Soubasse
New member
Hi all,
I would have put this in the Passacaglia thread that I started, but it's gone off the page and it's a mildly different question even though it's the same piece (if that makes sense!).
I'm hoping someone who is savvy with advanced Baroque harmonic practices can enlighten me here. I was practicing the Bach Passacaglia earlier today and for the first time in a long time, had a solid look at Variation 8. I'm playing off an old Novello edition (not by choice, it's a hand-me-down and I've never been able to afford a more authoritative edition!) so I'm open to the fact that there may be a misprint.
In both the 2nd and 3rd bars of Variation 8, the appearance of d-flat is immediately contradicted by a d-natural in another part a semiquaver later. If this is - as far as anyone knows - actually correct, can someone actually explain the harmonic grounding here? It has me a little mystified. I was also wondering if JSB's use of it here is in any way related to the dramatic pause on the Neapolitan 6th near the end of the fugue.
Speaking of the fugue, at the very start, this edition slurs the first two quavers of each group. Does anyone else have this and if so, is it possibly JSB?
Any help would be much appreciated.
Matt
I would have put this in the Passacaglia thread that I started, but it's gone off the page and it's a mildly different question even though it's the same piece (if that makes sense!).
I'm hoping someone who is savvy with advanced Baroque harmonic practices can enlighten me here. I was practicing the Bach Passacaglia earlier today and for the first time in a long time, had a solid look at Variation 8. I'm playing off an old Novello edition (not by choice, it's a hand-me-down and I've never been able to afford a more authoritative edition!) so I'm open to the fact that there may be a misprint.
In both the 2nd and 3rd bars of Variation 8, the appearance of d-flat is immediately contradicted by a d-natural in another part a semiquaver later. If this is - as far as anyone knows - actually correct, can someone actually explain the harmonic grounding here? It has me a little mystified. I was also wondering if JSB's use of it here is in any way related to the dramatic pause on the Neapolitan 6th near the end of the fugue.
Speaking of the fugue, at the very start, this edition slurs the first two quavers of each group. Does anyone else have this and if so, is it possibly JSB?
Any help would be much appreciated.
Matt