Analysis of Bach Concerto

For hundreds of years music has experienced a constant flow

a change and development with new concepts being created by
composers and theorists around the globe. The early part of 17th
century or Baroque period included a great deal of experimentation
and new ideas especially that of J.S. Bach. Literally, according to
dictionary.com, Baroque means “’anything extravagantly
ornamented, especially something so ornate as to be in bad taste’
also, ‘an irregularly shaped pearl.’” For this assignment, I have
chosen the “Violin Concerto in E Major BWV 1042” by J.S. Bach.
During this analysis, one will find direct connections between the
music and the definition of Baroque.

The piece is scored for Violin Concertato, Violin I, Violin II,

Viola, and Basso Continuo. In the A section, Bach wastes no time in
establishing a strong tonal center by prominently outlining an E
major chord in measure one. For each beat he uses the next note
of the E major triad to firmly plant the audience in the key. Measure
two employs ornamental notes around the tonic chord. Measure
three includes a IV chord in first inversion to a I chord with a 9-8
suspension in the violin two leading to a five chord in the key.

Here, Bach first introduces an irregularity in functional

harmony. Measure four begins a 3 measure sequence with a chord
change on beats 1 and 3. The three measures include a iii, V7/ii, ii,
V, I, and IV chord. Bach’s rhythmic structure allows this progression
to move fluidly with the continuo moving in scalar form from beats 1
to 3. By beat 3 of measure 6, Bach continues to break “tonal rules”
by employing a new type of sequence using a series of first
inversion chords on each beats descending by one number. The
chords include IV 6, iii 6, ii 6, I 6, vii half diminished, vii half
diminished in 2nd inversion, vii half diminished, V, and then lands on
a tonic chord in measure 9. This technique became quite popular
during the Baroque period.

The I chord leads to a functional I 6, ii 6, V 7, deceptive vi

progression by beat 3. The vi chord goes to iii 6, IV, V7 and then
lands on a I chord. Bach repeats measures 9 and downbeat of 10
landing on measure 11 with a I chord bringing the piece to a codetta
between measures 12-14. In measure 12, Bach uses the E major
chord and ornaments it intricate passing tones with the sixteenth
notes. The downbeat of measure 13 spells a thin IV chord with only
the continuo and concertato voice playing. Beat two has a thin,
inverted I chord to the downbeat of measure 14 where Bach uses
multiple cadential chords with a vii half diminished 7, vii half
diminished 6/5 on the and of beat one, I, and finally a strong V
chord to lead the music into the A prime section at measure 15.

At the A prime section, Bach uses this section to begin

exploring some common expected keys to modulate to. Measures
15- 17 begin exactly as the start of piece did with a strongly outlined
I chord in measure 15, an inverted, ornamented I chord in measure
16, to a iv 6/5 chord on the downbeat of measure 17. Next beat two
has a I chord with a 9-8 suspension leading to a V chord on beat
three where the solo violin plays an intricate melody.

It is between measures 18 and 19 that Bach strongly uses

all the voices to spell out a strong V7 chord in the key of E major
and by measure 20 all the voices, except the solo drop out and he
uses a common tone B as the note to modulate to B major. By the
and of beat 2 in measure 20 the original melody is now heard in B
major for 4 beats. The downbeat of measure 22 strongly outlines a
B major chord while the solo violin continues to embellish the chord
to beat 3 of measure 22 where a hollow vi chord is followed by a vii
half diminished chord is seemingly implied by the thin voicing
between the bass and solo voice. Measure 23 includes another
cadential chord with a stronger V7 chord being outlined for beats
and finally landing on a I chord at beat 3 and a second inversion I
chord on beat 4.

Next, a vi7 chord follows a ii7/V and finally a V chords sets

up the sequence heard earlier in the piece. While all the chords are
implied among these measures mentioned, Bach keeps the piece
quite thin by using his intricate rhythmic structures of sixteenth
notes and syncopations to imply the chords heard. By measure 25
the sequence from measure 4-6 is heard strongly in B major with a
iii chord and vi chord, then a ii is followed by a V7, then lands on a I
chord in measure 27. The idea of tension release from beats 1 and
2 to 3 and 4 are heard well with Bach’s writing. The and of measure
27 to beat 1 of measure 29 includes the same sequence heard from
measures 6-8 but still in the new key now of B major. Bach uses a
series of first inversion chords again starting on beat 3 of measure
27 with a iv 6, iii 6, ii 6, I 6, vii half diminished 6, and iv 6/4 chord on
beat four of measure 28. Bach tends to use this technique a great
deal during the piece.

At measure 29 we find a vii half diminished 6/5 chord on

beats 1 and two leading to a V7, vi 6, V 6/5 chord landing briefly on
a B major chord at measure 30. Beat two spells our a ii chord
leading to a V7 chord on the and of beat 2 and finally back to the
tonic B major chord. It is between measures 30-34 that I feel Bach
placed another codetta to the A prime section. He takes ideas from
the A section but fragmented them into a smaller closing idea for
this section. Measure 31 includes a vi chord, iv 6, V7 and I chord
while the solo violin embellishes each chord and toys with the I
chord until the third beat of measure 33. Here Bach deceptively
goes to a vi 6 chord back to a V 7 and lands on the I chord at
measure 34. Beat 2 of measure 34 uses a sixteenth note based ii-
V-I progression before bringing the piece into the A double prime
section.

At measure 35 Bach facilitates a transition back to E major

by using the tonic B major chord from the previous measure as a V
chord. This pivot chord motion makes the change seem less rigid.
Ironically the listener does not realize a full return to E major until
Bach uses a common tone on the second beat of measure 38.
Between measures 35-38, the solo violin makes use of a flat 7th in
the key of E major almost hinting toward A major. At measure 38 we
hear the same solo transition heard at measures 20-25 but back in
the key of E. Bach explores the E tonic chord during measures 39
and 40 while the solo violin heavily embellishes it and on the
downbeat of 41, Bach writes a strong V-I cadence. Measure 42
transitions with a vi7 chord followed by ii7/V-V chord leading to the
same sequence of music heard in measures 4-6 and 25-27 in the
key of E. The chords iii-V7/ii-ii lead to a minor v chord landing on I
at measure 45. Measures 45-47 continue the same sequence idea
heard before with a IV-iii-ii-I-vii half diminished all in first inversion.
 At measure 47, the two cadential vii half diminished 6/5 and
V chords are heard before Bach writes another codetta at measure
48. The solo violin plays an embellishment of the I chord until beat 3
of measure 50 where the V chord leads to a I chord at measure 51
and Bach goes back and forth from V-I until the B section begins at
measure 53 in a new tonal center of C sharp minor.

At measure 53 Bach transitions to the close key of C sharp

minor. He still uses the grandiose theme by taking an entire
measure to outline the C sharp minor chord. The measure changes
with inversions of the minor one chord. The solo violin continues the
idea of ornamenting each chord Bach writes through to measure
58. Measure 54 includes a minor v chord with a 6, 6/4, 4/2, 6
inversions respectively. Finally, Bach adds the 7th on and of beat
four and deceptively cadences to a vi chord at measure 55. Next,
he goes right back to a V7-V6/5-minor one cadence between
measures 56 and 57. Measure 59 includes a c sharp minor chord
that Bach seems to highly decorate with non chord tones and
inversions to lead to the V6/5-7 chords in measure 58. Measure 59
moves to a weaker minor v-4/2-6/5/-6/4 progression before landing
on the c sharp minor again at measure 60.

It is here that Bach does not emphasize the tonic chord yet
by moving quickly to a V7/iv-iv then to a iv chord in measure 61.
The vi chord in measure 61 moves to more secondary dominants
including a V7/vi-vi-minor one in first inversion. Next, a VII 6 chord
moves to a vi 4/2-ii-vi 6/4 progression before landing on a VII flat 7
chord at measure 63. It is very clear that Bach does not use fully
functional harmony quite yet, but one can see that the way he
manipulates the chords in an imperfect way creates a pleasant
sounding work thus far.

At measure 64 a minor one chord leads to a weak V 6/4-

minor one-iv leads keeps the listener engaged with the pulsing
sixteenth notes in the solo violin. Next, measure 65 gets
complicated with multiple secondary functions leading to beat 3.
Beats 1 and 2 are a vii diminished 6 of iv-V7 of iv respectively
leading to iv and iv 6 chords on beats 3 and 4. More functional
harmonies regain control however in measure 67 with a VI7-minor
one 4/3-iv creating a subdominant sound. This brings the listener to
a weak V-minor one 6/4 cadence in measure 68. Finally, a ii/V-V
progression in measure 69 bring the listener to the A triple prime
section in the key of c sharp minor. Many of the same melodic and
harmonic ideas stand true from the beginning of the work here just
in a darker, somber sounding key.

At measure 70 the A triple prime section takes control firmly

in c sharp minor. Bach outlines the c sharp chord for two measures
and finally in measure 72 uses a V and V7 chord from B major to
modulate to a tonic B major in measure 73 and 74. Measure 75
includes a transition chord to a new key. A IV chord with a flat 7th is
also a pivot chord as a V7 in the key of A major. Measure 76 does
exactly that going to a tonic chord of A major. Here the same
rhythmic and melodic idea is employed in yet a new key.

Measure 78 uses a IV 6 chord moving back to a I chord with

a 9-8 suspension leading to a V chord. It is at measure 79 the
listener hears to familiar sixteenth note sequence with a iii-V7/ii-ii-
V7-I progression by beat 2 of measure 81. The second half of this
measure Bach writes a IV 6 chord with a natural root. The
progression moves to an unconventional writing with a ii 6 followed
by a series of first inversion tonic chords. On beat 3 of measure 83
Bach finally writes a V7 followed by a V 4/3 chord landing on a
major I chord in A major and is able to toy with listener by inverting
the tonic chord. The violin continues with sixteenth note melody. On
beat 3 of measure 86 Bach uses this chord as a V 6/5 in the new
key of B minor. Bach toys with this V chord with various inversions
until he finally rests on the tonic b minor chord chord on beat three
of measure 88. Measures 89-92 include a series of minor one
chords being inverted and outlined on each beat with the sixteenth
notes. Beat 3 of measure 92 includes a V-i-V 6-V7-I progression.
Measure 94 has a flat iv7-V 6/5-iv 6/5-I progression. Here the
listener can notice a retrogression created by Bach to maintain the
“imperfect” or “Baroque” style.

The next 2 measures are still in outline an F sharp minor

chord to a first inversion F sharp 7 chord. Finally, Bach uses the
downbeat of measure 97 as a V7 chord in the key of E major once
again. The progress follows V7-I-V 6/5-V-I 6/5-IV with a 4-3
suspension by beat 4 of measure 98. The progression follows I 6/5-
IV-vii half diminished-V-V7-I by beat 3 of measure 99. Next, Bach
employs mostly dominant chords including I-IV7-vii half diminished
6-V 6/5-V before landing on the E major chord.

The piece stays in E major through to measure 106 with a

progression of I-vii half diminished-vi-IV-V-I-V-I-V. But by 4 of
measure 106 Bach moves to one more key of G sharp minor with
chromatic harmony leading to measure 107. This measure has two
dominant chords of V 6 and VII7 leading to the ultimate minor one
chord of G sharp minor on measure 108. Each measure following
spells one chord with a progression of i-iv-V-I 6/4-V7-i-vii fully
diminished before finally landing on the minor one chord on
measure 116. The progression to the end of the piece follows i-V-i-
VI-ii 6-vii diminished 6/5-V before slowly landing and ending this
section on a G sharp minor chord.

Next, the A section is replayed exactly from the beginning of

the work through to measure 52. No changes to the chords or
orchestration were changed by Bach. He simply seemed to bring
the listener back to the original idea before bringing the first
movement to an end on the tonic chord back in the original key
center of E major.

The second movement, Adagio, begins in C sharp minor

with a pretty constant bass repeating its rhythmic pattern to
maintain the somber change in character of the work. By measure
15 of this movement however, Bach moves to the close key of E
major with a strong V-I cadence and maintains the key briefly before
returning to C sharp minor. At measure 22 Bach spells out a true
half cadence with a strong V chord in root position before moving to
the B section of the movement.

It is during the B section Bach changes the Bass line to

create a completely new idea. Also, he takes this time to explore
new tonal center until the A prime section is brought into play. For
most of this movement Bach uses a sixteenth note structure to
chromatically change keys. For example, at measure 27 a strong
cadence in the key of G sharp minor is heard and stays in this key
for a short period. At measure 35 Bach finds his way back to C
sharp minor briefly before writing a cadence in the key of A major on
beat 4 of measure 38.

At measure 38 the B section begins to take on some

characteristics of the A section with the bass line returning to
original theme but in a new key. Four measures later at measure 42
Bach returns to C sharp minor and ultimately returns to an A prime
idea before bringing back a full A section of music. During the final 7
measures of music the piece comes to a close with the solo violin
dropping out and a final cadence in C sharp minor.

The third and final movement of this concerto begins in the

obvious key of E major. Much of this movement has the solo and
first violin playing unison parts except during the moments Bach
intentionally writes solo passages for the violin to outline chromatic
changes in tonal center. The lower voices mostly maintain a motor
rhythm outlining the notes in each chord change.

After beginning in E major, the piece stays in the intended

for 16 measures before the solo violin begins working to modulate
to the close key of F sharp major at measure 25. Moving quickly to
B major, Bach uses this modulation sequence to get the piece back
to the original A section again in E major. The listener will find
multiple returns to the A section in E major as Bach switches
between A and some form of a B section throughout this movement.

At the next B section at measure 49 the piece transitions to

C sharp minor with most of the interest in the solo section with
similar motor rhythms playing underneath. As one can see, each B
section has virtuoso style writing but Bach uses different rhythmic
devices for each section. For example, the first B section has little
background accompaniment while the next B section includes more
motor devices behind the solo.

At measure 65 the A section returns in the original key for

another set of 16 measures. At measure 81 the B prime returns, but
Bach once again changes to accompaniment to the solo with simple
dotted quarts and eighths helping to simply outline the chords as
they change. During this section the tonal center begins in E major
but is based around another key of A major with strong cadences at
measure 84 and 96.
 Next, the A section returns at measure 97 in E major with an
exact copy of the original theme from measure 1. It seems as
though Bach intended for the A section to be used as an anchor
around each B section he has the solo violin play. Other than the
solo violin, there are no interesting parts. The solo violin is in turn
showcased throughout this work with each returning B section.

The final B section returns again with another alteration by

Bach with different eighth notes and rests being placed in different
spots of the measure. Some hints from previous movements
however can be heard with rhythms including two sixteenths
followed by an eighth note just as heard in the second movement.
The tonal center begins in E major but quickly transitions once
again to C sharp minor where a cadence in that key can be heard at
measure 124.

Finally, the A section repeats itself once again at measure

145 for the final 16 measures of piece in the key of E major where
the solo violin joins with the first violin while the lower voices add a
motor rhythmic structure in mostly first inversion chords as the
piece concludes. Bach does indeed include some chromatic notes
intertwined within the music. But in all, the piece concludes with a
root position chord bringing the Concerto for Violin in E major to a
most appropriate close.

Within this piece Bach does not follow any strict rules of
composition as his progressions to do not follow orthodox
movements.

But it is the mathematical and aural approach that he

manipulates chords to make them pleasing to the ear. With his
various tonal center changes and imperfect chord motions, Bach
truly captures the character and intention of the Baroque time
period.