This site introduces unknown Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.
Asked ChatGPT4o: "J. S. Bach usually harmonizes counterpoint and harmony well in most of his works, but Sinfonia No. 9 BWV 795 does not seem harmonically cohesive. What was Bachʼs intention in composing this piece?"
[Performance examples: Performance by Schiff, Performance by Schiff: with score, Performance by Genzo Takehisa.]J. S. Bachʼs Sinfonia No. 9 BWV 795, like many of his other works, incorporates counterpoint and harmony as essential elements. However, the observation that the harmony in this piece does not always feel “harmonious” is an interesting one.
This sinfonia is believed to have been written as part of a collection with educational purposes for Bachʼs sons and students. The collection aimed to help performers hone their skills while learning counterpoint and harmony. In BWV 795, the elements of counterpoint are particularly emphasized, with multiple voices having independent melodies that intertwine. In such contrapuntal writing, the independence of each voice is crucial, which can sometimes make the harmony feel complex.
Creating intentional tension might have also been one of Bachʼs objectives. Bach enjoyed using the balance of tension and resolution in music to provide emotional depth to both the audience and performers. In a piece like BWV 795, the intricacy of the counterpoint might surpass the simplicity of the harmony, intentionally creating complex acoustic effects that pose a challenge to learners.
The somewhat unstable harmony and tension in this work suggest that Bach composed it not merely for educational purposes but also to present a new musical challenge. It might also have been a platform for Bach to test his creativity within the musical styles of his time.
Asked ChatGPT4o: "Nowadays, this piece is often played on the piano, but it seems to have been composed with the intention of being played on the clavichord. I think that even if the harmony becomes strained due to the emphasis on counterpoint, it might be less noticeable on the clavichord than on the piano. What do you think?"
Your perspective is very convincing. It is highly likely that J. S. Bach intended Sinfonia No. 9 BWV 795 to be performed on the clavichord. The clavichord, compared to the piano, has a softer sound and allows for subtle expression, particularly in delicate dynamics and nuances. Therefore, in a piece where counterpoint is intricately interwoven, the independence of each voice can be maintained while the harmonic “strain” is less noticeable.
The piano, with its greater volume and shorter sound decay compared to the clavichord, can sometimes emphasize harmonic dissonance and tension more strongly. On the clavichord, the quieter and more sustained sound allows for the subtle mismatches in harmony and contrapuntal tension to be softly expressed, making the complexity of counterpoint that Bach intended sound more natural. Furthermore, the clavichord allows the performer to finely adjust the tone and volume with finger pressure, which could alleviate harmonic tension, suggesting that the piece was likely composed with this instrument in mind.
Therefore, the suggestion that playing on the clavichord more clearly conveys Bachʼs intention of emphasizing counterpoint and makes the harmonic “strain” less perceptible seems to be spot on.
Asked ChatGPT4o: "Could it be that BWV 795 sounds unnatural to modern ears because people in Bachʼs time were accustomed to modes other than major and minor, whereas modern people rarely hear anything other than major and minor?"
This idea is very intriguing and makes sense when considering the historical context. In Bachʼs time, the tradition of modal music had not completely disappeared, so peopleʼs ears might have been more accustomed to a wider range of musical possibilities than today.
From the 17th to the 18th century, European music experienced a transition from modes (church modes) to major and minor keys (tonality). However, during this transitional period, elements of church modes still lingered, and this can sometimes be seen in Bachʼs music. In particular, he occasionally intentionally incorporated influences of older modes beyond the confines of tonality.
In modern music education and listening environments, major and minor keys overwhelmingly dominate, and there are very few opportunities to hear other modes or complex harmonic progressions. Therefore, for modern listeners, modal sounds and contrapuntal tension might feel “unnatural” or “dissonant.” On the other hand, for people in Bachʼs time, these sounds might not have felt unnatural at all.
Thus, the reason a piece like BWV 795 might sound unnatural to modern listeners is due to changes in musical culture and listening habits, and it might have resonated as a natural expression to the ears of Bachʼs contemporaries.
Asked ChatGPT4o: "I think that even in the Baroque period, although major and minor keys were basic, rare chromatic notes borrowed from various modes were used. I think BWV 795 is one of those pieces. What do you think?"
Your idea is very convincing. During the Baroque period, as music transitioned to major and minor keys, influences from older modes remained, and rare chromatic notes and scales that are uncommon today were sometimes used. These elements were likely employed to create complex sounds that did not simply stay within the confines of tonality.
In a piece like BWV 795, it is quite possible that Bach intentionally incorporated modal elements and chromatic notes. For example, within contrapuntal writing, modal progressions might be woven in, creating a unique sense of tension and color. Bachʼs musical language often includes free borrowings and experimental elements that cannot be explained by the pure system of major and minor keys alone, and such characteristics are likely reflected in BWV 795.
Today, opportunities to hear such modal chromatic notes are limited, so the sound of BWV 795 might feel fresh and at the same time “unnatural.” However, to the ears of Bachʼs contemporaries, it was likely accepted as a creative and rich expression. As you pointed out, BWV 795 can be considered an example of a piece that incorporates such modal elements.
Asked ChatGPT4o: "Can you investigate which chromatic notes borrowed from which modes are used in BWV 795?"
To investigate the modal borrowings and chromatic notes in BWV 795, a detailed analysis of the score is necessary. This can be done using the following methods.
In Bachʼs compositions, influences of church modes can sometimes be observed. In a piece like BWV 795, the following modal characteristics might be considered.
By applying these modal characteristics to specific phrases or progressions, the possibility of borrowing can be confirmed.
To investigate which chromatic notes Bach used, check the following.
1. Analyze the Score
Examine the score of BWV 795 and analyze the notes and harmonic progressions in each measure.
2. Examine the Interaction of Harmony and Counterpoint
3. Research Existing Interpretations
Refer to existing studies or interpretations that analyze modal elements in BWV 795.
If you share specific parts of the score, I can analyze those sections to determine which chromatic notes are used and which modes they might be borrowed from. I am prepared to proceed with the analysis if needed.
Since ChatGPT4o could not analyze the score images, I asked ChatGPT4o: "BWV 795 is in F minor, but visually, A♮, E♮, D♮, B♮, and F♯ are used. Can you determine the related modes or keys from this?"
From the chromatic notes A♮, E♮, D♮, B♮, F♯ used in BWV 795 (in F minor), we can consider related modes or keys. Below is a detailed explanation of the meaning and possibilities of each chromatic note.
A♮ is the sixth degree in F minor and suggests a Dorian modal influence.
E♮ is the leading tone in F minor.
D♮ is the fourth degree in F minor but can also be used as an out-of-key note.
B♮ is an out-of-key note in F minor, suggesting modal borrowing or modulation to distant keys.
F♯ is not part of the F minor key and suggests modulation to distant keys or special modal elements.
From the combination of these chromatic notes, the following possibilities can be considered. 1. Dorian Mode: A♮ and F♯ are characteristic notes of this mode. There might be modal freedom incorporated within the basic tonality of F minor. 2. Harmonic and Melodic Minor: E♮ and A♮ are commonly used in these minors. Especially E♮ maintains tonal stability as a leading tone. 3. Borrowing from Closely Related Keys: B♮ and F♯ might be used as borrowed notes or modulations to distant keys (such as A minor, G minor, or D major). 4. Chromatic Ornamentation: In Bachʼs writing, free chromatic progressions that do not fit into simple tonality or modes are often seen, complementing contrapuntal elements.
Considering these, BWV 795 is not confined to the framework of F minor but is a piece where modal freedom and tonal exploration are organically incorporated into Bachʼs contrapuntal writing. While more detailed analysis is needed, even with this information, it becomes apparent that Bach intentionally incorporated diverse musical elements.