This is a translation of the post

Urtext = Klartext? – eine Analyse der Sarabande in D-Dur, Teil 3 (Takt 17-24)

by Dr. Marshall Tuttle

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Michael Bach

This is the third part of the analysis of the

“Sarabande” in D Major

Guest:
Burkard Weber

Video:
Interpretation of “Sarabande in D Major”
Michael Bach, Violoncello with BACH.Bogen:
https://youtu.be/YuqXQgfPKkg

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

Part 3

Measure 17

Here we have a monophonic passage. Now we are at the subdominant, go once briefly to the tonic and the dominant and everything has calmed down.

It is also quite typical how Bach makes this:

[begins to play in bar 17]

… that is, the subdominant, the dominant emerges via the sixth.

Measure 18

The C# of the first beat of bar 18 is emphasized. And then the 3rd beat is emphasized, the G, which becomes the seventh of the dominant. The up beat A is tied and therefore unstressed.   

Measure 19

The tonic in the third beat (D) is emphasized [plays further], which I will explain immediately.

Measure 20

The G of the second beat is emphasized.

Measure 21

Now the dominant is sounding.