Unusually, Bach begins this Invention with the bottom
part having very little to do -- a tiny four-note
accompaniment figure spaced between long rests, while
the top line twirls gently up and down the staff. But
soon a brief call and response passage confuses the
issue, and the main melody emerges in the bottom, with
the top part now playing accompaniment. The top regains
control of the melody, but the bottom, reluctant to
relinquish the spotlight, maintains a steadier
accompanying line and even...(+)
Unusually, Bach begins this Invention with the bottom
part having very little to do -- a tiny four-note
accompaniment figure spaced between long rests, while
the top line twirls gently up and down the staff. But
soon a brief call and response passage confuses the
issue, and the main melody emerges in the bottom, with
the top part now playing accompaniment. The top regains
control of the melody, but the bottom, reluctant to
relinquish the spotlight, maintains a steadier
accompanying line and eventually joins the top part in
a closer canonic relationship through the piece's final
bars. In a minute and a half, Bach has managed to
survey the development of the bottom part, from
rudimentary support for the melody line to fully equal
and integrated partnership with the top part.
Although originally composed for Harpsichord, I created
this arrangement for Viola Duet.
PARTITION