Analysis Of Bach 's Gavotte No

1472 WordsMar 28, 20176 Pages
Analysis of Bach’s “Gavotte no. 1” from The Orchestral Suite in D Major When I first began listening to Bach’s “Gavotte no. 1” from The Orchestral Suite in D Major, I assumed that the piece was going to be simple and repetitive because it began with a straightforward, memorable, melodic theme. While parts of the piece are repeated, upon closer listening I learned that this composition is far from simple. It is structured with different sections and a clear conclusion, but Bach uses techniques such as key changes, varying phrase lengths, and inclusion of timpani to keep his composition intriguing. In “Gavotte no. 1”, Bach maintains motoric forward motion and follows a repetitive song structure while simultaneously adding new and surprising…show more content…
In section A, it’s played by both the oboes, violin I, trumpet, and kettle drum parts. After it is introduced, the motif is then followed by a fast paced, downward moving section. The second phrase of section A (4.3-10.4) is longer at six and a half measures. Again the phrase is broken up into two parts, one consisting of the motif and the other consisting of a downward moving set of eight notes. The descending line is longer than the descending line in phrase one, creating more anticipation for the cadence at the end. Phrase one and phrase two are mirrors of each other in the way that they both consist of the motif followed by a descending line, but Bach adds something new to phrase two by changing its length The phrase structure is altered entirely in section B. Instead of only 2 phrases there are four, and they are all around the same length of about four measures. The motif is played at the beginning of phrase one (10.3-14.2), phrase two (14.3-18.2), and phrase three (18.3-22.2). The transition between the motif and the second part of phrase one is less noticeable due to the fact that the motif is only played in the Oboe and Violin I parts and not in the trumpet or timpani. They are brought back though for phrases two and three, making the separation between the two part phrase more obvious. Bach also repeats the descending line from phrase one of section A in phrase three of section B, although this
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