Abstract:
The use of melodic inversion in the second reprises of Bach's keyboard suites is
commonly acknowledged. However, no published account gives a detailed explanation of
the context-driven nature of such inversion. After discussing the general characteristics of
inversion in the English Suites, French Suites, and Partitas, I develop a methodology that
describes inverted subjects as transformations of the original subject using three criteria:
(1) a scale-degree axis of inversion, (2) a diatonic or chromatic transposition level, and
(3) a narrowly-defined but flexibly-applied list of modifications. The application of the
method to the opening of each reprise in selected allemandes and courantes reveals
salient aspects of Bach's treatment of inverted subjects. A complete analysis of the
Allemande from the English Suite in G minor deepens our understanding of Bach's
practice by showing how subjects are treated flexibly, and how they can be used in the
service of larger goals across an entire piece.