ABSTRACT
Before embarking on an analysis of this prelude, let’s review the main features of the first prelude in C Major as presented in Chapter 1, since, as we shall discover, there are many parallels between the two. We began our analysis of the C Major Prelude by examining its
C Major Prelude has a one-part form, which means that the motion is continuous from beginning to end and, from a Schenkerian perspective, there is no division (interruption) of the fundamental line. It is divided into two parts by the imperfect authentic cadence on I in measure 19, and this first part is further divided by the cadence on the dominant in measure 11. The second part consists of a four-measure bridge to the dominant, an eightmeasure prolongation of V, and a final four measures extending the tonic. As occurs so frequently in Bach’s preludes, arrival at the tonic is accompanied by the addition of 7, thus propelling the momentum forward to the final cadence. When we then examined the metric organization, it became apparent that the prelude exhibits consistent four-measure groups, the only exception occurring at the very beginning. And once we examined the pitch organization of these initial seven measures, we determined-indeed, following Schenker’s lead-that they are an expanded group of four: 1 ( – – – ) 2 3 4. This is the organization of the opening seven measures of the C Minor Prelude as well.
