Urtext = Plain Text ? – An Analysis of the Sarabande in D Major, Part 1 (Bar 1-8)



This is a translation of the post

Urtext = Klartext? – eine Analyse der Sarabande in D-Dur, Teil 1 (Takt 1-10)

by Dr. Marshall Tuttle

Michael Bach


This is the first part of the analysis of the

“Sarabande” in D Major


Burkard Weber

Interpretation of “Sarabande in D Major”

Michael Bach, Violoncello with BACH.Bogen:



Bach Digital

Copy of Anna Magdalena Bach, digital copy from the Staatsbibliothek in Berlin – PK


MB (Michael Bach): Here, in this piece, it there is a harmonic meaning, which is why we have monophony and two-, three-, and four-part passages.

There are many musicians, or almost all, who claim that the note values are not to be taken precisely. In my opinion, it is quite clear that they must be rendered exactly.

Because, in this movement, for example, the bass is usually not resolved. This can only be heard when the bass is held to the end.


Sarab D-Dur Bindebögen- 001


Measure 1

Let us take the first measure. We have D major. [plays bar 1]

What is the second sound? We have a reduced D major sound.

If this were focused on this second sound, Bach would have composed like this: [plays first the two-part and then the three-part harmony]

One would think (more…)


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