Analysis_of_the_Allemande_from_the_English_Suite_No_3_in_G_m

Analysis of the Allemande from the English Suite No 3 in G minor.(J.S Bach) According to Phillip Spitta the English Suites must be regarded as Bach’s most deliberate and developed excursions in the suite form. J. Matheson says that they give ‘the picture of a contented and satisfied mind delighting in order and repose’ In these Bach combines elements of the French tradition with the south German suite type which Johann Jacob Froberger had originated. He also assimilates some Italian influences. His ability though, to give varied forms to pieces of the same species makes the Suites easily recognizable as his own works. Generally in the Suites, the allemande prepares the way for the courante and they both form a whole. The allemande in Suite No 3 is a fine example of the grace and emotionally versatility that Bach can show on the keyboard. It consists of two sections, equal as to length, of twelve bars each. With a first look we can see that the harmonies are broad and both parts have various figures. The piece begins commonly with a short note, a semiquaver before the first bar and it is followed by an arpeggiation of the tonic chord in the left hand. We have two part texture with semiquavers against semiquavers that share bar, chord, key, part, first, minor, sequence, hand, arpeggiation, second, modulation, major, beat, flat, bach, though, left, semiquavers, right, progression, piece, same, natural, melody, continues, both, begins, beginning, bass, two, prepares, note, last, followed, cadence, before, time, third, simple, sharp, quavers, parts, mood, lower, leads, inversion, harmony, end, between, bars