{"id":1332,"date":"2019-12-27T16:06:21","date_gmt":"2019-12-27T14:06:21","guid":{"rendered":"https:\/\/www.bach-bogen.de\/blog\/thebachupdate\/?p=1332"},"modified":"2026-02-12T16:04:17","modified_gmt":"2026-02-12T14:04:17","slug":"the-initials-of-j-s-bach-in-d-minor","status":"publish","type":"post","link":"https:\/\/www.bach-bogen.de\/blog\/thebachupdate\/the-initials-of-j-s-bach-in-d-minor\/","title":{"rendered":"The Initials of J. S. Bach in D minor"},"content":{"rendered":"

\"\"<\/a><\/p>\n

This is a translation of the post \u201eDie Initialen von J. S. Bach in d-moll<\/em>\u201c
\n<\/span>by Dr. Marshall Tuttle.<\/span><\/p>\n

\n

This was part of a lecture within the introduction to the project
\n<\/b><\/span> \u201cIM KLANGSTROM<\/i>\u201d by Renate Hoffleit and Michael Bach Bachtischa
\nheld in Ulm, Germany on December 7, 2018.<\/b><\/span><\/p>\n

The name BACH consists of 4 note names. First of all, the German note names \u201ch\u201d and \u201cb\u201d are different in German than in English. In English the two notes are represented as \u201cb\u201d and \u201cb-flat\u201d respectively. (In this paper we will adhere to the German spelling. – translator –<\/i>) In German \u201cb\u201d and \u201ch\u201d are distinct note names:<\/p>\n

[plays \u201cb – a – c – h\u201d] (\u201cb-flat \u2013 a \u2013 c \u2013 b\u201d in English, here and in what follows.<\/i>)<\/p>\n

\"\"<\/a><\/p>\n

You can also play them in this order:<\/p>\n

[plays \u201ca – b – h – c\u201d]<\/p>\n

Or like this:<\/p>\n

[plays \u201cc – h – b – a\u201d]<\/p>\n

They are chromatic pitches each separated by one semitone.<\/p>\n

Bach has often utilized these pitch sequences in his composition, as everyone knows, – at least every musician.<\/p>\n

Now, in the \u201cChaconne\u201d in D minor, he adds more of his name to the composition, namely the notes \u201cg\u201d and \u201ces\u201d. (\u201ces\u201d is the German spelling of the note \u201c<\/i>e-fla<\/i><\/span>t\u201d. T<\/i>he translation adheres to the German spelling<\/i><\/span>.<\/span> – translator –<\/i>) <\/i>I don’t think anyone has yet grasped its meaning. Today is the first time that I am making this known. In the overall context these are special pitches.<\/p>\n

With the \u201cChaconne\u201d I first noticed that the pitches \u201cb\u201d and \u201ca\u201d are very common:<\/p>\n

[plays \u201cb\u201d and \u201ca\u201d in different octaves.]<\/p>\n

\"\"<\/a><\/p>\n

Most of the time they are the highest pitches or notes in the bass, so:<\/p>\n

[plays from measure 17]<\/p>\n

\"\"<\/a>

Bach Digital<\/p><\/div>\n

In measure 18 the notes \u201cb\u201d and \u201ca\u201d are in the upper part:<\/p>\n

[plays up to bar 19]<\/p>\n

You can hear this chromaticism, that is the notes \u201cc – h – b – a\u201d from BACH in the lower part and the notes \u201cb\u201d and \u201ca\u201d in the upper part.<\/p>\n

This chromaticism can be found again:<\/p>\n

[plays bars 33 to 36]<\/p>\n

\"\"<\/a>

Bach Digital<\/p><\/div>\n

Again the chromatic sequence \u201cc – h – b – a\u201d.<\/p>\n

These pitches are relatively common, because they are related to the key in D minor:<\/p>\n

[(V7) \u2013 IV \u2013 (V7) \u2013 VI \/ i]<\/p>\n

\"\"<\/a><\/p>\n

The tone \u201ca\u201d is the fifth of D minor:<\/p>\n

[plays \u201cd – f – a\u201d]<\/p>\n

\"\"<\/a><\/p>\n

\u2026 is the root of the dominant:<\/p>\n

[plays \u201ca \u2013 c-sharp \u2013 e\u201d]<\/p>\n

\"\"<\/a><\/p>\n

\u2026 and it is also the third of the relative major, F major:<\/p>\n

[plays \u201cf – a – c\u201d]<\/p>\n

\"\"<\/a><\/p>\n

<\/p>\n

The relative major is always very important for Bach, because it has the same notes as the tonic. Thus, D minor …<\/p>\n

[plays the scale in D minor]<\/p>\n

\"\"<\/a><\/p>\n

\u2026 has the same pitches as F major:<\/p>\n

[plays the scale in F major]<\/p>\n

\"\"<\/a><\/p>\n

… they merely begin with different pitches.<\/p>\n

This relative major of the key of D minor, – this is a very strange observation \u2013 is very often suggested in the \u201cChaconne\u201d, so he prepares it, even with its own dominant, but again and again he evades it.<\/p>\n

Only when it actually appears, it comes massively. But that only happens after a long while, after about 3 minutes, in bar 58 the relative major appears suddenly, there it is fully present, and shortly afterwards it is eliminated and avoided again.<\/p>\n

It has therefore a special meaning because it always stands in harmonic focus, but it does not materialize.<\/p>\n

Well, we find a \u201cb\u201d as a minor sixth of D minor, as it is very often found in music literature.<\/p>\n

[plays \u201cd – f – a – b – a\u201d]<\/p>\n

\"\"<\/a><\/p>\n

This has a very clear lament character. This effect, this minor sixth, can be found in many melodies, including jazz.<\/p>\n

It also occurs, I will talk about that later, in the subdominant (Neapolitan), because it is the note \u201ces\u201d:<\/p>\n

[plays \u201cg – b – d – es – d\u201d]<\/p>\n

\"\"<\/a><\/p>\n

The \u201cb\u201d appears in the minor subdominant as third:<\/p>\n

[plays \u201cg \u2013 b \u2013 d \u2013 g\u201d]<\/p>\n

\"\"<\/a><\/p>\n

\u2026 as seventh in the dominant of the relative major:<\/p>\n

[plays \u201cc \u2013 e \u2013 g \u2013 b\u201d]<\/p>\n

\"\"<\/a><\/p>\n

\u2026 that resolves into F major:<\/p>\n

[plays \u201cf \u2013 a \u2013 c – f]<\/p>\n

\u2026 so the \u201cb\u201d is the seventh of the dominant of the relative major.<\/p>\n

\"\"<\/a><\/p>\n

And also, when the note \u201cc\u201d is not sounded, but in its place the note \u201cc-sharp\u201d, then appears the so-called diminished seventh chord. If you add the bass note:<\/p>\n

[plays \u201ca \u2013 c-sharp \u2013 e \u2013 g \u2013 b\u201d]<\/p>\n

\"\"<\/a><\/p>\n

… then it becomes a dominant ninth chord with ninth \u201cb\u201d.<\/p>\n

In this manner Bach surprisingly comes to different harmonies by means of the note \u201cb\u201d, because as just shown, for example, simply raising the tone \u201cc\u201d to \u201cc-sharp\u201d, causes the harmonic development to take a completely different turn.<\/p>\n

In addition to the note \u201cb\u201d, the note \u201cg\u201d occurs very often. This is the seventh of the dominant:<\/p>\n

[plays \u201ca \u2013 c-sharp \u2013 e \u2013 g\u201d]<\/p>\n

\"\"<\/a><\/p>\n

… which resolves to D minor.<\/p>\n

The note \u201cg\u201d appears also in the dominant of the relative major as fifth:<\/p>\n

[plays \u201cc \u2013 e \u2013 g \u2013 b\u201d with resolution to F major]<\/p>\n

\"\"<\/a><\/p>\n

Or, it appears also in the diminished seventh chord as seventh:<\/p>\n

[plays \u201cc-sharp \u2013 e \u2013 g \u2013 b\u201d with resolution to D minor]<\/p>\n

\"\"<\/a><\/p>\n

So, and now there is a very special chord that appears at some point in almost all of Bach’s movements, that is the Neapolitan sixth chord. This is the subdominnat with a minor sixth instead of the fifth:<\/p>\n

[plays \u201cg \u2013 b \u2013 es \u2013 d \u2013 b \u2013 g\u201d]<\/p>\n

\"\"<\/a><\/p>\n

This accord was so named, because it was obviously used very often in the Opera in Naples, because it was felt to be very dramatic, but also very self-pitying. This is because it sounds very dramatic in candences, e. g. in D minor:<\/p>\n

[plays \u201cd \u2013 f \u2013 a \u2013 d\u201d]<\/p>\n

\"\"<\/a><\/p>\n

\u2026 then the Neapolitan<\/p>\n

[plays \u201cg \u2013 b \u2013 es\u201d]<\/p>\n

\u2026 and now to the dominant:<\/p>\n

\u2026 [plays \u201ce\u201d]<\/p>\n

\u2026 and this tone sequence:<\/p>\n

[plays \u201ces \u2013 e\u201d]<\/p>\n

\u2026 not downwards:<\/p>\n

[plays \u201ces \u2013 d\u201d]<\/p>\n

\u2026 but rather upwards<\/p>\n

[plays \u201ces \u2013 e\u201d and further \u201cc-sharp \u2013 a \u2013 c-sharp \u2013 e \u2013 g\u201d]<\/p>\n

\u2026 creates the dramatic effect. We actually expect it to resolve<\/p>\n

[plays \u201cg \u2013 b \u2013 es \u2013 d \u2013 b \u2013 g\u201d]<\/p>\n

\"\"<\/a><\/p>\n

\u2026 but no:<\/p>\n

[plays \u201cg \u2013 b \u2013 es \u2013 e \u2013 c-sharp \u2013 a\u201d and the resolution to D minor]<\/p>\n

Bach uses this Neapolitan very often, mostly in places which are very mysterious, that move very far from the home key.<\/p>\n

Well, the note names \u201cb \u2013 a \u2013 c \u2013 h\u201d in this piece are clarified, but why does this \u201ces\u201d also occur in very pregnant places? I then considered if it could stand for \u201cSebastian\u201d.<\/p>\n

But then what about the \u201cJ\u201d from \u201cJohannes\u201d? That does not exist as a note. But, perhaps the first name could be reinterpreted as \u201cGiovanni\u201d – and then we would have a \u201cg\u201d:<\/p>\n

[spielt \u201cg – b \u2013 es\u201d]<\/p>\n

\u2026 which is the bass note of the Neapolitan.<\/p>\n

What are the notes of the Neapolitan? It consists of a \u201cg\u201d…<\/p>\n

[plays \u201cg \u2013 es \u2013 b\u201d]<\/p>\n

\"\"<\/a><\/p>\n

\u2026 an “es\u201d, and a \u201cb\u201d. Thus, these are the initials of Bach (JSB).<\/p>\n

I actually believe that he associated this chord with his name. A long time later, by accident, I found an article in the German Wikipedia on Bach where he signed his name as \u201cGio.\u201d.<\/p>\n

\"\"<\/a><\/p>\n

So, I found my guess confirmed.<\/p>\n

And this \u201ces\u201d has a counterpart, namely the \u201ce\u201d:<\/p>\n

[plays \u201ces\u201d and then \u201ce\u201d]<\/p>\n

There are places in this work where Bach replaces the \u201ce\u201d with an \u201ces\u201d and vice versa, an \u201ces\u201d with an \u201ce\u201d.<\/p>\n

For example, he particularly emphasizes the \u201ce\u201d again at the end:<\/p>\n

[plays bar 255]<\/p>\n

\"\"<\/a>

Bach Digital<\/p><\/div>\n

The top pitch is an \u201ce\u201d.<\/p>\n

He could also have written:<\/p>\n

[plays bar 255 again and replaces the top note \u201ce\u201d with an \u201ces\u201d]<\/p>\n

The \u201ces\u201d has a completely different effect.<\/p>\n

So, the \u201ce” is predominant this piece \u2013 and I have a guess as to why. But that’s just a guess, when I say it, it doesn’t get out of your head and that’s why I don’t do it. But<\/span>,<\/b><\/span> I think<\/span>,<\/b><\/span> that he also associated something with the \u201ce\u201d.<\/span><\/p>\n

Michael Bach<\/p>\n","protected":false},"excerpt":{"rendered":"

This is a translation of the post \u201eDie Initialen von J. S. Bach in d-moll\u201c by Dr. Marshall Tuttle. This was part of a lecture within the introduction to the project \u201cIM KLANGSTROM\u201d by Renate Hoffleit and Michael Bach Bachtischa held in Ulm, Germany on December 7, 2018. The name BACH consists of 4 note […]<\/p>\n","protected":false},"author":278,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1332","post","type-post","status-publish","format-standard","hentry","category-allgemein"],"yoast_head":"\nThe Initials of J. S. Bach in D minor | the bach update<\/title>\n<meta name=\"description\" content=\"This is a translation of the post \u201eDie Initialen von J. S. Bach in d-moll\u201c by Dr. Marshall Tuttle. 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