043.

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8. A double-dissonance figure (Examp

lights only a single melodic tone in thes
two simultaneous dissonances through a
resolve at the end of the bass diminutio
dich" of the St. Matthew Passion, is (diat
example above from C.P.E. Bach's Versuc
9. An incomplete arpeggiation (Exam
nance with an incomplete bass arpeg
although it can easily lose much of its st
only one incomplete version below, from
Violin Concerto, BWV 1042.
Not surprisingly, Schenker's reading o

tends to appear at middleground leve
expanded dissonance in the traditional s
treatises) is much more diffused. Indeed
dissonance becomes much less literal - a
or that relies on "mental retention" of an
tends to play the role of initiating desc
progression, by transforming a consonan
compelling it to resolve downward.
In the first of Schenker's figures reprod
E at the beginning is prolonged over ba
arrives with the middleground resolution
second example, the upper-voice A is pr
ning at m. 13) and resolves to Gt (m. 21)
a dissonant seventh. This example reveals
of this kind rely on a non-literal concep
Example 1 1 . Middleground examples

Figures 47, 3; and 62, 9.
J.S. Bach, French Suite in E Major, Courante

m. 8 9 12 13 25 26 28
g ? ¿ ì ¿321 <rf-Fi8- 87,14)
. vi n»7v
J.S. Mach, French Suite in h. Major, Sarabande

m 7 8
Mgd. v*

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Here we see the technique most frequently

forms: the arpeggiation from fifth to roo
ble to introduce as a consonance (10) the
Thus, as in strict counterpoint, a preparat
[§169]. 10
While the possibility of composing out tones at this level remains important -
indeed, crucial - for understanding depth of accomplishment in the tonal
masterworks, I am choosing to focus here on foreground passages in which the
composer has emphasized the expanded dissonance in some significant way, e.g.,
as text expression or as phrase-rhythm articulation.11
Perhaps even more crucial than Figure 1 and Example 9 for understanding
Bach's unique use of expanded dissonance is its rhythmic context, because these
bass diminutions are determined less by abstract tonal possibilities than by met-
ric/rhythmic properties. As we will see, most of the examples of expanded
dissonance follow one of two possible prototypes, which fulfill significantly dis-
tinct compositional functions; see Example 12. Both are composed-out according
to a metric prototype of four: one (A) resolving on the fourth unit of the
(hyper)measure and the other (B) resolving on the first (strong) unit of the next
(hyper)measure.12 Thus, either within a measure of four beats, or within a hyper-
measure of four measures, the arpeggiation is linked by passing tones such that
the appropriate time-span is filled.
These two rhythmic prototypes follow distinctly different procedures. (For
this reason, the series of examples that follows is arranged by rhythmic proto-
type.) In prototype A, the expanded dissonance resolves on the downbeat of the
subsequent four-beat or four-bar metric unit. Expanded dissonances of this type
appear as frequently at the measure level as at the hypermeasure level. At both
levels, reduction reveals its basis in third-species counterpoint (although with the
added organizing potential of harmonic steps): four tones counterpoint a single
tone of the cantus firmus, with decisive motion into the next measure in both
parts. By contrast, in prototype B, the expanded dissonance resolves before the
subsequent metric unit, on the final part of the four-bar segment. Most expanded
dissonances of this type appear at the hypermeasure level.13 This is as we would
expect, given the typical coordination of important voice-leading arrivals with
downbeats; to resolve on a fourth beat would contradict the tonal emphasis
expected on the following downbeat. For similar reasons, this prototype repre-
sents a significant departure from strict counterpoint into free composition and
sophisticated phrase-rhythm techniques, where the tonal and durational rhythms
do not necessarily coincide.14 Moreover, the diminution that counterpoints the
sustained dissonance typically involves more than the three tones required to fill
the time-span; usually the units are subdivided (via quicker diminutions), combin-
ing for example six bass tones with one upper- voice dissonance.
We might informally designate these two prototypes as "measure" and
"phrase," by analogy with the rhythmic norms of these two basic units: voice-
leading events in the former will usually not "resolve" until the first (strong)
"beat" of the next (hyper)measure, whereas those in the latter will "resolve"

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(cadence) in the fourth (weak) measure.15

metric group involved, the effect will of
within the larger tonal or metric organiza
recitative and free fantasy, of course, the
many do follow one of the two four-unit
Compositional Contexts (Analys
Let us begin by exploring expansions of

type A, for they occur at both the meas
compositional style and thus offer a g
extended examples. First we have three ex
totype A) over the rhythmic span of a sin
Expanded dissonances that resolve to I
form of tonicization, of a transference to
ticularly suitable for this role because
progression moving at the measure pace.
plest type of expanded dissonance appe
voice progression A-G-FÍ in successive
first two tones into a dissonance through
the manner of an applied dominant seven
succession between outer voices, bringing
mony, all of which prolongs and establish
cadence on the dominant scale degree at th
upper voice represents a brief digression a
initial Ff .) The genre of the "air" (as an i
"aria") lends itself well to the compositio
likely assumes rhythmic activity during
"Blute nur" (Example 1 above) the text m
provides dramatization of an ordinary thi
The next example of this simplest type
opening ritornello to "Erbarme dich" fro
14. Here Bach uses it to prolong ê, firs
towards V but through a bass arpeggiatio
downbeat to downbeat, it fills in a 10-10
acteristic intervals 3-4-5-7-3 resulting
dramatic effect of the inner sixths with
the compound melody of the solo violin.
of the leading-tone seventh chord in the bas
its relation to VII is heightened. When
phrase, he gives the inner sixths to the so
emphasized words "meiner Zähren" ("my
dissonance serves to heighten the expressi
Bach emphasizes IV as much as I; the exp
third of the subdominant harmony. Not
nance here fulfills a non-cadential function: it offers a return to I on the downbeat

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of m. 4 in preparation for the dominant

Bach opens up the phrase dimensions wi
decelerated fundamental bass, which br
seventh chords and to a final cadence. (I
opening ritornello, and motion to ê is a b
gression; 3 is never supported structura
whose Kopfion is 3; the expanded disson
tent.")
In its use of expanded dissonance (of prototype A) as an applied dominant,
the passage of Example 15 is similar to that from the Air (Example 13): it articu-
lates a larger 10-10-10 voice-leading succession through the use of typical bass
diminution (the bass progression F-G-A leads, with upper tenths A-B-C), which
in each measure transforms a consonant tone into a dissonant one. But whereas,
in the Air, Bach led in a descending direction, here the larger counterpoint
ascends, which requires a slightly different voice-leading procedure. The same
progression appears in mm. 38-40, displaced by a half measure, leading to a D-
minor temporary goal (the bass progression Bt>-C-D leads, with upper tenths
D-E-F). In both passages, the expanded dissonance marks a transitional moment
between ritornello statements and between different "key areas." The actual voice
leading of this expanded dissonance differs from the previous examples, and
invites a brief explanation. See Figure 1, lower right. This configuration, which
combines the VII and V functions, has invited special attention (as mentioned
above); Schenker explains in Free Composition, §246: "VII belongs to V in the
sense of an auxiliary cadence."17 This is what Bach has done here on the small
scale of applied dominants. The passage is additionally remarkable in that Bach
combines reaching-over with the expanded dissonance configuration.
Interestingly, this sort of expanded dissonance configuration may play a motivic
role in the piece. In addition to the two passages cited, Bach also incorporates an
accelerated sequence of this figure (at the half-measure pace) at the end of the
movement, first in mm. 44-46 and then with violins exchanged (invertible coun-
terpoint) in mm. 47-49, in both cases elaborating a 10-10-10-10 series leading
to the tonic.18
Next, let us consider more expanded versions of dissonance: three examples
of prototype A over the span of a four-bar hypermeasure. Following eighteenth-
century practice, these may include two-measure groups of "compound"
measures.19
In Example 16, the voice-leading reduction of mm. 25-29 outlines the basic
figure: 4 (F) initiates the figure over a diatonic II, becomes dissonant as the bass
moves through the characteristic passing 6/4 (over the tonic note) towards the V,
and finally resolves (to El?) over tonic harmony (at the next hypermetric down-
beat). Similar to the previous examples, it articulates an underlying 10-10
succession (through a surface 3-4-5-7-3). Another feature typical of Bach's pro-
cedure is present here: the use of é moving at the last moment to 5, which gives
the surface effect of a leading-tone seventh chord moving into the dominant; and,
at a deeper level, of the dominant ninth chord resolving prior to the harmonic res-
olution.

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1 00 Theory and Practice
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More importantly, this expanded disso

hypermetric level. It comprises an ordinar
tent hypermeter of the overall piece (wh
meter). The delayed resolution appears onl
which happens to be the final hypermeasu
of a dominant prolongation just prior to
within the context of the whole minuet, t
provides as much closure as does the fina
use of dissonance does not change the
achieve a subtle but marked effect by su
motion (one- or two-measure units) thu
resumption of harmonic motion. I take 3
dleground neighbor note, first as a co
transformed into a dissonance during the
back to 3 for the final cadential progressi
tion of the form acts as a kind of middleg
IV-V-I), of the sort Schenker represents
above.
The passage of Example 17 differs from previous ones in its overall har-
monic motion, beginning with tonic and moving towards the dominant. Here the
expanded dissonance involves two tones in a kind of double expansion: 1 and 3
are initiated over I, proceed through a bass arpeggiation that outlines II in prepa-
ration for the long dominant pedal point, and resolve to 7 and 2. The outer- voice
counterpoint is 8-10 and 10-5, articulated with passing tones. This example is
much more diatonic than might be expected, in part because Bach chooses to pro-
long the pre-dominant rather than tonicize the upcoming dominant. If we hear this
passage in half-bar units (a compound W, in eighteenth-century terms), then it
clearly follows prototype A at the level of the hypermeasure, resolving on the
strong half-measure that begins in m. 4. The material that follows is further com-
plicated by a skillful use of displacement - a kind of tonal syncopation. A similar
passage appears with the entrance of the voice.
A final example of rhythmic prototype A is taken from the well-known
opening chorus of the St. Matthew Passion (Example 18).20 Here the expanded
dissonance appears no less than four times and functions in part to articulate a
rhyme scheme in the text. All are of the type oriented towards the dominant,
although two actually appear in the "key" of the dominant (thus moving to its
dominant). The first instance, in mm. 7-9 (not shown), appears as part of the
instrumental introduction and prepares a long dominant pedal and definitive
cadence. The second instance, in mm. 24-26 (shown), is used by Bach to set the
important verb "klagen," which marks the end of a text phrase just before the dra-
matic exchange between choirs. The third instance, mm. 40-42 (not shown), is in
an internal instrumental interlude; and the fourth, mm. 80-82 (not shown), sets
the verb "tragen," thus closing the rhyme with the earlier passage. In the passage
shown in Example 18, the soprano voice holds the prolonged dissonance, E, while
the first violins dance around it with various diminutions; both nevertheless serve
to prolong the dissonant tone E (Î), which resolves eventually to D# as the bass

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moves through the characteristic contour. I

necting the second and fourth instances, the f
with the phrases in which they appear) also
the same basic passage occurring in each po
Now let us turn to examples of expanded

tends to appear (for reasons enumerated abo
ric unit - typically a hypermeasure within
prototype A, these involve a more complex
events, and thus more sophisticated techniqu
Representative of this prototype, then, i
nur." We saw already that the expanded dis
the phrase, adding two additional measures
pared to its model in the opening ritornello
it composes-out an underlying 10-10 succes
of a repeated harmonic motion towards cade
follows prototype B, if we take the piece to
to initiate another dominant preparation on
the listener that this particular resolution is n
phrase, which arrives later on both a metric
Bach occasionally uses an even more exten
the bass arpeggiates an entire seventh chord
ing the prolonged dissonance. (See the top o
of VII and V and dominant ninths, this figu
octave consonance, giving an 8-10 outer-
1-3-5-7-3).
In Example 19, Bach uses the figure in
heighten the dominant as it moves from pre
touches on a second voice-leading strand tha
returning to the main voice, which descends
the recitative style, the bass arpeggiation is
ing tones. Although such a passage need no
makes use of the phrase-defining aspects o
designated as "phrase." After a measure of i
ducing Jesus's words), Bach sets a complete
phrase (with a single harmonic motion I-
which comprise the expanded dissonance (IV
phrase as it nears its completion - rhythm
most sense, ending the phrase with the reso
In the context of Example 20, Bach leads
over tonic harmony to an elaboration of V/V
(D#) remains until the moment of resoluti
extended dissonance: along with the main o
is a secondary 3-5-7-9-5, the underlying m
ondary strand usually resolves before the re
becomes more independent, standing along

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nance figure. Additionally, the phrase rhythm

sonance defines a four-bar unit (following pro
hypermeter is not present in this piece (as it w
No. 2). Instead, after two consecutive eight-b
as the initiation of a new metric unit, which
as well as four additional measures composing-
(a typical harmonic pattern for a two-reprise
at the end of the gigue (mm. 44-47), reinterpr
expanded dissonance, which is of course modi
(in the tonic "key").
The voice-leading reduction of the passag
expanded dissonant events: the first, the exte
the temporary resolution 7-6 over D#; follow
extension of E over D (the bass's D being disso
C-B-AÍ and resolving to D over B. The former
with passing tones for the whole bass moti
through VII/V to I, although the true resolut
downbeat by a dissonant 4/2. The subseque
upper voice) is less elaborate than the previou
only to a half-step below the dominant scale d
although it is not literally part of the expande
not the only thing elided between these two e
rhythmic elision of a whole measure through
first dissonance to define a four-measure unit
the fourth (weak) measure. But then he reinter
new metric unit, thus eliding a bar that would
complicates matters by writing the subsequent
measure unit, which also resolves in the four
more, he reinterprets that final measure as the f
All of this appears after fourteen measures of
meter, and thus draws particular attention to
expanded dissonances to achieve hypermetric d
playing with durational expectations within th
Finally, the passage from the E-Major Viol
bines various aspects of prototype B and illus
additional bass diminution, additional rhythmi
of simple dissonances. The crucial passage app
dle section (a tonal digression) of the first m
moves to the relative minor of Cf and articu
the bass, supporting passagework in the solo
lates three successive expanded dissonances, w
the upper register of the solo violin and the b
istic pattern. Significantly, two levels of reduc
diminution that appears in the first two iter
slower rhythmic pace, where it is embellished
ascending "detours" consisting of upper-neighb

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1 1 0 Theory and Practice
expansion thus transforms two bars into four

falls on the fourth count of the prototype. R
initial two with the third illustrates what Ch
basic pace.25 The first two expanded disso
expanded rhythmic level, withholding expan
veyed until the third, climactic instance. Inte
the upper- voice dissonances in the first two
pensions) and then delayed until the next dow
of the next configuration. Bach thereby creat
the boundaries until the final resolution of
larger sense of continuity, although the delay
will no doubt be noticed by the listener as lo
effects emerge from the first two, however
expansion, which Bach marks as the final re
the upper voice through the characteristic 8-
to rest on 3 (GÍ-FÍ-E), although he cannot re
measure of resolution, thereby continuing th
In its combination of features associated with
sage has a remarkable effect on the listener.
As we have seen, the expanded dissonance

device and a favorite of J.S. Bach, who used i
sion and to dramatize important musical even
eighteenth century demonstrate a historical
is not consistently categorized among the var
icant historical synthesis of counterpoint an
theoretical possibilities of the various configu
compositional roles - i.e., its typical voice-le
as important, though, rhythmic prototypes
tally the compositional role each plays in con
article have revealed that expanded dissonan
tion, yet can also play a highly sophisticated
of phrase rhythm. While phrase-rhythm no
Bach's music than in that of subsequent gene
mic devices in his music in subtle but impor
is therefore more than just an interesting v
essential part of his pacing of events, his play
listener's experience.
NOTES
1. Heinrich Schenker, Counterpoint, ed. John Rothgeb, trans. John Rothgeb

Jürgen Thym (New York: Schirmer, 1987), I: 260-61.

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2. C.P.E. Bach, Essay on the True Art of Playi

William J. Mitchell (New York: Norton, 19
Compositional Techniques in the Keyboard Son
Reimagining the Foundations of a Musical
University, 1995), 28-29.
3. "Von der Syncopatione catachrestica" (Chapte

Consonantiis impropriis" (Chapter 32, final tw
der Extension" (Chapter 36), example with f
Bernhard, Tractatus, reprinted in Die Komposit
Fassung seines Schülers Christoph Bernhard (L
In the first case, the license of consecutive dis
diminished fifth before resolving) can be thoug
motion with added bass diminution (see reducti
numerous later eighteenth-century treatises. In
apparent upward resolution of the diminished fif
as an embellishment of an underlying descend
downbeat. The third case demonstrates a delaye
passing motion; its expansion is temporal and i
4. Bach, Essay, 192-93.
5. This specific configuration also appears in treatises outside of the German tradi-
tion; see Francesco Gasparini, The Practical Harmonist at the Harpsichord [1708],
trans. Frank S. Stillings (New Haven: Yale University Press, 1963), 53, Example
84.
6. This enumeration of theoretical possibilities should not be taken as prescriptive,

rather it is a conceptual framework derived from the following musical examples,
and then positioned first as a context for understanding. In other words, I offer it
here for the orientation of the reader, though logically it represents a set of conclu-
sions that result from this study of expanded dissonance.
7. Schenker, Free Composition (trans. Ernst Oster [New York: Schirmer, 1979]),
§246: ". . . produce the effect of a ninth, while it avoids the vertical form 9-8." See
also Fig. 64, 1 from Handel's D-minor Suite.
8. The passage from Free Composition appears to be a follow-up to the discussion of

the same piece in Schenker's well-known essay on improvisation from the first vol-
ume of The Masterwork in Music, ed. William Drabkin (Cambridge: Cambridge
University Press, 1994).
9. Somewhat less directly related is Schenker's discussion of "expansions" in Free

Composition, §297; however, Fig. 148, 3a-c does illustrate a type of configuration
to be discussed below: Al? to G over a bass diminution of F-Dt>-B-C.
10. Schenker, Free Composition, §177.
11. Additional instances of foreground expanded dissonance can be found in C.P.E.

Bach's compositions; see Petty, "Compositional Techniques," Example 7.7, mm.

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8-9 from the Sonata in A minor H30 (W

17-21 from the Sonatina in Bb major H29
12. Schenker, Free Composition, §286: "T

necessarily require four tones as its cont
content of a 4-measure group . . . ." Th
Schenker's discussion of expansion, Free C
13. Schenker, Free Composition, §288: "Unle

trary . . . every metric scheme is capable
such a way that the I appears in the final
14. These terms refer, of course, to Carl Sc

agenda for all subsequent phrase-rhythm
Preliminary Study," Music Forum 4 (1
Analysis: Durational Reduction," Music
and Linear Analysis: Aspects of Meter," M
essays are reprinted in Carl Schachter, U
and Analysis, ed. Joseph N. Straus (New Y
15. A valuable discussion of phrase-rhythm

beginning-oriented metric hierarchy and
William Rothstein, Phrase Rhythm in To
28. An important observation, then, is th
absolute rule that requires) a cadence to o
so, in which case there is usually an overl
phrase.
16. We must retain the quotation marks for both terms, for they clearly differ from stan-
dard definitions. In particular, the "phrase" type will often fulfill only part of a real
phrase, if we define the latter as a complete tonal motion (after Rothstein, Phrase
Rhythm).
17. See also Free Composition, Figures 111 and 114, 5c and 5d.
18. A similar passage occurs in another well-known violin composition, the chaconne
from the D-Minor Partita, in which the expanded dissonance moves towards the
dominant and is adapted to the idiomatic triple meter (see the sixtieth variation of
the four-bar segment, during the final pedal point).
19. The term zusammengesetzten Tacktarten (Kirnberger) is usually translated as

"compound meter," though it obviously differs from the current usage; it refers to
the combining of two measures of 2/4 into the barline notation of 4/4. See espe-
cially Floyd Grave, "Metrical Displacement and the Compound Measure in
Eighteenth-Century Theory and Practice," Theoria 1 (1985), 25-60.
20. Schenker's essay on this movement, in Der Tonwille 10, tends to focus on Bach's
setting of the chorale and its characteristic motives.

141.135.65.4 on Wed, 03 Feb 2021 10:53:40 UTC
21. Less rhythmically expanded versions of

in the E-Major Violin Concerto (a differen
appears repeatedly throughout the movem
arpeggiation of the bass diminution. The b
ented towards the dominant; the same p
dominant (and oriented towards its domina
appear at analogous positions in the final a
22. Kirnberger uses this little piece as his mo

Newman, "Kirnberger' s Method for Tossin
(1961), 517-25. Schenker provides a fore
Fig. 87, 4.
23. Schenker discusses reinterpretation in Free Composition, §298; see also Rothstein,
Phrase Rhythm, 52-56.
24. Bach cadences just as frequently on a hypermetric downbeat as on its final weak
measure; the latter usually occurs in pieces with a consistent hypermeter, but the
former also appears as an alternate way of establishing phrase rhythm. In any case,
we should not expect Bach's phrase rhythm to be as consistent as that of later com-
posers, especially in free forms such as the prelude. Nevertheless, small-scale
events (such as our four-bar expanded dissonance) offer an effective means of
defining local metric organization, particularly in pieces with no (consistent) over-
all hypermeter.
25. See Channan Willner, "Sequential Expansion and Handelian Phrase Rhythm," in
Carl Schachter and Hedi Siegel (eds.), Schenker Studies 2 (Cambridge: Cambridge
University Press, 1999), 192-221.

141.135.65.4 on Wed, 03 Feb 2021 10:53:40 UTC

Braunschweig 2003 - Expanded Dissonance in The Music of J.S. Bach

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Braunschweig 2003 - Expanded Dissonance in The Music of J.S. Bach

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Expanded Dissonance in the Music of J.S.

Stable URL: https://www.jstor.org/stable/41054346

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"I cannot recommend strongly enough the

"J.S. Bach remains the master teacher of a

- Schenker, Free Composition, §210, §257

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the voice-leading possibilities, the resu

General Principles of Dissonance:

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Example 2. Schenker, Counterpoint

Consonance - Dissonance - Consonance!

Consonance - E xp an d e d Dissonane e - Consonance.

Example 3. Rhythmic reduction of expanded dissonance from Example 1.

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appeared in treatises from Christoph Bernh

Example 4. Johann Scheibe, Compend

The first case (dissonance resolving to dissonance) is not reproduced here, as it is

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Example 5. C.P.E. Bach, Essay on

Example 6. Johann Gottfried W

known theoretical authorities.5

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Example 7. Joseph Riepel, Anfangsgrü

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(b) with diminution

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of the dominant (with one passing tone)

A Specific Set of Configurations (Theory).

Before considering specific examples of expanded dissonance in the music of

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Example 9. Other voice-leading p

(a) Harmonic motion to V.

(c) Double-dissonance figure.

«T"1 I "Mache dich"

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type of cadence, a composing-out of an

Example 10. Probable sources of fo

4. Passing tones. The arpeggiation i

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5. Combinations within dominant funct

8. Harmonic motion to V (Example 9a). Bach occasionally orients the

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8. A double-dissonance figure (Examp

Not surprisingly, Schenker's reading o

Example 1 1 . Middleground examples

J.S. Bach, French Suite in E Major, Courante

g ? ¿ ì ¿321 <rf-Fi8- 87,14)

J.S. Mach, French Suite in h. Major, Sarabande

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Here we see the technique most frequently

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(cadence) in the fourth (weak) measure.15

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