Preface

This flute and keyboard edition of Bachs Overture-Suite in

B minor for flute, strings, and continuo (BWV 1067) aims
to help players of both early and modern instruments perform the music as closely as possible to Bachs conception.
To that end, the score and separate flute part are annotated
with structural labels. The Preface gives information needed
to understand the score and flute part. A facsimile of Bachs
autograph flute part begins the flute book. Detailed Performance Notes conclude it.
This Preface considers the origin and chief manuscript
source of BWV 1067. It explains the choice of voices, editorial practices, and map-like structural labels in our score
and flute part. For comparison with our edition it offers a
full orchestral score of the opening measures constructed
from Bachs manuscript parts. It closes with a list of the abbreviated forms used in the structural labels.

Although variously called Suite 2 in B minor, Ouverture II

for flute and strings, and Orchestral Suite 2, the work includes
both an overture and a suite of airs, and of Bachs four surviving works in this form, this one is chronologically the
last (not the second!) he composed. We therefore call it the
Overture-Suite in B minor or, more simply, BWV 1067.

orIgIn and manuscrIPt source

The only copy of BWV 1067 surviving from Bachs lifetime

is a set of manuscript parts1 (no score) now dated around
1739. The set includes six separate parts: traverso, violin
1, violin 2, viola, [figured] continuo, and [unfigured] bass.
Bach himself copied the traverso part. A recent study of
copying mistakes and revisions reveals the set to be a transposition up a whole step from a presumed lost version in
A minor, probably composed in the early 1730s with possibly violin as the solo instrument.2 Perhaps Bach included
the Polonaise in the suite of dances because he was around
that time petitioning the Polish King in Dresden for an
appointment as Royal Court Composer, which he received
in 1736.
For which performer or occasion either the A minor or B
minor version of this Overture-Suite was written is not
known. Some have suggested the B minor version was
meant for Pierre-Gabriel Buffardin, renowned flute virtuoso at the Dresden Court. After May 1738, however, Bach
no longer visited Dresden. On the other hand, Bach directed the Leipzig Collegium Musicum from 1729 to 1737
and again from 1739 to 1741 so he may have written both
versions for that group. A remote possibility is that Buffardin performed the flute part in Leipzig, for he did once
visit Bach there.

Movement titles and affect labels. Mouvement is the

French term for movement, tempo, rhythm, and affect (stylized emotional state).3 A slow movement moves slowly.
A dance movement supports the physical movements of
dancers. A bourre movement displays the typical bour114-41534

re rhythm. The various musical affects, also called passions

in French, are movements of the soul that transport listeners
to joyful, sorrowful, and other states. In addition, the term
mouvement sometimes signifies meter (Fr., mesure). For these
reasons we consider BWV 1067 to have nine movements
the three sections of the Overture and the six airs of the
Suite. Characteristic tempos, dance motions, rhythms, affects, and meters distinguish the nine. The first repeated section of the Overture is a slow opening movement of majestic dotted figures in C meter. The second repeated section,
rarely repeated today, includes two movementsthe first
a dance-like concerto fugue in 2| meter; the second a slow
closing movement of majestic dotted figures in I meter. In
the set of six airs, the two Bourres form a single da capo
movement, and the Polonaise and its Double (variation of
the Polonaise melody) form another.

Bachs title at the beginning of each instrumental part of

BWV 1067 is simply Ouverture. This use for both the threesection opener and the complete overture-suite is typically
German (despite the French spelling). Because Bach gives
a title only for the third section of the Overture Lentement (slowly) we supply common French titles for the
first two Grave (serious, slow) and Vite (lively, quick).
Bachs titles for the six airs (here in italics) differ somewhat from those used today (here in parentheses): Rondeaux (Rondeau); Sarabande (Sarabande); Bourre I [and II]
alternativement (Bourres I & II); Polonoise [and] Double
(Polonaise & Double); Menuet (Menuet); and Battinerie
(Badinerie).
At the start of each movement, we supply affect words in
gray from one or more German writers of Bachs day. We
place these words above the time signature in the keyboard
right hand of our score and below the time signature in our
separate flute part.

the F lute and Keyboard arrangement

Our several goals for this arrangement have been to stay

as close as possible to the original parts; to edit these parts
clearly and consistently; to name the chief rhetorical sections, poetic units, and melodic ideas in the orations of the
top voice; to point out the chief modulations and cadences
according to late Baroque concepts; and to identify the concerto structure and fugue processes in the Overture Vite.

Our main guide for accuracy has been the NBA full score4
entitled II / Ouvertre / Orchestersuite h-Moll / BWV 1067,
which is based chiefly on Bachs manuscript parts described
above. As needed for clarification we have consulted photocopies of the manuscript parts (see Bachs autograph flute
part at the start of our separate flute book).
Choice of voices. To clearly present the linear character
and main protagonists in Bachs Overture-Suite we retain the two outer voices in all movements, the chief inner
voices wherever possible, and the main contrapuntal entries

French Baroque and by German writers in Bachs circle.

We begin each abbreviation directly below the first effective pitch.
To these French and German writers, a pitch foreign to the
prevailing key, e.g. (to e), introduces most modulations. Upper- and lower-case letters represent major and minor tonal
areas. Where two foreign pitches introduce a new area simultaneously only the leading tone is labeled.

length and contour.


 

 


















 






More transitory reposes not discussed by writers in Bachs

circle might be called quasi or qualified cadences (QC).
Most tonal areas come to repose in some kind of harmonic
These are perfect cadences weakened by deviations from
cadence at the final bar line of the poetic unit. The last two
the requisite initial and/or arrival pitches. Most belong to
main pitches of the highest and lowest voices frame the
one of three types: initial pitch of lowest voice on the sevcadence the initial pitch before the bar line, the arrival
enth degree (leading tone) of the tonal area, or on the secpitch after. We begin each cadence label directly below the
ond or fourth degree; arrival pitch of highest voice on the
initial pitch in the lowest voice. Both French and German
third or fifth degree; and one or more pitches extending
authors mention chiefly three types of cadence: perfect,
the arrival past the downbeat. For a qualified half cadence
evaded (or deceptive), and half.
(QHC) the bass arrives on a pitch other than the fifth degree (Overture, mm. 139, 167; Double, m. 8; Badinerie, m.
The perfect cadence (PC) is the only true cadence. All voices
36); or another voice arrives on the fourth degree (Ronarrive together on the final downbeat of the unit with the
deau, mm. 4, 24). The circled pitches in the examples below
highest and lowest voices on the first degree of the tonal
/" )" 1" $1 '" =$'> ""' 9/" )& ":> "A are typical deviations.


 





area.
Thelowest
voice moves
thefifth
the high1")1"
$'from
"&""
'"degree,
=> ')
 =$'







est voice often from the second degree. Middle voices move
from the fifth, seventh (leading tone), second, or sometimes
 










fourth degree to the first, third, or fifth degree. Our cadence








examples outline the skeletal movement of the soprano and
bass voices.
All cadences of a given type are not equally conclusive.



Those in the home key are more final than those in related

keys, and more elaborated approaches and longer arrival
 


notes are more final than others.



An evaded cadence (PC evaded) begins with the initial

pitches of a PC but at least one voice sidesteps the expected
repose. The only evaded cadence in BWV 1067 leads to the
fugue coda (mm. 18586). This cadence begins like the PC
in b that sets up the first entrance of the solo flute (mm.
5455). The expected resolutions are to b in the bass, d' in
the tenor, f#' in the alto and b' in the soprano (a B minor
triad). Instead the bass sidesteps to a, the tenor leaps up
an octave to f#", the alto sidesteps down to d#' while the
soprano makes its expected resolution to b'.




   




 



 






A half cadence (HC) is so called because it constitutes only

the first half of a PCthat is, it ends on the initial pitches
of a PC, with the lowest voice on the fifth degree, the highest often on the second degree and the leading tone in a
middle voice. (Typically these are the only arrival pitches
present in a half cadence. The fourth degree, being dissonant to both the fifth degree and the leading tone, only occasionally participates as an arrival pitch.) No initial pitches
are prescribed, except that the lowest voice of a phrygian
half cadence (HC phry) moves from the sixth to the fifth
degree. The three elaborated phrygian half cadences in the
BWV 1067 Grave and Lentement vary considerably in
114-41534

Concerto and fugue labels. In the Overture Vite of BWV

1067, an Italian Baroque concerto structure encompasses
the fugue processes.

The concerto structure alternates ritornello (R: returning

tutti) sections and concertino (C: contrasting solo) sections.
Unusual in this Vite is a hybrid episode (R/C) that separates the first three alternations (R1-R3 and C1-C3) from
the last three (R4-R6 and C4-C6). Also unusual are the
subsections a and b that divide sections R1, C1, C6, and
R6.
In quite another way, the fugue processes in this movement
divide the concerto sections into fugue and concertino expositions; extra, middle, and final entries; transitions; reexpositions; and a coda. Labels in small caps below the music
identify the fugue processes.
endnotes

1Held as Mus. ms. Bach St. 154 (16) in the Deutsche Staatsbibliothek zu Berlin.
2Joshua Rifkin, The B minor Flute Suite Deconstructed: New
Light on Bachs Ouverture BWV 1067, in Bach Perspectives 6 (Urbana: University of Illinois Press, 2005), 4346.
3Patricia Ranum, The Harmonic Orator: The Phrasing and Rhetoric
of the Melody in French Baroque Airs (Hillsdale, NY: Pendragon Press,
2001), 30912.
4Johann Sebastian Bach. Neue Ausgabe smtlicher Werke, VII/1
(Kassel and Leipzig: Brenreiter, 1967), 2746.

7
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114-41534

Bachs autograph manuscript. Courtesy of the Staatsbibliothek Berlin.

The Kings Grand Ball, foldout page of Pierre Rameaus Le Matre danser (Paris 1725, reprint 1748).
Courtesy of the Library of Congress online collection of dance instruction manuals.
114-41534

18

couplet 1
line 1

line 2

repeat of couplet 1

start here
La Boure dAchille, plate 1 of Louis-Guillaume Pcours Receuil de danses (Paris, 1700). Our added labels relate the music
and dance measures, identify the poetic lines of the first musical couplet, show the starting positions and facing directions
of the dancers, and indicate The Presence (the king at his grand ball) to whom the dancers offer their performance.
Courtesy of the Library of Congress online collection of dance instruction manuals.
114-41534

Performance Notes
Louis XIV reigned personally as King of France from
1661 to 1715. A great patron of the arts, he established the
French academies of dance, opera, and architecture; backed
the Italian-born dancer and composer Jean-Baptiste Lully;
practiced daily with the dancing master Pierre Beauchamp;
and chose subjects for the courts musical entertainments.
French balls of the time featured couple dances (danses
deux) in the belle danse style developed by Beauchamp that
led to modern ballet. Court ballets and operas (tragedies en
musique) featured virtuosic choreographies in the belle danse
style performed by professional dancers, sometimes in early
days including the king and Lully. Chamber concerts featured chiefly dance music.
In 1700, with permission from Louis XIV, Raoul-Auger
Feuillet published the dance notation evolved under Beauchamp for belles danses.1 Alongside his tutorial, or incorporated with it, was a collection of Feuillets own choreographies using this notation and a collection by the eminent
dancer Louis Pcour. Pcours collection includes La Boure
(sic) dAchille, soon to be danced in all European courts (see
plate 1 on p. 18).

French balls of the late French Baroque (about 1680 to

1720 in France) opened with provincial round dances, continued with danses deux, and concluded with contredanses
(French versions of English country dancesusually longways danceswith French dance steps). In 1725 Pierre Rameau pictures a couple preparing to perform a danse deux
before the king and their peers (see p. 6). The couple first
bows to the king (numbers 1 and 2)and then moves back to
await the musicians downbeat (numbers 3 and 4).
As a choral scholarship student at St Michaels School in
Lneburg (1700-1702), Bach became acquainted first hand
with the fashionable French court dances. From the boys at
Lneburgs aristocratic Riders Academy where the French
style prevailed, he learned French and perhaps some French
dance steps. The academys French dancing master also
served the Lneburg Castle with its orchestra of French
musicians. From the library of the Lneburg organist and
composer George Bhm, Bach copied several French harpsichord suites, some with information on their performance
practices.2

The nine movements of Bachs B minor Overture-Suite

BWV 1067 include the three sections of a French overture,
five French dance airs much in vogue in the 1730s, and
a polonaise. The Overture Grave and Lentement, and the
Polonaise, feature the majestic dotted rhythms that accompany festive processions. The Rondeau, Sarabande, Bourres, and Menuet present the characteristic rhythms and
affects of French ballroom and theatrical dances. The lighthearted, exuberant Badinerie projects the downright fun of
the French contredanses, capturing the timeless joy of folk
dancing.
Dancers, musicians, and audiences in Bachs day were
well acquainted with the movement types in BWV 1067
114-41534

19

through dancing them, playing them on instruments, and

hearing and seeing them performed repeatedly. To give
modern musical performers a taste of these combined
physical experiences we offer the basic essentials of dancing
each movement type, cite early 18th-century German writers on the sentiment, character or affect expressed, explore
the poetic orations declaimed by the top voice in French
overtures and French dance songs, compare the flute and
string articulations taught at the time, and offer guidelines
for realizing the ornament signs. To conclude, we consider
the remarkably unified structure of BWV 1067.

Dance Rhythms

The movements in BWV 1067 make listeners want to

march or dance. The declamatory dotted rhythms in the
Overture Grave and Lentement and the Polonaise suggest
a festive march. Those in the Overture go back to the concerted instrumental openings of 17th-century ballets de cour
during which performers walked on stage and promenaded
in halting steps while musicians repeated at least the quick
second section of the music.3 The Polonaise, a march of
couples in meter, is still today the first of the national
dances of Poland. The remaining movements might be
danced to the elegant belle danse choreographies developed
at the French court or to the folk-like contredanses brought
from England. Each style has its own floor patterns and
dance steps. In all three styles, dancers and musicians mark
musical meter in related ways.
Floor patterns. Would-be marchers to the Grave and
Lentement of BWV 1067 would naturally move in the
forward direction. A polonaise dance starts in the forward
direction but other folk dance figures may follow.

The danse deux choreographies such as the Boure

dAchille plate opposite show the floor patterns as figures
and the step units as groups of stylized musical notes linked
together by a sometimes curved beam. At the bottom of the
plate, a half circle topped by a straight line represents the
gentleman, a half circle within the first half circle represents
the lady. The dancers travel chiefly toward The Presence
(position of highest honor) in either parallel or symmetrical
tracts (paths). In front of each dancer, two small circles with
outgoing diagonal stems represent the starting position of
the feet. A dot in front of the rear foot shows that toe to rest
lightly on the floor, the bodys weight on the front foot. Half
moons with outgoing horizontal strokes show the dancers
holding hands. At vertical strokes through the outgoing
ones the dancers release hands. Small bar lines cutting the
tract end dance measures. The stylized musical notes show
the dancers individual steps. A notes black head designates
the foots starting position, the stem its line of travel, and
the flag its arrival where the bodys weight change is completed. Heading the Achille plate is the repeated first binary
strain of the choreographed tune, notated in French violin
clef with g' on the bottom staff line. The figure 1 above the
final bar line gives the plate number.

Bachs first biographer calls Bach the greatest musical poet

and the greatest musical orator that ever existed.18 Indeed
the melodies in the top voice of the nine movements of
BWV 1067 confirm Bachs poetic and oratorical prowess
even in French-inspired musical settings.
Overture slow sections. If English words were spoken to
the majestic dotted figures of French overtures they might
proclaim: Hear this! See now! Its the King! Praise the
King! The Prologue to Lullys opera Atys (1676, revised
1689) opens with such an overture. In the brief oration
in dotted figures that follows, the God of Time promises
eternal fame to the reigning King Louis XIV, greatest of
heroes.

In this, as in most musical imitations of French poetic orations, each spoken syllable is set to a single note of music. In addition, the atonic e of a French feminine rhyme,
though not counted as a separate syllable in speech, is set
to its own musical note.
  
       
      
  

   
 

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25
rest on a downbeat and close on either the next downbeat
or the one after it. Although Grave lines 1 and 2 and Lentement line 1 have the same number of syllables (11) the two
Grave lines are most naturally parsed as four almost identical poetic feet grouped into almost equal half lines, whereas
the Lentement line is most naturally parsed as four assorted
feet grouped into very unequal half lines. Poetic half lines
in the $-meter Grave seem to end on beats 1 or 3, those
in the I Lentement on beat 1, and poetic feet in both on a
beat.

To experience this music as declaimed poetry, English syllables can be fitted to the French scansion and majestic affect of the music and all unusual notes set to words that
the music might represent. In our BWV 1067 examples
below, we set the first rising good note to the word rise, the
exclamatory upward leap to praise, the long tied notes to
long fame, and ornamented notes to the moving or powerful
words rise, King (twice) and glides. Modern performers can
practice speaking such parodies histrionically, using pitches
roughly approximate to those of the music and declaiming
the final two syllables of each poetic foot with as much exaggeration as the notated rhythm and good taste allow.

  


 









  
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66 + +  

'6  

The stress of both rhymes falls on the final musical downLullian dance songs. Unlike the majestic orations in
beat of the line (boldface upper case in the example).
Lullys prologues, the dance songs in his operas are short
One to six syllables form a French poetic foot (/ in the exorations sung to a particular dance rhythm and affect. In
ample). The last syllable, the longest but not necessarily the
gavotte, bourre, and sarabande songs the oratorical and
loudest, normally falls on a musical beat. One or two poetic
grammatical accents of actor singers relays embrace bar
feet make up either a poetic half line (//) or a short poetic
lines, as would the bend-rise movements of dancers.
line of eight or fewer syllables (///). The final syllable of a
In duple meter dance songs, most poetic lines are short, covshort or long French poetic line (both ///) usually falls on a
ering eight steady values over two musical measures. Bourmusical downbeat.
re lines have basically six syllables starting with the fourth
For dramatic effect and to ensure being heard by the audisteady value of a measure (1 | 2/ 3 4 5 | 6///). Gavotte lines
ence, French actors emphasize the last two or sometimes
have basically seven, starting with the third steady value (1
three syllables of each poetic foot, called the relay (upper
2 | 3/ 4 5 6 | 7///). The lines in the first couplet of the gacase in the example). As much as possible within the alvotte song Serons-nous from Lullys Cadmus et Hermione are
lotted time, they lengthen the last syllable of the relay for a
typical.
grammatical accent, and lengthen and/or intensify the next
to last syllable for an oratorical accent.19 The grammatical
accent falls on the last downbeat good note of a poetic line
and the oratorical accent on the prior upbeat bad note.

Even without lyrics, the dotted rhythms of the BWV 1067

Grave and Lentement can be parsed more or less like the
God of Time oration. Because all rhymes in these two sections are masculine, all poetic lines start after the note or
114-41534

28
cation during the decade or so before his 1752 publication.
In Bachs manuscript parts for BWV 1067, the flute and
first violins declaim the poetic oration together in all passages marked tutti for the flute and forte for the strings.
Presumably the flute and first violins would aim for similar
effects. Here we consider the articulations probably used by
Bachs flute and string players for the steady values, quick
values, mixed values, and slurred and staccato notes in the
movements of BWV (
1067.G"  *0*  $ (" "0
PYOO " "" ." $ (" "  0" (

Steady values. Both flute and violin tutors of the early

1700s use separate strokes for the steady values that guide
dancing.

(Those unable to trill a frontal r may substitute the flipped

d of the English phrase I have lots tdo.) On the other
hand, French violinists of the period used a down-bow for
most good quick notes and an up-bow for most bad ones.
By touching the bow only lightly to the strings, the up-bow
on a bad quick note can readily be made shorter, lighter, and
a little later than the down-bow on a good note.

  
   




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.

Where two or four quick notes stand between two steady

values, the usual syllables may be reversed: tu-ru. In the
unison flute and violin passages of BWV 1067, the trochaic
Hotteterre uses the single crisp but short syllable tu for all
(K
3("
("the
&"
"0*"
 comes
(" 0"
(" tu-ru may better match the violin bowing.
steady
values.
For
t the "
tip of the
tongue
to the
*#
*0""
*
0&"E
("
0"
("
*0""
*
("K

(
palate to block the pent-up air for at least a moment be  
      
K
fore releasing it quickly in a stream through the lips. The


"( *0*  $ (" 0" 
" 0""
momentary
silence before the release may be long or short.
)+ &( A )+ &(    AAA
&  ".  ."  2(  *0"E * &"I
When
the tongue returns earlier to the palate, the silence
"0 *&  I $ (" & " $ (" 2"" In the solo passages of the Vite, however, the iambic tu-ru
is longer, when later the silence is shorter. In both cases the
(.  IE  *00 0"" ("  ."K would better contrast with the tu-ru of the tutti passages.
intensity of the note is retained until the silence.

0(&( 00 "  0" * " *"" "  " "I

"violin
E  *0""
""alternate
 "."
I
French
tutors2*00
of the late Baroque
strong
and weak bow strokes as much as possible, in general using
a down-bow for the good notes of the measure and an upbow for the bad ones. For continuous steady values in triple
meter, they retake a down-bow at bar lines, hook an upbow, or continually alternate the bow strokes. Although all
steady values in dance pieces tend to be separated, a silence
automatically separates a retaken downbow and a hooked
2 " 0"  ""*2" *( *K  (" $00*&
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in *
performing
BWV
1067
no "
one can
but modern
players can experiment with it. In the following model
bourre line we show declamatory flute relays (TU TU)
at bar lines to match those in bourre songs, which in turn
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Quantz discusses the length and weight of bow strokes in

three of the four dance types used in BWV 1067. In bourres, the strokes are short and light. In sarabandes, quarter
notes are separated whether dotted or not though less
assertively than in overtures. In menuets, quarter notes are
marked with short but rather heavy bow strokes.27
Quick values. A long chain of quick values requires a
different treatment. Hotteterre usually moves from a bad
quick note to a good one (one that coincides with a steady
value): tu-ru. Because the tu begins quickly it can be slightly delayed. The ru is pronounced a little more slowly into
the flowing air stream like one flip of a frontally trilled r.
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When a breath is needed among continuous quick values,

the rhythmic inequality can be increased to offer enough
time.Where the next poetic line starts with a good note, as
does line 3 of the BWV 1067 Rondeau, the previous bad
quick note can be played a little early and short.

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But where the next poetic line starts with a bad quick note,
as does line 3 of the Vite, the bad note can be played late.






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(For the most inconspicuous inhalation, the lips are held

in position, the tongue tip raised to the palate to block the
outgoing air, and incoming air is quickly sniffed through
the nose.)
Mixed values. French flutists would normally relate the
quick note of a dotted rhythm to the following note whatever that value: tu-ru. French violinists would use a downbow for the dotted value and an up-bow for the quick one.

However, the eighth note that follows a dotted quarter note

in the % meter of bourres and gavottes, and the I meter
of sarabandes and courantes, is not to be performed exactly
with its notated value. Rather, Quantz specifies that the
dotted note is played with emphasis, the bow lifted from
the string during the dot, and the eighth note executed
quickly in a sharp (crisp) manner. Where time allows, all
dotted figures are treated this way.28 Line 1 of the BWV
1067 Sarabande might be executed somewhat as follows.

30
the flow. Sometimes a one-note grace decorates a dissonant
main note on a strong beat. In this case, a quick, pre-beat,
or unstressed execution is necessary for the main note to be
heard as dissonant.
Ornaments in accompanying voices have special requirements. Among dense voices, pre-beat or short executions
may be needed to avoid rhythmic conflict, unpleasing dissonances, or parallels among voices. In the bass, prebeat or
short executions may be needed to preserve the continuo
harmonies.
The ornaments in the first couplet of the BWV 1067 Lentement are especially challenging (see example below). The
subject in the keyboard right hand features a trill on circled
beat 3 and a one-note grace on circled beat 5 of its implied
' rhythm. The compound ornament on beat 2 of the flute
descant counters the ' rhythm and sets the majestic affect
of the movement. In the third measure the three graces in
the right hand require fairly quick execution whether
started before, across, or on the beat to avoid conflict
with the long appoggiatura in the flute and the trill in the
courante-like subject now in the bass. For clarification in
that third measure, the flutist might join the quarter-note
appoggiatura e'' to the main note f#'' with a pinc (mordent)
played before, across, or on the beat.
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Each air has its own atypical repetition. The Rondeau is

especially rounded by the addition of varied refrains A1
and A2, their developed returns as A2' and A1' , and the
transposed return of contrast B. Each repeated strain of the
Sarabande is unusually imitated by the canon between the
outside voices. The bass voice in Bourre I continually iterates an arched palindrome on the pitches b c' d' c' b or a
transposition. Through most of Bourre II the bass voice
repeats a single two-measure figure. Each tercet of the Polonaise develops a single opening rhythm in the first three
measures and a single closing rhythm in the fourth measure.
Wherever motive a appears in the top voice of the Menuet,
the bass voice echoes it. In the Badinerie, idea a returns repeatedly, and ideas b, c, d, e, and f return at least once.
Thematic skeleton. A thematic skeleton fleshed out in
various ways unites five of the nine BWV 1067 movements.
A mainstay of the skeleton is a scalar descent in B minor
from the sixth degree (g'') to the second degree (c#''). A frequent addition is the first degree (b') that may appear at the
start, in the middle, and/or at the end (see parenthetical
pitches in the diagram below). At the start, the first degree
leaps up a minor sixth to the sixth degree. In the middle, it
leaps up a perfect fourth to the fourth degree. At the end, it
brings the melody to repose. Sometimes the skeleton occurs
with only the bare-bones mainstay pitches.


 







ing ritornello and concertino sections of an Italian Baroque

concerto. The Lentement, processed as a fughetta, imitates
the Grave in its subject, its subject fragments, and its sequence of harmonic cadences.

  
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Fleshed-out versions of the thematic skeleton open and

close the Grave (lines 12 and 913) and Lentement (lines
12 and 58), shape the fugue subject of the Vite (lines
12), and open and close the Sarabande (lines 1 and 910)
and Menuet (lines 1 and 56).


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Bachs unIfIed structure

In most overture-suites, the overture and airs are little if at

all related. In BWV 1067, however, uncommon repetition,
a thematic skeleton, Fibonacci mean ratios, various chiastic structures (reversed parallelisms), and Bachs signature
number 14 unify the work. Each movement has at least
three of these five unifiers.
Uncommon repetition. All movements include some unusual repetition. The repetition may be exact or free, and
take the form of imitation, return, or rounding.

Each section of the Overture processes a subject for imitation. Through the first half of the Grave either the top or
bass voice states the subject. Through the second half one
voice or another states fragments of that subject. The Vite
develops its subject as a lengthy fugue within the alternat114-41534

       

     






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In the hybrid episode of the Vite (lines 57-58), two singular statements of the skeleton appear in the subdominant
E minor and relative D major. At the end of the Vite, a
bare-bones descent of the skeleton with quick notes slurred
in pairs (line 91) moves into the Lentement. Similar bare-