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Essay on Minuet in G by J.S. Bach.

Extracts from this essay...

Introduction

Essay on Minuet in G by J.S. Bach. This familiar minuet by J.S. Bach is in the key of G major as we can obviously see by the title: "Minuet in G". The time signature, also known as the metre is 3 crotchet beats in a bar. As it is a Minuet, the speed of the piece is quite steady- andante (at a walking pace). J.S. Bach wrote this piece especially for the harpsichord and for his wife who played the harpsichord. I believe that it wasn't written for the piano especially as pianos were just being invented and therefore were not as popular as the harpsichord. This Minuet is in two sections; 'A' and 'B'. The piece is in Binary as the piece is played like this: A:|| B:||. Both 'A' and 'B' sections are equal in length and are quite similar, with both having simple rhythms although in the 'B' section, new things are introduced and many 'A' section rhythms have been modified.

Middle

In bar 10, the texture becomes monophonic as the right and left hand are playing in unison. But then goes back to polyphonic in the next bar. During the 'A' section the left hand swaps the melody with the right hand; and they are: bars 8 and 12. In section 'B', the first 3 bars are modified sequences of bars 5 and 6 in section 'A' as they use the same rhythms and each first note of the 3 bars begins a tone lower than the one before. The next thing that happens in the 'B' section is that in bar 19, it is a pivot as there is an E minor chord, which is the 6th degree and 2nd chord of G major, which then leads into bar 20 where there is modulation as the key changes and becomes D major when the first note (being a C)

Conclusion

difference is that the scale in bar 21 is in the key in D major with the C# and the scale in bar 29 is in the key of G major. This gives contrast between the two scales. Additionally if we look at the next bar, bar 22 and 30, we can see that they same rhythm and sequence but because the notes are different, it is a modified sequence. Finally, in bar 31, we also experience something but it's not to do with the texture but to do with rhythms. We are given a new rhythm that is similar to bars 20, 25, 26 where the rhythm is: ta ta-te ta whereas in bar 31, the rhythm is: ta-te ta ta. This is also unexpected but fits in nicely to join and lead up to the last chord as the notes get longer; from quavers, to crotchets and then in the last bar: a dotted minim.

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