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A question on BWV anh 114 #2854140
05/31/19 07:54 AM
05/31/19 07:54 AM
Joined: Oct 2018
Posts: 52
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Manne janne Offline OP
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Manne janne  Offline OP
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Joined: Oct 2018
Posts: 52
I have a question on BWV anh 114.
In bar 9 and 10 of the second part (not the first part!) we have non-chord tones. In bar 9 we have for example a fourth interval (G-D) going to a third interval (F#-D). In bar 10 we have a third interval (G-E) going to a major second (F#-E). What are those non-chord tones called? I am aware that we are not dealing with four-part harmony but the theory of non-chord tones work very well in this case. If you find a better way of talking about it please tell me.

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Re: A question on BWV anh 114 [Re: Manne janne] #2854156
05/31/19 09:07 AM
05/31/19 09:07 AM
Joined: Jan 2018
Posts: 45
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Ido Offline
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Ido  Offline
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I'm not big on theory, but I would look at it this way:
Bar 9: you basically have the tonic chord (G B D), even though the G is implied here and played only in the melody. The F# is the 7th, but the harmony doesn't change in this bar. To the contrary - the F# 'dances' around the G which is the tonic and eventually leads to it. You can also look at it as an ornament built into the piece.

Bar 10: the harmony changes to the IV chord - C major (C E G). Again the G is omitted from the 'chord' but its presence is clear in the melody.

Re: A question on BWV anh 114 [Re: Manne janne] #2854193
05/31/19 11:20 AM
05/31/19 11:20 AM
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Sidokar Offline
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Originally Posted by Manne janne
I have a question on BWV anh 114.
In bar 9 and 10 of the second part (not the first part!) we have non-chord tones. In bar 9 we have for example a fourth interval (G-D) going to a third interval (F#-D). In bar 10 we have a third interval (G-E) going to a major second (F#-E). What are those non-chord tones called? I am aware that we are not dealing with four-part harmony but the theory of non-chord tones work very well in this case. If you find a better way of talking about it please tell me.


Actually G-D is part of the chord. Since we are in a 2-3 voice counterpoint the harmony is broken across the bar. Previously Bach was modulating in D major, the dominant of G. In bar 8 he starts to come back to G through D (V of I) and C natural. In bar 9 we have a first inverted tonic or if another way to look at it it is a bass of B with a 6/3 chord on top. The F sharp is a lower auxilliary to G. In bar 10 we have a D-E-G chord and bar 11 the tonic.

By the way the bar numbers are always measured from the start so your bar 9 is in fact bar 25.


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