ABSTRACT
The second part of this text (Chapters 6–10), which is organized by topic, presents a series of analytical applications of concepts presented in Part I. The initial chapter in this part examines several works by J. S. Bach, beginning with two preludes (one-part forms). This is followed by examinations of three movements from Bach’s suites written in binary form. The difference between the typical late-baroque binary movement and a classical binary movement is that the former type is not “rounded”—that is, there is no double return of theme and tonic in the second part creating an underlying ternary design.
