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A-Minor Invention, BWV 784: The Two Versions of S. Bach's
A-Minor Invention, BWV 784: The Two Versions of S. Bach's
A-Minor Invention, BWV 784: The Two Versions of S. Bach's
DAVID NEUMEYER
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Fig ur e 1.
measure: 1 6 13 18 22 25
cadence: c E (A) A
in A-minor: i III v i v i
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Example 6. Texture Inversion in Section "b," m. 8.
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78 INDIANA THEORY REVIEW
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BACH'S A-MINOR INVENTION 83
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BACH'S A-MINOR INVENTION 85
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86 INDIANA THEORY REVIEW
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BACH'S A-MINOR INVENTION 91
Figure 2.
measure: 1 6 13 18 21
cadence: c E (A) A
in A-minor: i III v i i
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BACH'S A-MINOR INVENTION 93
m. 22
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94 INDIANA THEORY REVIEW
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m. 22. 19 (See Example 20; also cf. Example 18.) That this E
is forceful, whether sounded or not, is evident from the
fact that e is sounded after d* in the parallel place in the
Klavierbuechlein (I, m. 18). E apparently was not sounded
in the final version only for the performer's convenience
(to avoid a rapid leap of the twelfth). The sixteenth rest
was used, then, instead of the alternative - e - in order to
bring the left-hand figure into conformity with the rhythmic
shape of the subject. The register of this E is not reached
again until II, m. 24, where neighbor-notes surround the
bass of the cadential dominant.
The extreme bass register, represented by the pitch E,
thus identifies a dominant pedal-point construction in II,
mm. 22-24. Among other things, this suggests that Bach him-
self recognized that the material of I, m. 19 (II, m. 23)
was problematic 20 and, so to speak, demoted it to the status
of figuration above a pedal point. The cross relations and
near parallels which abound in this measure could have been
avoided simply by changing the bass. (See Example 21.) Had
Bach done so, it might be plausible to interpret the descent
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