But then goes back to polyphonic in the next bar. In bar 10, the texture becomes monophonic as the right and left hand are playing in unison. 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.read more. The piece is in Binary as the piece is played like this: A:|| B:||. This Minuet is in two sections 'A' and 'B'.
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. Bach wrote this piece especially for the harpsichord and for his wife who played the harpsichord. As it is a Minuet, the speed of the piece is quite steady- andante (at a walking pace). The time signature, also known as the metre is 3 crotchet beats in a bar. Bach is in the key of G major as we can obviously see by the title: "Minuet in G". But, today, it’s popularly known as Bach’s Minuet in G.Essay on Minuet in G by J.S.
The notebooks he created for his wife had original works as well as pieces by his contemporaries like Petzold, François Couperin, and Georg Böhm. Finally, they added some half-step key changes.Ĭuriously, though we know the Minuet in G as Bach’s, musicologists now believe the piece is not by Bach at all but by Christian Petzold. Then, they orchestrated it for an expanded ensemble. First, the arrangers changed the time signature. So, Bach’s famous Minuet in G got a makeover in several stages. The song finally ends in D# major, with the modulation from D major happening around 2:29 in the clip above. Then a 2:12, it moves from C# major to D major. At 1:24, “A Lover’s Concerto” moves from C major to C# major. Then, the piece has three half-step modulations, which have the effect of literally kicking the piece up a notch, and of intensifying the emotional quality. The modulation to C major happens at 0:51 in the YouTube clip above. In pop music and jazz, music often modulates around the “circle of fourths,” rather than the circle of fifths, which is the same as the circle of fifths in reverse order. In “A Lover’s Concerto,” the piece first modulates not up a fifth, as Bach might do, but instead, up a fourth, to C major. Though typically, the composer will modulate to keys around the “ circle of fifths.” So, in the Minuet in G, if Bach were to add a modulation, the piece would probably move from G major to D major, the key five notes away (G-A-B-C-D), though one key away on the “circle of fifths.” In compositions from Bach’s time, if a composer is working in a major key, they’d likely modulate to new keys somewhere throughout the piece.
It wouldn’t be a pop song unless there were one half-step key change at least. What holds everything together is the simple harmonic structure, which allows the composer or arranger to add an infinite number of parts, and the melody.īut the changes don’t stop there. Bach could’ve easily expanded the piece for a chamber ensemble and voices himself. Of course, in addition to changing the rhythms and meter of the original Minuet, the arrangers have scored “A Lover’s Concerto” for a band and three voices. The opening measures of the vocal line of “A Lover’s Concerto”
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