This site introduces unknown Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.
Asked ChatGPT4o: "Are there any compositions by Sebastian Bach or Emanuel Bach based on modal melodies?"
When discussing works by Sebastian Bach and Emanuel Bach that utilize modal melodies, it is essential to consider the compositional context of Sebastian Bachʼs era. During the Baroque period, major and minor keys were becoming established as the foundation of harmony, yet modal elements from medieval and Renaissance traditions were employed in specific contexts. Below, we explain the use of modes in the works of both composers.
Sebastian Bachʼs music is fundamentally based on major and minor keys, but it sometimes includes modal elements. Notable examples include:
Chorale Melodies
Many of Bachʼs chorale arrangements (such as those in the
Orgelbüchlein and cantatas) are based on modal chorale melodies from the Renaissance. While the melodies themselves are modal, Bach often develops them within a tonal harmonic framework.
The Art of Fugue (BWV 1080) and
The Well-Tempered Clavier (BWV 846–893)
In these works, modal themes or fragments occasionally appear. For instance, some themes in
The Art of Fugue exhibit modal patterns, although the overall work is written in a tonal context.
Ritornello Form and Organ Works
In Bachʼs organ compositions (e.g.,
Passacaglia in C minor BWV 582), there can be latent modal influences. Particularly in works with strong classical church music influences, moments that utilize modal sonorities can be observed.
By the time of Emanuel Bach, the use of modes became even rarer. His works are primarily influenced by the empfindsamer Stil, with expression based on major and minor keys. However, modal elements can sometimes be found in the following contexts:
Church Music Works
In motets and passions composed by Emanuel Bach, modal melodies occasionally appear. These are based on classical church music traditions, particularly those conscious of the Lutheran tradition, where modal elements might be incorporated.
Free-Form Keyboard Works
In free-form keyboard pieces like fantasias (e.g., H. 289, H. 277), there are sections where modal colors can be felt. Due to their improvisational nature, traditional modes might surface.
In Sebastian Bachʼs music, modal melodies often appear in chorales and church music, while in Emanuel Bachʼs works, modal elements can partially appear in church music and free-form compositions. However, in both their eras, major and minor keys were central, and modes were often absorbed within the framework of tonality.
Asked ChatGPT4o: “What about Sebastian Bachʼs Sinfonias?”
Sebastian Bachʼs Sinfonias (BWV 787–801), known as the "Three-Part Inventions," are educational works for keyboard instruments. There is an intriguing discussion about whether they contain modal elements. These works are primarily based on major and minor tonalities, but some pieces exhibit modal influences or features reminiscent of older musical styles. Below, we explain their relation to modes in detail.
Possibility of Modal Themes
The themes of each sinfonia, though brief, are highly distinctive and sometimes convey a modal sound. For example,
The Boundary Between Tonality and Modality
Bachʼs
Sinfonias are composed within the framework of major and minor keys, but modal characteristics can be observed in the following aspects:
Influence of Classical Techniques in Counterpoint
In employing contrapuntal techniques, Bach may have incorporated traditional structures from old church music and Renaissance music. For instance, certain cadences or motif developments may suggest modal sounds.
Sinfonia No. 2 (BWV 788)
Within the strict writing of the minor key, there are sections that convey a Dorian-like atmosphere, particularly characterized by chromatic progressions in the melody line.
Sinfonia No. 11 (BWV 797)
Written in A minor, this piece often features melodies with a sense of floating beyond tonality, creating modal sounds.
In modern music theory, Bachʼs Sinfonias are primarily analyzed as tonal music in major and minor keys. However, when heard with ears of the time, there may be sections where the influence of modes is strongly reflected. This is thought to be related to the Renaissance and medieval music education Bach received.
Sebastian Bachʼs Sinfonias were not composed based on modes per se, but there are sections that suggest modal elements. Particularly, Sinfonia No. 9 (BWV 795), mentioned by the user, is an intriguing example of modal sound. This serves as a good example of how Bach integrated past musical traditions within the framework of tonality.
Asked ChatGPT4o: "What literature points out the modal elements in the Sinfonias?"
There are limited references that directly mention the modal elements in Sebastian Bachʼs Sinfonias. However, the following resources provide musical analysis and performance interpretation of the Sinfonias, offering insights into their modal characteristics.
Itsuko Fujimoto, “Musical Analysis and Performance Interpretation of J.S. Bachʼs ʼThree-Part Sinfoniasʼ”
Itsuko Fujimoto, “Musical Analysis and Performance Interpretation of J.S. Bachʼs ʼThree-Part Sinfoniasʼ”
Through these documents, it is possible to independently analyze and interpret the potential modal elements in each piece of the Sinfonias. Additionally, there are studies that consider the influence of modes in Bachʼs works in general, which, when referenced together, can provide a deeper understanding.
Asked ChatGPT4o: "You only mentioned Japanese literature, but what about English or German literature?"
There are limited English or German references that directly mention the modal elements in Sebastian Bachʼs Sinfonias. However, the following resources provide musical analysis and performance interpretation of the Sinfonias, offering insights into their modal characteristics.
“Bachʼs Modal Chorales” by Lori Burns (1995)
This paper provides a detailed analysis of the use of modes in Bachʼs chorales. Although it does not directly refer to the
Sinfonias, it is useful for understanding modal elements in Bachʼs compositional techniques overall.
“The Keyboard Music of J.S. Bach” by David Schulenberg (1992)
This book comprehensively analyzes Bachʼs keyboard music. The chapter on the
Sinfonias details the structure and thematic characteristics of each piece, which is useful for exploring sections that may contain modal elements.
“Johann Sebastian Bachʼs Inventions and Sinfonias: A Composition, a Performance, and a Pedagogical Study” by Walter R. Reiter (1985)
This doctoral dissertation delves deeply into the compositional techniques, performance practices, and educational value of the
Inventions and
Sinfonias. Although there is little direct mention of modal elements, it includes detailed analysis of each piece, providing clues to identifying modal characteristics.
Through these documents, it is possible to independently analyze and interpret the potential modal elements in each piece of the Sinfonias. Additionally, there are studies that consider the influence of modes in Bachʼs works in general, which, when referenced together, can provide a deeper understanding.
Asked ChatGPT4o: "What kind of dissonances or chromatic progressions in the melody create modal sounds?"
The dissonances and chromatic progressions in the melodies and progressions of Sebastian Bachʼs Sinfonias can create modal sounds in the following ways. These elements provide clues to how Bach fused the classical modal sounds with tonal music.
Bachʼs use of dissonance can evoke the traditions of Renaissance music and church modes. The following points relate to modal sounds:
In older modes, dissonance played a role as “color of sound” and was sometimes unresolved. For example:
Bach often includes chromatic movements in melodies to create sounds that transcend the framework of tonality. The following modal characteristics are considered:
Bach often uses specific cadences to recreate the sound of church modes.
The modal sound in Bachʼs Sinfonias is created by the following elements:
These techniques reflect Bachʼs intention to recreate the classical modal sound within tonal harmony, adapting past musical traditions to a new era. By exploring these features throughout the Sinfonias, one can discover examples of the fusion of modes and tonality.