Bach's third exercise for his son Wilhelm Friedemann
eases into the not terribly challenging key (only two
sharps) of D major, but away from the strict
counterpoint of the C minor invention. Here, the two
voices are complementary but generally not canonic,
except for an explicitly imitative middle section.
Otherwise, the right hand presents a busy, wandering
theme that the left hand supports with material that is
initially simpler, but ultimately as complex as the
treble tune.
Although ...(+)
Bach's third exercise for his son Wilhelm Friedemann
eases into the not terribly challenging key (only two
sharps) of D major, but away from the strict
counterpoint of the C minor invention. Here, the two
voices are complementary but generally not canonic,
except for an explicitly imitative middle section.
Otherwise, the right hand presents a busy, wandering
theme that the left hand supports with material that is
initially simpler, but ultimately as complex as the
treble tune.
Although originally composed for Harpsichord, I created
this arrangement for Viola Duet.
PARTITION