After an analysis of each Sonata’s formal character based on the coherent compositional scheme, a meta-analysis is possible to determine the characteristics that shape the Three Sonatas as a whole. At the same time, the formal congruity between the four movements is observed in the choice of tonality, sectionalization, uses of motives, etc.
Not only do the general figures on the surface support the function, the formal activities in each movement do as well. The other movements surround the Fuga functionally: the first movement as a prelude, the third as a tension-reliever, and the fourth as a brilliant finale. The Fuga in each Sonata becomes the central movement due to its exceptional musical weight. The first issue has been treated in my previous thesis1 concerning the first statement and its development throughout the movement this thesis will discuss the latter two subjects. Bach’s Three Sonatas for Solo Violin exhibits formal coherence on three levels: first, through every movement second, through the four movements in every Sonata and third, through the three Sonatas in the set. !etd.send_file?accession=ucin1122323822&disposition=inline Bach’s Violin Sonata I in G minor, BWV 1001, Transcribed for Guitar: Transcription, Analysis, Performance Guide, Pedagogical Practice Guide, and Recording.Ī Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts The term you are looking for might be „bwv 1001 fugue analysis“ and will give you answers by google like:Ī Pedagogical and Performance Edition of J.
0 kommentar(er)
