<![CDATA[Theory embedded in phrasing/musical expression]]>What am I doing up at 2 a.m.? To put it simply, answering an adult student’s inquiry about the theoretical analysis of J.S. Bach Invention 13 in A minor. At our last lesson, I had tweaked her curiosity about the harmonic dimension of the last two pages where modulations abound (especially measures 9-18) Yet as I spoke a form of Greek to her, since her Theory background was scant, she knew enough to ask the right questions about 7th chords and their meandering instability.
In response, I could have produced a mini-thesis on the harmonic landscape through broken chord sequences, but instead, I grabbed an extra post midnight cup of Folger’s and created a video with all the spoon fed information she needed. (’twas a mighty leap from pablum to a meat and potatoes main course.)
Nonetheless, my analysis flowed into the universe of artistic expression: how to phrase, shape, and dip in deference to harmonic rhythm.
