Structure

The piece can be understood as having a three-part structure:

• I (measures 1-4)
• II (measures 5-8)
• III (measures 8, beat 3 to measure 15)

Analysis of Structure

Similar to the structure found in the Inventions, after the theme is presented in measures 1-4, a sequence begins from measure 5 as a thematic development.

From measure 8, beat 3 to measure 10, beat 2, another sequence (I→IV: II→V, an ascending sequence by a fourth) is observed. This pattern differs from that in measure 5 and can be considered the beginning of a new phrase. From measure 10, beat 3, a dominant pedal point (organ point) begins, which is a technique often used for the conclusion of a piece.

Characteristics of the Theme

The piece features a two-voice texture composed of repetitive motifs of sixteenth notes and eighth notes. By placing a sixteenth rest on the first beat of the first measure, the rhythm becomes more varied and undulating. The original form of the motif is an Alberti bass-like figure of f-c-a-c, but by omitting the initial 'f' and inserting a rest, rhythmic interest is created. This is a technique frequently employed by Bach, seen, for example, at the beginning of Inventions No. 1 and No. 13.

The theme as a whole is not composed of notes with long durations, and it is not a lyrical melody in the conventional sense; rather, a sense of motion is conveyed through the repetition of motifs. This is a technique also observed in the Preludes to Book I, No. 1 and No. 2 of the Well-Tempered Clavier, where repetitive actions are sustained while harmony, intervals, and figural patterns are gradually varied as the music progresses. Within the regular rhythm of the overall flow, subtle expressions such as brightness and shadow are anticipated.

Structural Considerations for Performance

In Baroque music, unlike music from the Classical period onwards, clear cadences are often not found in the middle of a piece, making phrase divisions difficult to discern. For example, measure 8, beat 3, is a tonic chord that resolves the preceding dominant seventh chord, but it is also the starting chord of a new sequence in a new phrase.

In such cases, it is often heard as an interpretation that the preceding phrase ends with the dominant seventh chord (measure 8, beat 2), and the subsequent tonic chord (from measure 8, beat 3) is played as the beginning of the next phrase. While this is not always the case, I believe that in this particular piece, performing it in this manner would more clearly delineate the structure.

Measure 15 presents a cadential formula intertwined with non-harmonic tones, which is interesting from a compositional perspective. However, since unresolved dissonant intervals persist, one should be careful not to play this section slowly with a ritardando, as it would highlight an unpleasant sound. While perceiving the harmonic movement, one should be mindful of the horizontal flow of the descending melodic line g-f-(f)-e.