Voice Independence and Identification

Not only for this Allemande, but for all Allemandes in the suites, achieving voice independence in performance is extremely difficult, and it is recommended to address this first. To address this means, first, to clearly identify where each voice is located and what line it follows. Unlike well-defined three- or four-part textures found in fugues, the number of voices in a suite's Allemande can vary, sometimes reaching five voices, sometimes reducing to two. Regardless of how complex a passage you encounter, always keep track of each individual voice.

Practice Methods for Voice Recognition

Ideally, like in fugue practice, it is important to learn the role of each voice by ear, by extracting and playing each voice as a single melody, or by extracting any two voices and playing them as a two-part texture. However, for learners who find this tedious, at least grasp the soprano voice. The soprano is the uppermost voice written in the treble clef, with all stem directions pointing upwards. Play this soprano line alone several times to engrave it in your ear.

Structure and Dynamics: General Principles

Once you have recognized each voice, next consider the dynamics. This Allemande has a total of 24 measures, neatly divided into two halves: 12 measures for the first half and 12 measures for the second half. It is in binary form. Consider the first and second halves separately. First, think about where the peak points are in the first half.

What I am about to discuss has many exceptions, but generally, in Bach's music, it can be assumed that higher pitches evoke heightened emotion, while lower pitches suggest a calmer emotional state. The analysis method I will explain requires some familiarity. Please use this analysis as a reference for other pieces as well.

Analysis of the First Half (Measures 1-12)

At the beginning, though not the soprano, the alto starts on the higher D in the treble clef (first note of the right hand in measure 1, beat 1). In measure 2, beat 4, the soprano reaches the note A. It descends to G in measure 3, then from B to A in measure 4, descends to G in measure 5, beat 1, and then G F E D in beat 3, descending to D, an octave lower than the opening. This is likely where the tension is lowest and the music is most settled in the first half.

From this measure onwards, it reaches E-flat in measure 6, beat 2, rises to E in measure 7, beat 4, rises to G in measure 8, beat 3, and in measure 9, reaches B, the highest note in this first half. From there, in the last measure of the first half (measure 12), it reaches A on beat 3, so the tension does not decrease much. On the contrary, looking at the left hand, an octave A is written as a half note from measure 11, beat 3, and tied into measure 12. This is a note called an organ point, creating the image of a low pipe on a pipe organ continuously sounding. It likely continued to sound. When Bach writes in this manner, it can generally be considered a relatively loud passage dynamically.

This is even more so because the final chord of the first half is a dominant. In measure 12, the chord on beat 2 is G-sharp B D F, and beat 3 is A C-sharp E. While beat 3 would normally be the resolution, considering it in reverse, it is possible to play beat 3 slightly louder than beat 2.

Analysis of the Second Half (Measures 13-24)

The first measure of the second half (measure 13) begins on the dominant, inheriting the final chord of the first half. The key changes rapidly, modulating to G minor in measure 17 and returning to the original D minor in measure 19.

The dynamics of the second half can largely be left to the performer. Performers (or teachers) should apply dynamics as they feel appropriate, but the author perceives dynamically significant measures to include from measure 15, beat 4 to measure 16, beat 3, measure 19, and measure 23. Especially measure 19, where the left and right hands are far apart, and considering the small note values Bach uses to heighten tension, it is certainly not a calm passage.