ABSTRACT
Discussion The formal models for this chapter are the dance movements of Bach, especially the shorter binary movements from the suites (the French and English Suites, the Suites for solo cello, the Orchestral Suites, and the keyboard Partitas, for instance). Such movements may be in two equal or roughly equal sections (symmetrical binary form), or may have a longer second section (asym metrical binary form). In the latter, the second section will be more developmental, unstable, and modulatory. There may be an explicit return of the opening music in the tonic key near the end (rounded binary form), or the opening music may merely be hinted at there (incipient rounded binary), as in example 4-1, mm. 29-30. The ending music often rises to a climactic point a few measures from the end. The climax is emphasized by line, harmony, and rhythmic activity. The overall form, then, can be roughly graphed as:
1 . Symmetrical Binary
2 . Asymmetrical Binary
3. Rounded Binary
expos. :A :
expos./devel. :A '
devel. |:A' (B)
devel. :A' (B)
return A (A2):
Compose brief suite movements in two voices, based on these models. Before start ing, study several Bach examples of the type of dance you will be writing, to be sure of the character, tempo, harmonic rhythm, accentuation, and typical rhythmic figures of each dance type.
