Lesson with Sawdust

Ok, in this lesson with Sawdust, we are going to work with the minuet.
First off, we're going to have a look through the form of the simple minuet, and learn that form. Then I will have you attempt your own little minuet.
We're going to work from there, and the ultimate goal of this lesson is to write a symphonic minuet.
This will cover many important elements of composition, including form, modulation, handling of themes and contrast, and finally orchestration, in order to make an effective orchestral minuet.

Ok, to start with, we're going to look at that perennial Baroque favourite, Bach's Minuet in G, from the Anna Magdalena notebook.
You can find a score of it here, or if you're having trouble getting it, I will attach it to this post.

The first thing to discuss is Minuet form.

Minuets are most commonly in 3/4 time. The basic minuet form is AB - that is a first section, and then a (somewhat) contrasting second section. Such is the case with this Bach minuet. Almost invariably, the First (A) section will be in the tonic (I) key, and the Second (B) section in the dominant (V). A modulation to the dominant usually happens in the latter half of the A section (but this is by no means always true), and a subsequent modulation back to the tonic would occur at some point during the B section.
The minuet you might find in a classical symphony is often rather more complicated than this, and follows a larger form - that of Minuet and Trio.
In this, the minuet is followed by a contrasting trio (which is usually in quite a different mood), and this is followed by a repeat of the original minuet.
We can discuss this later on.


Task:

• Analyse the harmonic structure of this whole minuet, paying special attention to when and how the piece modulates;
• Also try to discuss Bach's use of themes in this short minuet.

Post your analysis as a reply to this post.
In the next stage of the lesson, I will likely get you to write a minuet of your own, taking the Bach example as a model.

Ok, I'm not sure if I read it right, the numbers in the score confused me, I thought they might be the progression but from analyzing where the bass and treble notes acctually ring together I think not, then again I might be wrong.

Also I assumed notes with a major 2nd interval were sus2 chords and perfect 4th intervals were inverted fifths, so I might have screwed up there too.

Anyway.

The progression, if I'm not mistaken is

I III IV I II I V I III V III I IV I IV I II

III VI II III I VI (Modulate to V) V IV I VII I IV V I

(Modulate to I) III I IV VI IV III II I V VII III I VII

I V I

I was surprised to find so many movements in 3rds and minor 2nds (It certainly built up my confidence in both of them). The harmony is fairly tonic through most of the minuet, returning to "I" fairly often except in moments of high tension when the melody itself also builds up tension by repeating variations of the same theme. Similar to how when the harmony is especcially tonic the theme is followed by the counter theme.

The theme is expressed at the start of the minuet followed by a counter theme. Both of them only change in Contour, changing rythm only when it makes sense to do so. For example when the piece modulates the primary theme changes it's rythm completely, giving way to the countertheme. When it modulates back to I, the rythm in the theme is reversed and then played in the same rythm as before the piece modulated.

This makes sense, since rythm is the most distinguishable element to the human ear it's a clear indication that something is about to happen (Modulation and the ending), also because of this, the countertheme changes rythm more often than the primary one, to keep the melody stable.

I'm not sure if that's the right answer.... I'm not even sure if I got the progression right.

EDIT: Another interesting thing is that near the ending there's a departure from the tonic chord and then it's "returned to" in closing distances, ending in a cadence. Smoothing out the tension rather than destroying it. Very nice ending.

Ok, I don't have time today to go through this in detail, but I will point out some things I noticed straight away.

Ok, I'm not sure if I read it right, the numbers in the score confused me, I thought they might be the progression but from analyzing where the bass and treble notes acctually ring together I think not, then again I might be wrong.

Those numbers are actually just the fingerings for playing on a keyboard.

Also I assumed notes with a major 2nd interval were sus2 chords and perfect 4th intervals were inverted fifths, so I might have screwed up there too.

I don't quite know what you mean here, but I'll check again when I have some time.

Your harmonic analysis of the minuet was not too bad, however, you are making some mistakes repeatedly. You have written iii a lot of times (if not all) when it should in fact be I6 or Ib - i.e. the first inversion of the tonic chord. Are you familiar with inversions? I should go over them before we continue, if you're not.
The rest of what you wrote was fairly correct, and of every piece is open to different interpretations.
Anyway, you've made a good start. I want you to be thinking of where the modulations in this Bach minuet fit into the minuet form that we've looked at. I want you to try to get a feel for that.
I will try to continue this tomorrow.

I don't quite know what you mean here, but I'll check again when I have some time.

Well, for example, in measure 7, G and A are rung at the same time, they're a whole tone apart, so I assumed that G was the root note and it was a suspended second chord. And in measure 13, there's F# and B, a perfect forth, and I took it as B being the root, and it being an inverted fifth.

Thing is, I know the basics of inversion (I think), but I'm kind of confused when it comes to practical uses.

I'd really appreciate it if you went over them with me like I never even heard the word, just to make sure I get over all the wrong ideas I might have had.

And take your time man, no need to rush =)

Half way through this hectic week here... I can't really do much until it's over, sorry.
I would like you to read up on inversions of standard chords (including 7ths) and their figurings. I would also like you to just play about with them on the piano, or whatever you happen to play. Getting a feel for inversions, and their use in progressions is important.

I will continue when I can.. until then, start floating minuet melodies around in your head!

No worries man.

I'll try to get up to speed on inversions before you get back, maybe even write a theme/countertheme for the minuet.

How are the inversions going? If you want, you could re-examine the first line or two of that minuet, and post your Roman-numeral analysis, then I could see if you have the hang of it yet.

...I just noticed I missed a chord in the first line.

I think it makes more sense as..

I IV I II I

The reason I put a III in there instead of I in 1st Inversion was becase I regretfully didn't notice that G was present in the melody, completing the chord.

Want me to reanalyze the progression for the rest of the piece?

"Want me to reanalyze the progression for the rest of the piece?"
No, it's ok - as long as you understand it.
Now - you do not need to have all notes of a chord present to at least imply a chord.
Beethoven's Emperor concerto famously starts with only an Eb and a G - no Bb to complete the chord, yet we know it's of course Eb major.
In the same way, in a piece with such a small texture, such as this, a lot of times all the chords aren't going to be completed. So in G major, if we have a B with a D above, it could very well be a G maj first inversion. It doesn't need to have the G to complete it. The iii chord is much more rarely used that the I6 and it usually follows a I chord and precedes a vi chord.

Anyway, I would say it's this: I I6 IV I6 ii I etc.
Can you see why? (only taking 1 chord per bar here - there is a ii in the first bar)

Because in the second and fourth bars the third is in the bass making it an I in first inversion?