Coryell PDF

1
A PEDAGOGICAL APPROACH TO THE BACH
TWO PART INVENTIONS
THESIS
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Carol W. Coryell, B. M. E.
Denton, Texas
January, 1969
PREFACE
Since the nineteenth century the Two Part Inventions
have become standard repertoire for piano students. However,
piano teachers have often failed to give serious consideration
to the suitable selection of Inventions for study. Piano
students have commonly formed a dislike for Bach's piano
music because of an ungratifying initial experience.
There is little material written in English dealing with
the Two Part Inventions. Those studies of the Inventions
which do exist consist mainly of brief articles in periodicals
and limited discussions in piano literature books. Therefore,
there seemed to be a need for a systematic collection of
pedagogical ideas concerning the Two Part Inventions. In
addition, it was felt that an analysis of the problems in
each piece and a subsequent graded list of the Inventions
would be a step toward a more intelligent and more knowledge-
able approach in the teaching of these compositions.
iii
TABLE OF CONTENTS
Page
LIST OF TABLES . . . . . . . . . . . . . . . . . . . . . vii
LIST OF ILLUSTRATIONS . . . . . . . . . . . . . . . . . x
Chapter
I. STATEMENT OF THE PROBLEM . . . . . . . . . . . . 1
The Purpose
Sub-Problems
Definition of Terms
Delimitations
Basic Hypothesis
Basic Assumptions
Background for the Study J. S. Bach:
Two Part Inventions Related Research
Methodology
Plan of This Report
II. A STYLISTIC ANALYSIS OF THE BACH

TWO PART INVENTIONS . . . . . . . . . . . . . 28
Introduction
Invention No. I
Invention No. II
Invention No. III
Invention No. IV
Invention No. V
Invention No. VI
Invention No. VII
Invention No. VIII
Invention No. IX
Invention No. X
Invention No. XI
Invention No. XII
Invention No. XIII
Invention No. XIV
Invention No. XV
Summary
iv
TABLE OF CONTENTS--Continued
Page
Chapter
III. IDENTIFICATION OF PERFORMANCE PROBLEMS AND

RANKING OF THE TWO PART INVENTIONS.. ..... 142
Performance Problems Related to

Linear Characteristics
Textural Characteristics
Rhythmic Characteristics
Formal Design
Ranking of the Two Part Inventions
Requirements for Performance of Bach
When to Begin the Study of the
Inventions
Editions
Summary
IV. SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS. . . . 171
Summary and Conclusions

Recommendations
APPENDIX....*.. ......... . . . . . . . . . . . . . 179
Appendix A: Frequencies of Parallel, Similar,

Oblique, and Contrary Motion, and
Melodic Indices in the Two Part
Inventions
Appendix B: Frequencies of Relatively Accented
Dissonant Intervals in the Two
Part Inventions
Appendix C: Per Cent of Rough and Smooth Measures
According to Melodic Accents
Appendix D: Per Cent of Rough and-Smooth Measures
According to Durational Accents
Appendix E: Piano Pedagogues
Appendix F: Rating Sheet
Appendix G: Tempos for the Two Part Inventions
Suggested by Five Authorities
V
TABLE OF CONTENTS--Continued
Page
BIBLIOGRAPHY0.0.0............... . .........
vi
LIST OF TABLES
Table Page
I. Frequency of Counterpoint Species in

Invention No. I ......... . . . . 36
.
II. Frequency of Note Values in Invention
No. I . . .0.0. .0 .d . . 0. 4. . . . .
.
III. Frequency of Counterpoint Species in
Invention No. II........ . . 0. .0 43
.
IV. Frequency of Note Values in Invention
No. II .*.*.*.0.0.*.0.0.0.*.0.0.t. 45
V. Frequency of Counterpoint Species in
Invention No. III .... .. .. . .0 . .0 51
.
VI. Frequency of Note Values in
Invention No. III . . . . . .. . 53
.
VII. Frequency of Counterpoint Species in

Invention No. IV... .%. ....... . . . . 59
.
VIII. Frequency of Note Values in Invention
No. IV . . . . . . . . . 0.0 . . . . . . . 61
.
IX. Frequency of Counterpoint Species in

Invention No. V . . .. . .... . . . . 66
.
X. Frequency of Note Values in Invention

No. V ..... *.. . . . . . .... . . . . 67
.
XI. Frequency of Counterpoint Species in

Invention No. VI . . . . . . . . . . 73
.
.
XII. Frequency of Note Values in Invention

No. VI............ .. . ..... . . . . 74
.
XIII. Frequency of Counterpoint Species in

Invention No. VII . . . . . 79
.
vii
LIST OF TABLES--Continued
Table Page
XIV. Frequency of Note Values in Invention

No. VII . . . . . . . . . . . . . . . .
.
XV. Frequency of Counterpoint Species in
Invention No. VIII . . . . . . .
.
XVI. Frequency of Note Values in Invention
No. VIII 1.0.0.0.0.-. . . . . . .
.
XVII. Frequency of Counterpoint Species in
91
Invention No. IX . . . . . . . . . .
.
. 0.
XVIII. Frequency of Note Values in Invention

No. IX . . . . . . . . . . . . . . . . . . 93
.
XIX. Frequency of Counterpoint Species in
Invention No. X . . . . . . . . . t. .*98
XX. Frequency of Note Values in Invention

No. X . . . . . . . . . . . . . . . . . 99
.
XXI. Frequency of Counterpoint Species in

Invention No. XI . . . . . . . . 104
.
XXII. Frequency of Note Values in Invention

No. XI . . . . . . . . . . . . . . . . . . 106
.
XXIII. Frequency of Counterpoint Species in

Invention No. XII . . . . . . . .
.
XXIV. Frequency of Note Values in Invention

No. XII . . . . . . . . . . . . . . . .112
.
XXV. Frequency of Counterpoint Species in

Invention No. XIII . . . . . . .
.
XXVI. Frequency of Note Values in Invention .

No. XIII. . ............ .
..
*.119
XXVII. Frequency of Counterpoint Species in

Invention No. XIV . . . . . . . . . . 124
.
viii
LIST OF TABLES--Continued
Table Page
XXVIII. Frequency of Note Values in Invention

No. XIV . . . .................. 126
XXIX. Frequency of Counterpoint Species in

Invention No. XV ... ... ...... .. 132
XXX. Frequency of Note Values in Invention

No. XV.......... ..................... 133
XXXI. Numerical values of the Factors Relating to

Difficulty in the Two Part Inventions. . . 153
XXXII. Ranking of the Two Part Inventions in

Order of Decreasing Difficulty
According to Composite Scores
Relating to Difficulty ............. . 155
XXXIII. Levels of Difficulty of Performance of

the Inventions as Rated by Six
College Piano Instructors ........... 157
XXXIV. Ranking of the Two Part Inventions According

to Technique, Memorization, Interpretation
and Composite Scores in order of
Decreasing Difficulty ............... 160
XXXV. A Comparison of the Ranking of the Two Part

Inventions Based on the Evaluations of
Six Pedagogues and the Ranking Based
on the Factors Relating to Difficulty 161
ix
LIST OF ILLUSTRATIONS
Figure Page
1. Invention No. VII, Melodic Pattern, Measure 21 13
2. Invention No. I, Melodic Pattern, Measure 21 . . . 14
3. Invention No. XI, Melodic Pattern, Measure 4 . . . 14
4. Invention No. I, Motive, Measure 1 . . . . . . . . 31
5. Legend Explaining Symbols Used in Graphic Analysis 32
6. Invention No. I, Countermotive, Measures 1-2 . . . 33
7. Invention No. I, Graphic Analysis . . . . . . . . 34
8. Invention No. I, Episodic Pattern, Measure 3 . . . 35
9. Invention No. I, Episodic Pattern, Measures 9-10 . 35
10. Invention No. II, Graphic Analysis . . . . . . . . 40
11. Invention No. II, Motive, Measures 1-3 . . . . . . 41
12. Invention No. II, Countermotive, Measures 3-5. . . 42
13. Invention No. II, Episodic Pattern, Measures 5-10. 42
14. Invention No. II, Formal Plan . . . . . . . . . . 46
15. Invention No. III, Motive A, Measures 1-2 . . 46
16. Invention No. III, Graphic Analysis. . . . . . . . 47
17. Invention No. III, Motive B, Measures 12-14. . . 49
18. Invention No. III, Episodic Pattern, Measures 5-11 50
19. Invention No. IV, Motive, Measures 1-3 . . . . . . 54
20. Invention No. IV, Graphic Analysis . . . . . . . . 55
x
LIST OF ILLUSTRATIONS--Continued
Figure Page
21. Invention No. IV, Countermotive, Measures 3-5. . 57

22. Invention No. IV, Episodic Pattern, Measure 8. . 58
23. Invention No. IV, Episodic Pattern, Measure 11 0 58
24. Invention No. IV, Episodic Pattern, Measures 7-8 . 59

25. Invention No. V, Graphic Analysis . . . . . . . 63
.
26. Invention No. V, Motive Measures 1-5 . . . . . . 64
.
27. Invention No. V, Countermotive, Measures 1-5 . 64
28. Invention No. VI, Motive A, Measures 1-4 .. . 69
.
29. Invention No. VI, Motive B, Measures 1-5 . . . . 69
.
30. Invention No. VI, Graphic Analysis . . . . . . . 70
.
31. Invention No. VII, Graphic Analysis. . . . . .. 77
32. Invention No. VII, Motive, Measure 1 . . . . . . 78
.
33. Invention No. VIII, Motive, Measures 1-2 . . . .82

.
34. Invention No. VIII, Graphic Analysis . . . . . . 83

.
35. Invention No. VIII, Countermotive, Measures 2-3. . 84
36. Invention No. VIII, Episodic Pattern, Measure 4. . 85
37. Invention No. VIII, Episodic Pattern, Measure 15 . 85
38. Invention No. IX, Motive A, Measures 1-4 . . . 89

.
39. Invention No. IX, Motive B, Measures 1-4 . .. . 89
40. Invention No. IX, Graphic Analysis . . . . . . . 90

.
xi
FigurE Page
41. Invention No. IX, Rhythmic Pattern, Measures 1-2 93
.
42. Invention No. X, Motive, Measures 1-2 . . . . .0 95
.
43. Invention No. X, Countermotive, Measures 2-3 . . 95
.
44. Invention No. X, Graphic Analysis . . 0.0.0 . 96
.
45. Invention No. X, Episodic Patterns, Measures
5 and 7 . . . . . . .0 .0 .0 . . . . . . . .* 97
.
46. Invention No. XI, Graphic Analysis . . . . . 102
.
47. Invention No. XI, Motive A, Measures 1-3 . . . . 103
.
48. Invention No. XI, Motive B, Measures 1-3........ 104
49. Invention No. XII, Motive A, Measures 1-2. . 107
.
50. Invention No. XII, Graphic Analysis . *.0 .t 108
.
51. Invention No. XII, Motive B, Measures 1-2. . 109
.
52. Invention No. XII, Episodic Pattern, Measure 7 . 110

.
53. Invention No. XIII, Motive A, Measure 1. . . ... 114
54. Invention No. XIII, Graphic Analysis........... 115
55. Invention No. XIII, Countermotive A, Measure 1 116

.
56. Invention No. XIII, Motive B, Measure 3....... 116
57. Invention No. XIII, Countermotive B, Measure 3 . 117

.
58. Invention No. XIV, Motive, Measures 1-3........ 121
59. Invention No. XIV, Graphic Analysis 122
60. Invention No. XIV, Countermotive, Measures 1-3 123
xii
Figure Page
61. Invention No. XIV, Stretto, Measures 16-17 .. .. 127
62. Invention No. XV, Motive, Measures 1-3 . . . . 128
63. Invention No. XV, Graphic Analysis.. ....... 129
64. Invention No. XV, Countermotive, Measures 3-4 . 130
65. Invention No. XV, Episodic Pattern, Measure 8. . . 130
66. Invention No. XV, Episodic Pattern, Measures

16-17........* *.0...........
. .. . . 131
xiii
CHAPTER I
STATEMENT OF THE PROBLEM
The Purpose
The purpose of this study was to analyze the Bach Two
Part Inventions and to prepare a graded list for pedagogical
purposes.
Sub-Problems
Analysis of the problem statement led to subordinate
questions, which may be stated as follows:
1. What performance problems are identifiable through an
analysis of the linear characteristics in the Two Part
Inventions?
2. What performance problems are identifiable through
an analysis of the textural characteristics of these pieces?
an analysis of the rhythmic characteristics in the Inventions?
an analysis of the formal design of these pieces?
5. What system can be devised to grade the Inventions
in order of difficulty?
1
2
Definition of Terms
1. The term "performance problems" refers to difficul-
ties encountered in the playing of a composition by an inter-
mediate student on the piano. These problems may be divided
into two basic categories: technical difficulties and
interpretative difficulties.
a. The term "technical difficulties" refers to the
demands placed upon the mechanical skill of the per-
former. They include coordination, voice projection,
balance, touch, tempo, and execution of embellishments.
1) The word "coordination" refers to the harmoni-
ous functioning of muscles in producing complex,
and sometimes, dissimilar, movements (15, p. 325).
2) The term "voice projection" refers to the pre-
dominance in intensity of one part.
3) The term "voice balance" refers to the equality
of intensity between the parts.
4) The word "touch" refers to "the physical approach
to the key as the conditioning factor to obtain a
variety of tonal qualities, ranging from the soft
and lyrical to the harsh and percussive" (1, p. 528).
This word also includes legato and staccato playing.
5) The phrase "execution of embellishments" refers
to the realization in performance of ornaments.

3
b. The term "interpretative difficulties" refers to the
problems in the rendering of a musical composition according
to one's conception of the composer's idea (9, p. 415).
Interpretative difficulties include phrasing, articulation,
slurring, dynamic variation, mood, tempo, and style.
1) The word "phrasing" refers to the "clear ren-
dering in musical performance of the . . . natural
division of the melodic line. . . . This is
achieved by the interpolation of a slight rest
. . . with the last note which, therefore, will
have to be shortened (depending upon the speed and
loudness of the passage)" (1, pp. 572-573).
2) The term "articulation" refers to "a feature of
musical performance which includes all those more
or less minute breaks in the continuity of sound
that contribute, together with accent, to give it
shape and render in intelligible" (5, p. 235).
3) The term "slurring" refers to "an effect .

.
whereby the second of two notes is curtailed and
weakened . . . " (5,p. 840).
4) The term "dynamic variation" refers to changes
in the degrees of sound-volume in the music.
5) The word "mood" refers to the general tone, or
dominant emotional character, of the music.

4
6) The word "tempo" refers to the rate of speed
of the music.
7) The word "style" refers to the manner of per-
forming that is distinctive or characteristic of a
period or individual artist.
2. The term "graded list" refers to the ranking of the
Two Part Inventions beginning with the easiest and continuing
to the most difficult.
3. The music "Bach Two Part Inventions" refers to "fifteen
small keyboard pieces--each in two parts and each developing
a single idea--composed by Johann Sebastian Bach" (3, p. 526).
4. The term "linear characteristics" refers to the dis-
tinct qualities in the horizontal arrangement of pitch and
duration. Analysis of the linear characteristics includes
a study of the motive and the episodes
a. The word "motive" refers to the melodic statement--
generally one to two measures--which is the basic ele-
ment in the structure of an Invention.
b. The word "episode" refers to the intermediate deve-
lopment sections between the exposition and counter-
exposition(s).
c. For purposes of this paper the terms "first voice"
and "upper voice" are synonymous. Likewise, the terms
"second voice" and "lower voice" are synonymous.

5
5. The term "textural characteristics" refers to the
distinctive qualities of the resultant sound of the combina-
tion of the two lines or "parts." Textural characteristics
include implied harmonies, harmonic progressions, cadences,
tonality, intervalic relationships, consonance and dissonance,
and rhythmic relationships.
6. The term "rhythmic characteristics" refers to the dis-
tinctive features of the accentual structure of the music.
Rhythm includes meter--duple, triple, simple, or compound--
and rhythmic patterns--prominence, kind, frequency.
7. The term "formal design" refers to the structural
scheme of a piece. Analysis of the structure will include
examination of the exposition, imitation, and sections.
a. For purposes of this paper the term "exposition"
refers to the initial section of the Invention con-
taining the statement and the imitation of the motive.
b. The word "imitation" refers to the restatement in
close succession of the motive in different voice parts.
The motive in imitation may appear in an altered form.
c. The word "sections" refers to general divisions
within the Invention which are determined by changes in
tonality and use of motivic and countermotivic material.

6
Delimitations
1. The study is concerned with the Bach Two Part
Inventions only because (a) Bach's total contribution in
Inventions was considered to be too large to be included in
one investigation--either the Two Part or Three Part Inventions
constituted sufficient area for this thesis; and (b) the Two
Part Inventions were thought to be the more widely used by
pedagogues.
2. The Ludwig Landshoff edition of the Two Part Inventions
was used for analysis and reference in this study. This
edition was chosen as "an excellent example" of an Urtext
edition. The Urtext edition is, in the final analysis, the
only trustworthy edition (14, pp. 12-14).
3. Ornamentation as presented in the Landshoff edition
was accepted for this study. However, for purposes of this
paper, only those ornaments appearing in ordinary type were
considered. The embellishments are those that appeared in
the original script of 1723 which were clearly authored by
Bach. Any additional ornaments appearing in the original
autograph and other authentic sources appear in smaller type.
4. The study did not investigate the problems related to
the performance of the Inventions on the harpsichord, clavi-
chord, or any keyboard instrument other than piano.

7
Basis Hypothesis
The basic hypothesis of this study was that the Two Part
Inventions do vary in the degree of difficulty and that the
difficulties could be determined.
Basis Assumptions
The two following assumptions seemed basic to this study:
1. It was assumed that through the process of analysis
and from the evaluation of six pedagogues the difficulties
of each Invention could be determined.
2. It was assumed that the Ludwig Landshoff edition was
widely recognized among pedagogues as being the most acceptable.
Background for the Study
J. S. Bach: Two Part Inventions
"To learn . . . to acquire good ideas (Inventions) but
also to work them out themselves . . . and at the same time,
to gain a strong predilection for composition," wrote J. S.
Bach in a letter in 1723 in reference to the purpose of stu-
dents practicing the Inventions (11, p. 470).
The Two and Three Part Inventions, thirty keyboard pieces
by Johann Sebastian Bach (1685-1750), were written about 1720
when he was conductor of the orchestra at C'6then. They were
intended as exercises for his son, Wilhelm Friedemann Bach,

then nine years and two months old, and were a part of his
Clavier-Buchlein. According to Geiringer, the first two and
the last eight of the Praeambula, as the Two Part Inventions
were first termed by Bach, were written by the father, numbers
three through seven by Friedemann (4, p. 271).
Forkel gives more detailed information concerning the
circumstances surrounding the composition of the Inventions
in the following passage:
I will first speak of his instructions in playing.

The first thing he did was to teach his scholars his
particular mode of touching the instrument. For this
purpose, he made them practice, for months together,
nothing but isolated exercises for all the fingers of
both hands, with constant regard to this clear and
clean touch.
For some months, none could get excused from these
exercises; and, according to his firm opinion, they
ought to be continued, at least, for from six to twelve
months. But if he found that anyone, after some months
of practice, began to lose patience, he was so obliging
as to write little connected pieces, in which those
exercises were combined together. Of this kind are
the six little Preludes for Beginners, and still more
the fifteen Two-Part Inventions (3, pp. 16-17).
The preludes by Johann Kuhnau and J. Kaspar Ferdinand
Fischer served as models for Bach's Inventions. What Bach
created, however, was new (4, p. 267). Geiringer continues
his discussion in the following stIatements:
No other composer had ever considered imbuing clavier

compositions of such small dimensions with a content
of similar significance. They are studies in inde-
pendent part writing using all the devices of fugue
and canon, double and triple counterpoint, but without
strict adherence to any of them. Bach offers fantasias
9
in the realm of polyplony, freely blending all known

techniques, and creating forms which are held together
by logic, and the iron consistency, of his musical
thought (4, p. 267).
Authorities disagree on the reason and the source of the
designation of these compositions as "Inventions." Bach may
have acquired the title from his Italian contemporary, A. F.
Bonporti, who some years earlier (1714-1715) published
Peace: Inventions: or Ten Partitas for Violin and Figured
Bass. Four of these, being found in Bach Ts handwriting,
were actually printed in the German Bach Society's Edition as
his compositions (11, p. 470). Perhaps Bach took the name
from Vitali, who used the term "inventioni curiose" as a
title for pieces involving special tricks (1, p. 364).
Another possibility concerning the origin of the term
"invention" lies with the seventeenth century publications
of two-part "ricercares." It is suggested that "invention"
was a translation of "ricercare." Or perhaps the vivid
dialogue between the two parts of the pieces persuaded Bach
to substitute the name "Invention" for the rather vague
"Praembulum" he had originally used (1, p. 364).
The educational purposes of the Inventions are indicated
in the inscription carried on a later autograph of the pieces;
Honest Guide
by which lovers of the clavier, and particularly those
desirous of learning are shown a plain way not only
10
(1) to play neatly in two parts, but also, as they

progress, (2) to treat three obligato parts correctly
and well, and, at the same time, to acquire good ideas
and properly to elaborate them, and most of all to learn
a singing style of playing, and simultaneously to obtain
a strong foretaste of composition (4, p. 274).
The pieces are intended as studies for performing and for com-
posing, both of which Bach considered necessary. It is not
clear whether Bach intended these pieces to be played on the
clavichord or the harpsichord. Bodky discusses this enigma
in the following passage:
Some mystery darkens the title of the Inventions,

dedicated by Bach to the "lovers of the clavier". .
.
Had Bach meant here with the word "Clavir" the same
as he meant in the title of the Well-tempered [sic]
Keyboard, namely, to select for each piece one of the
three keyboard instruments, he would have said more
correctly "lovers of the keyboards". . . . Since all
the Inventions show stylistically that they seem to be
meant only for the clavichord, one would have to assume
that in this instance Bach called the clavichord by the
name "Clavir." As far as our knowledge goes, this term
seems -hardly to have been in general use before 1750 to
designate the clavichord exclusively. In addition, the
words that these pieces should be used "to achieve a
singing touch" . . ., which Bach wrote in the preface,
make the reservation of them for the clavichord almost
one hundred per cent evident. Yet Wanda Landowska
ascribes even these Inventions to the Harpsichord alone,
stating that "since the clavichord is a singing instru-
ment by nature long studies were not necessary to achieve
expressive effects on it; therefore Bach must have had
the harpsichord in mind, on which it is very difficult
to play Icantabile"' (2, p. 27).
Bodky concludes that, because of the reference to the "sing-
ing style of playing," the Inventions were intended to be
performed on the clavichord (4, p. 274).

11
The Two Part Inventions are written in the following
series of keys: C major and minor, D major and minor, E flat
major, E major and minor, F major and minor, G major and minor,
A major and minor, B flat major and b minor. Other keys were
omitted for a specific reason. Because equal temperament had
not yet been introduced, not all keys could be equally well
tuned. Those least often used--those with many sharps and
flats--were sacrificed in favor of the others. It was for
this reason that Bach avoided all keys having more than four
sharps or flats, and also F sharp minor, C sharp minor and
A flat (6, p. 339).
Hutcheson concludes his discussion of the Inventions with
the following statements:
Pianists rightly regard the Inventions as the best

possible preparation for the larger works of Bach,
especially the preludes and fugues, but it would be
wrong to underestimate their intrinsic value. They
belong to that fine wholesome mass of musical litera-
ture which outlasts passing tastes and never palls
(6, p. 30).
The first part of Bach's artistic career appeared bright
and promising. In Weimar his fame as an organ virtuoso and
expert spread rapidly. In Cthen, where he composed the
Inventions and other clavier music, he held a greatly re-
spected position and enjoyed the friendship of Prince Leopold
(4, p. 349).
12
However, when Bach, at the age of thirty-eight, moved
to Leipzig, his music was greeted with little enthusiasm, and
in the following years his compositions received less and less
acclaim. Bach provided the culmination to the art of a van-
ishing era, and he refused to offer the uncomplicated, "natural"
kind of music expected in the Rococo era of rationalist think-
ing (4, pp. 349-350).
It is due to a small group of admirers that Bach's com-
positions were not altogether forgotten after his death. A
friend of Emanuel Bach introduced several of Bach's works to
the Viennese classical composers. Joseph Haydn acquired the
Well-Tempered Clavier and other works; Mozart is said to have
studied at great length Bach's clavier works and fugues;
Beethoven studied as a child the Well-Tempered Clavier.
However, little direct reference is made to the use of the
Two Part Inventions by teachers or students until Czerny.
Related Research
Three authors have made studies relating to the perform-
ance problems in the Inventions: (a) Platt explains the
occurence of some of the startling dissonances in Bach's
counterpoint as a result of the use of melodic figures;
(b) Miller determines the degree of melodic independence in
each of the Two Part Inventions through an analysis of the

13
motion of the counterpoint; and (c) Satterfield attempts to
relate the emotional content in the Inventions to a measur-
able factor.
In the Platt study, "Melodic Patterns In Bach's Counter-
point," the following observation was made:
In Bach's day certain groups of notes embellishing a sin-

gle note or a chord had been used so often that they had
come to be accepted as "patterns" or "figures," and Bach
was able to use these patterns not as groups of separate
notes, but as entities standing in place of the note or
chord they represent. These "entities" from their very
nature carry with them their own harmonic implications,
and incidental clashes between notes comprising them
and other parts may be disregarded provided that these
implications are clear (10, pp. 48-49).
Although melodic figures may be found in the music of Purcell,
Schutz, and Palestrina, it is in the music of Bach that
"figuration plays such a consistently important part," and it
is Bach who "has developed most highly this particular use
of the accepted melodic figure as an entity with a significance
of its own (10, p. 49).
Three instances of the use of melodic figures in the
Two Part Inventions are given. The first is in Invention
No. VII, in E minor.
F .- nn nI m ia
Fig. 1--Invention No. VII, melodic pattern, measure 21.

14
In this measure the a in the lower voice is ornamented by
one figure while the g in the upper voice is ornamented by
another. The result is three dissonances (and a "hidden"
octave) (10, p. 50).
The second example given is from Invention No. I in C
major.
Fig. 2--Invention No. I, melodic pattern, measure 21
In this example the four sixteenth notes are a diminution of
the preceding pattern. The last of these four sixteenth notes
clashes with a harmony-note in the upper voice (10, p. 50).
The third example occurs in Invention No. XI, in G minor.
Fig. 3--Invention No. XI, melodic pattern, measure 4

15
This example contains a "clash of two easily grasped figures
It is given added point by the two clashing parts
consisting of the subject motive and an inversion of its
countersubject" (10, p. 50).
In Miller's study, "Progression in Two-Part Counterpoint:
A Method of Analysis," an attempt was made to isolate the
factors which contribute to "what is commonly called melodic
independence" (8, p. 289). "Contrapuntal progression," he
wrote, consists of "movement in either or both of two con-
current melodic lines" (8, p. 289).
Four kinds of contrapuntal progression are identified.
"Parallel motion" occurs "when both voices move together in
either direction maintaining the same interval between them
.
"Similar motion" happens "when both voices move in the same
direction but progress in different intervals . . . ." "Oblique
motion" results "when one voice moves in either direction
while the other voice remains on the same tone, either sus-
taining or repeating it. . . ." "Contrary motion" occurs
"when both voices move simultaneously in opposite directions
. . . either converging or diverging" (8, p. 289).
According to Miller these four types of motion differ in
regard to degree of melodic independence. There is no melodic
independence in parallel motion, a somewhat greater amount in
similar motion, and an even higher degree in oblique motion.

16
The greatest melodic independence, however, occurs in contrary
motion. He then assigned numerical values to the four types
according to the degree of melodic independence involved:
parallel motion--zero, similar motion--one, oblique motion--
two, and contrary motion--four. In the next step Miller
classified all the progressions in the piece according to
type and determined the percentage of the total number of
progressions for each.
The degree of melodic independence was then determined
"by multiplying the percentage of each type by the value of
the type, totalling the result, and dividing by a 100"
(8, p. 290). The resulting figure, the index of melodic
independence, will be between zero and three., A-number of
one or less indicates low melodic independence. A number
of two or more indicates unusually high melodic independence
(8, p. 290). A table showing the frequency of each type of
motion and the melodic index for each invention appears in
Appendix A of this report.
The study revealed several facts. First, oblique motion
constitutes more than half of all progressions in the Two Part
Inventions. Most of the oblique motion occurs through the
sustaining of a tone rather than tone repetition. Second,
contrary motion is almost twice as frequent as parallel motion,

17
(Exceptions to this generalization are Inventions No. II,
VIII, XI, and XIV). Third, similar motion forms a very small
proportion of the total progressions. Fourth, there is a
"considerable diversity" in the indices of melodic independence
which range from a high of 2.1 in Invention No. XIII to a low
of 1.6 in No. XIV. The average index is 1.9 (8, pp. 291-292).
Satterfield endeavored in his study to determine whether
a measurable factor was related to emotional content in the
Two Part Inventions. His first area of investigation was
concerned with the relation of dissonance to emotional con-
tent. To begin his study he ranked the Inventions in order
of poignancy from the most poignant to the least poignant.
(The word "poignant" is defined as "piercingly effective or
keenly touching." The degree of poignancy of expression was
not intended to reflect the value of a composition) (11, p. 276).
His order of Inventions is as follows: IX, _XI_, V, I, VI, VII,
XV, XIV, XII, I, XIII, III, IV, VIII, X (11, p. 276).
Two of Satterfield's colleages were also shown the defi-
nition of poignancy and ask to rank the Inventions. Each
person worked alone. The first subject produced the following
arrangement from most poignant to least poignant: VI, IX, VII
XIV, V, IV, II, XV, XI, XIII, I, XII, III, VIII, X. The
ranking of the second subject was as follows: VI, IX, II, XI,
XIV, VII, V, IV, XV, XII, III, XIII,X, VIII, I. There was
a good correlation among the orders set up by the three
(11, p. 277).
Satterfield's next step was to quantify the accented dis-
sonance content of the Inventions. He states; "The relative
metric accent was treated as the unit, and the percentage of
accented dissonant intervals was determined by the ratio of
the number of accented dissonant intervals to the number of
relative metric accents in the Invention under study" (11,
p. 277). Bars in which only one voice sounded were excluded
in the count of relative metric accents.
The intervals called dissonant in this study were all of
those intervals except perfect unisons, fifths, and octaves,
major and minor thirds and sixths. These intervals considered
consonant.
The following list of the Inventions presents them ac-
cording to percentages of relatively accented intervals, from
greater to smaller: VI, XV, IV, I, III, I, V, XIII, X, VII,
XI, VIII, XII, XIV, IX. (A table showing the number of inter-
vals having relative metric accents, the number of relatively
accented dissonant intervals, and the percentage of relatively
accented dissonance in each of the Inventions appears in
Appendix B). The coefficient of correlation between this

19
ranking and the subjective ranking based on poignancy was
very low. Thus, it was concluded that dissonance as measured
in this study had not been shown to be a factor in emotional
content as identified in this investigation (11, p. 280).
The author made another investigation of dissonance as
related to emotional content, this time altering his basis
for determining the consonance or dissonance of an interval.
A subsequent ranking of the Inventions again failed to pro-
duce a strong correlation between the degree of dissonance
in an Invention and the degree of poignancy of that piece
(11, p. 280).
Satterfield again attempted to determine whether a meas-
urable factor was related to emotional content of the Two
Part Inventions. In this study he investigated melodic and
durational accents. The term "melodic accent" was used "to
describe the accent attributed to the highest pitch in a
series;" and the term "durational accent" referred to the
longest pitch of a series (12, p. 173).
The first area of analysis included the relationship
of melodic accents to metric accents. The term "metric
accents" was defined as "those stresses normally 'heard into?
a series of sounds because of psychological grouping of the
numbers of the series into duple or triple combinations"
(12, p. 173).
20
Satterfield describes his investigational procedure as
follows:
In making a first tabulation the following method

has been used: for each voice of the Invention statis-
tics have been made on the relative congruence of melo-
dic and metric accents within each bar. Where these
accents coincided, the bar was classified as smooth;
where they did not coincide, the bar was categorized
as rough. Percentages of roughness and smoothness
were calculated on the basis of number of bars (12, p. 173).
This analysis revealed that "prevailing melodic roughness
is demonstrated . . . to be extraordinarily characteristic of
the style in the Two Part Inventions." The author adds that
in this respect the music is "truly baroque in the original
sense of the word" (12, p. 174).
The Inventions were then ranked "according to percentages
of roughness in coordination of melodic accents with metric
accents, from rougher to smoother" (12, p. 174). (A table
showing the percentage of smooth and rough measures in each
voice appears in Appendix C.) This list was compared with
the subjective poignancy rating and the coefficient of cor-
relation determined. Like the two proceeding studies this
investigation failed to reveal a very strong possibility that
roughness as measured here had any causal relationship to
poignancy as measured here (12, pp. 174-175).
Next the author investigated the relationship of dura-
tional and metric accents. He states:

21
To establish the relationship of durational accents

and metric accents in the Two Part Inventions a like
procedure has been used: for each voice statistics have
been made on the relative congruence of these types of
accents within each bar. Where the types coincide, the
bar has been classified as smooth; otherwise, the bar
was called rough (12, p. 175).
In the next step the writer combined the patterns of dura-
tional values of both the voices in a bar to establish one
pattern, a "macrodurational pattern." Satterfield explains,
"The combining is done by recording the shorter values when
there is a difference in microdurational patterns" (the dura-
tional values of one voice) (12, p. 175).
The bars in each Invention were classified and the per-
centages for the amount of "rough" and "smooth" material. It
was found that a high percentage of the music is "smooth"
(12, p. 178). (A table showing the percentage of "rough"
and "smooth" bars in each voice and in the macrodurational
pattern appears in Appendix D). Again, the Inventions were
arranged according to percentages of microdurational of rough-
ness (roughness in each voice). The coefficient of correlation
between this list and the list based on poignancy was found
to be extremely high. Satterfield concludes that "Within
limits, poignancy of emotional content appears to vary
generally with the roughness in durational accents" (12,
p. 179).
22
Several facts concerning the Two Part Inventions have
been established by the Platt, Miller, and Satterfield studies.
First, the use of melodic patterns is quite common in Bach's
counterpoint and, as such, offers "a valuable clue to the
less easily explained intricacies of his magnificent counter-
pointal technique" (10, p. 56). Second, oblique motion con-
stitutes more than half of all progressions in the Inventions
with the other types of motion in order of decreasing frequency
being contrary, parallel, and similar. The average index of
melodic independence was found to be 1.9, an indication of a
high degree of melodic independence. Third, the emotional
content of the Inventions is related neither to the dissonance
content nor the roughness in melodic accents; it is, instead,
related to the roughness in durational accents. In this
study the Inventions were listed in order of poignancy and
percentages of the amount of dissonance, consonance, rough-
ness, and smoothness in each piece presented. The findings
of these investigators provided a more comprehensive basis
for the present study.
Methodology
Material for this study was collected from three sources:
(a) a stylistic analysis of the music, (b) related research,
and (c) an evaluation by pedagogues. These sources and the
general procedure used are described in the following passage.

23
A preliminary step in preparing this report was to select
a suitable edition of the Two Part Inventions. It was neces-
sary to find an edition which represents our present-day state
of knowledge of the text of the Inventions. The Landshoff
edition corresponded to these requirements and provided the
basis for the analysis and all discussion of performance
problems.
The first source of material was a stylistic analysis
of the characteristics of line, texture, rhythm, and formal
design in the music. This study was accomplished in two man-
ners. First, a graphic analysis of each piece, using a set
of symbols based on those appearing in Essentials of Eighteenth-
century Counterpoint by Mason (7, p. 73) was prepared. This
graph indicates the formal design of the piece, the motive
and the countermotive, the contrapuntal devices and the
derivation of material in the developmental sections, the
tonal centers, and the implied chordal structures in each
measure. Second, the measurable factors contributing to the
difficulty of the Inventions were determined. A system of
statistical analysis to quantify these factors was then
devised and each Invention investigated accordingly.
The second category of sources of material consisted of
all available books, periodicals, and music reference books.

24
These were examined for related information. The material
obtained is presented throughout this study.
The final source of information was an evaluation of
the difficulty of the Inventions by six piano teachers (see
Appendix E, this report). First, a rating sheet was devised.
The pedagogues were asked to indicate the difficulty of
technique, memorization and interpretation of each piece
(see appendix F). Second, this rating sheet, accompanied by
a sample analysis of two Inventions and a statement of the
purpose of the thesis, was given to each of seven teachers.
Six rating sheets were completed and returned. From the
results of this survey a graded list of the Two Part Inventions
was prepared.
Plan of This Report
Chapter Two, Stylistic Characteristics of the Bach Two
Part Inventions, presents an analysis of the characteristics
of line, texture, rhythm, and formal design in each Invention
The discussion of each Invention is accompanied by a graphic
analysis of the entire piece, with tables to show supporting
evidence, and musical examples to identify melodic and textural
features.
Chapter Three, Identification of Performance Problems
and A Graded List of the Two Part Inventions, presents the

25
findings of the authorities concerning the difficulties in
each Invention. A graded list based on these findings is
shown in the chapter.
Chapter Four presents the summaries, conclusions and
recommendations to researchers, teachers and pianists. The
recommendations were based on an analysis of the findings in
this investigation.
CHAPTER BIBLIOGRAPHY
1. Apel, Willi, Harvard Dictionary of Music, Cambridge,

Harvard University Press, 1962.
2. Bodky, Erwin, The Interpretation of Bach's Keyboard Works,

Cambridge, Harvard University Press, 1960.
3. Forkel, J. N., Johann Sebastian Bach: His Life, Art, and

Work, translated by C. S. Terry, London, Constable and
Company, Ltd., 1920.
4. Geiringer, Karl, Johann Sebastian Bach: The Culmination

of an Era, New York, Oxford University Press, 1966.
5. Grove's Dictionary of Music and Musicians, edited by Eric

Blom, 5th edition, 10 vols., London, MacMillan and
6. Hutcheson, Ernest, The Literature of the Piano, 2nd

edition, New York, MacMillan and Co., 1954.
7. Mason, Neale B., Essentials of Eighteenth-Century

Counterpoint: A Practical Stylistic Approach, Dubuque,
Wm. C. Brown Company, 1968.
8. Miller, H. M., "Progression in Two-part Counterpoint: A

Method of Analysis," Music Review, XVI (November, 1955),
289-299.
9. Oxford English Dictionary, Oxford, Oxford University

Press, Vol. V, 1933.
10. Platt, Peter, "Melodic Patterns in Bach's Counterpoint,"

Music and Letters, XXIX (1948), 48-56.
11. Satterfield, J., "Dissonance and Emotional Content in

the Bach Two-Part Inventions," Music Review, XVIII
(November, 1956), 273-281.
12. , "The Emotional Content of the Bach Two

Part Inventions," Music Review, XIX (August, 1959),
173-179.
26
27
13. Scholes, Percy, Oxford Companion to Music, 9th edition,

London, Oxford University Press, 1955.
14. Stone, Kurt, "What Bach Edition Should I Play?" Etude,

LXVIII, (July, 1950), 12-14.
15. Webster's New World Dictionary of the American Language,

College edition, New York, The World Publishing Company,
1955.
CHAPTER II
A STYLISTIC ANALYSIS OF THE BACH
TWO PART INVENTIONS
Introduction
"Only an infinitely fertile mind could venture to write
thirty little pieces of the same style and the same compass,
and, without the least effort, make each of them absolutely
different from the rest" (16, p. 331). In order to identify
the performance problems of the Two Part Inventions, "little
pieces of the same style" and yet each "absolutely different
from the rest," it was necessary to make an analysis of the
sytlistic characteristics present in the music. Each Invention
will be considered separately beginning with the first and
continuing through the fifteenth. A graphic analysis of each,
showing the form, the contrapuntal devices, and the implied
harmonies, will be presented near the beginning of the dis-
cussion. The discussion will treat the characteristics of
line, texture, rhythm, and formal design in the music.
An explanation will be given of the methods of procedure
used in the following investigations: the analysis of the
direction and size of the intervals of the motive and counter-
motive; the discussion of ornaments; the analysis of rhythmic

28
29
relationships and types of motion between the voices; the
study of tonal relationships between the voices; and the
discussion of the frequency of note values in each voice.
The following procedure was used in the analysis of the
direction of the intervals in the motive and countermotive:
(a) the number of intervals were counted; (b) the first inter-
val was identified for the purpose of establishing the direc-
tion of the motivic line; (c) once the direction was established
by the first two notes, successive intervals were analyzed
and classified as either changes or continuances in direction.
Where rests appeared within the motive the interval involving
the rest and the interval immediately following were not in-
cluded in the statistical analysis. All of the intervals
(except those interrupted by rests) were examined for size
and categorized as being a fifth or smaller or being larger
than a fifth.
In the study of ornaments three classifications of trills
were established. For purposes of this paper the term "prall-
triller" refers to the three-note or four-note trill; the term
"short trill" refers to a trill of less than two beats which
is not a pralltriller; and the term "extended trill" refers
to a trill of two or more beats.
In the study of texture all the material was classified
in beat units into the appropriate type of counterpoint species.

30
A definition of the terms involved is as follows: (a) "First
Species counterpoint" refers to a textural relationship of one
note against one; (b) "Second Species counterpoint" refers to
a textural relationship of two notes against one; (c) "Third
Species counterpoint" refers to a textural relationship of
four notes against one; (d) "Fourth Species counterpoint" re-
fers to a textural relationship involving tied notes. Frequently
a dotted note, or a syncopation, may be found for a tie which
would have the same value (11, pp. 32-44); and (e) "Other
counterpoint" refers to a textural relationship involving
rests, pedal points, unevenly divided beats, trills--any re-
lationships which cannot be classified in the first four types.
The procedure for determining "rough" and "smooth" coun-
terpoint was examined earlier in this report (see page 20).
"Parallel," "similar," "contrary," and "oblique" motion were
also explained (see page 16 of this report).
In the discussion of tonal relationships the term "tran-
sient modulation" refers to a modulation lasting only a few
beats or, possibly, only one beat. The term "major modulation"
refers to a modulation of sufficient length so as to insure a
definite impression of a new tonal center.
In the discussion of rhythmic characteristics the term
"beat note" refers to that note value designated by the time

31
signature as receiving one beat. The classification "other
note values and rests" appearing in the tables of note value
frequency refers to rests and note values which are not listed
in the table. This category also includes tied and dotted
notes.
Invention No. I
Motive and countermotive.--The motive is two-and-one-
fourth beats long and has a range of only a fifth. The first
seven notes are sixteenth notes and the last an eighth. The
outstanding feature is the "somersaulting" tonal pattern of
the last four sixteenth notes followed by the interval of the
fifth. This movement is emphasized by the stepwise motion
of the first three sixteenth notes.
Fig. 4--Invention No. I, motive, measure 1 (8, p. 1)
Leonard ascribes symbolic meaning to this motive in the
following statements: "Many of the themes in sixteenth notes
are founded on the step motive of confidence or peace. .

.
32
Symbols Definitions
1. 3 Motive (M) in exposition (or any

clearly defined statement of the
motive). Number at beginning of
symbol indicates scale step on
which M starts.
2. xxxxxxxxxxxxxxx Countermotive (CM) or second motive

if indicated as "Motive B." If a
Motive B countermotive and a second motive
are both present, the second motive
will be represented by a straight
line and the designation "Motive B."
Important thematic material not

derived from the motive or counter-
motive.
4. Episodic material derived from the

motive. With letters "inv.1"--by in-
version, "aug. "--by augmentation,
and "dim"--by diminution. "B" in-
dicates derivation from a second
motive.
5. ooooooooooooooo Episodic material derived from the CM.

Po+. Seg.
6. Po+ Pattern and sequence indicated by
brackets over symbol denoting de-
rivation.
7. fffffffffffffff Free material (not obviously derived).
8. Pp5pppppppppppp Pedal point. Number indicates scale

step used as pedal point.
9. ooooooooooooooo Material derived from two sources

simultaneously (for example, material
relating to the rhythmic pattern of
the CM and the tonal pattern of the M).
10. Measure bars
11. Imi. Imitation
Fig. 5--Legend explaining symbols used in graphic analyses

(continued on next page)
33
Symbols Definitions
12. Mod. Beginning modulation to indicated

key
13. Cad. Cadence
14. Elis. Elison
15. a, A, (a) Small letters indicate minor tonal-

ities; large letters indicate major
tonalities. Letter in parenthesis
indicates transient modulation
Fig. 5--Continued
Constant return to one or two notes indicates some form of the
'tumult' idea, whether it be mere gaiety or combat" (9, p. 645).
He then includes Invention No. I in his listing of Inventions
with the tumult motive.
In the eight-note pattern there are four changes of
direction among the intervals of the motive, (67 per cent)
and two continuations (33 per cent). All of the seven inter-
vals are a fifth or smaller.
The countermotive of four notes is one-and-three-fourths
beats long and progresses entirely by steps.
Fig. 6--Invention No. I, countermotive, measure 1-2

(8, p. 1)
34
Section I Pat Se Se Se pt
L xxxxxx xxxxxo "Ii71 I I xIxx
I I IOII v #ivo inv,
4 G:vil C V7IIV,
~
=104LI -1 0000
3 5
Sea, Seq Section TI Pat S

if f f ff n xninv nv liug
vivi5Il I, I I 7 TVTbIlV
( . ~Pat Seq
xxxxx xxxxxInvooo oo
7 9 11
Section III
II_ 1auI _ff~
-~l vilO
v~ii #103, V i,TV,V i,vtP i~iv,V,.il I I iv Cvi
Pat a:vi PatPSe "KOffe'flf
P0a0 Se
I~~1 ~~~ ooo inv f ff f "AW "t omfV
Seq
13 15 17
iM*1 Pat So Se Codetta

Ilv~7 ffffinv fffff Gad
I i7 IV ii IV I V I IiiIv
(F)..Pat Sec Se (C) I
im ity-- Pat Seq
Cad~
aug dim
19 21
Fig. 7--tnvention No. I, graphic analysis

35
There is one change of direction in the two note progressions
under consideration and one continuation and the rhythm con-
sists of three eighth notes and one sixteenth respectively.
Episodes--The rest of the Invention consists almost en-
tirely of motivic and countermotivic development. The motive
appears in its original form, in inversion, in sequence, and
in augmentation.
Fig. 8--Invention No. I, episodic pattern, measure 3
The countermotive is inverted when it follows the motive in
inversion and is altered in the episodes.
Fig. 9--Inention No. I, episodic pattern, measure 9-10
Only eleven of the total 176 beats (six per cent) were
classified as free material and these occurred at cadence
points. Thus, ninety-four per cent of the material is
derived from the exposition.

36
Satterfield classifies 13.6 per cent of the bars "smooth"
and 86.4 per cent "rough" in the upper voice. In the lower
voice he classifies 18.2 per cent of the bars "smooth" and
81.8 per cent rough (14, p. 174).
Invention No. I is sparsely ornamented. There are four
pralltrillers and two mordents.
Rhythmic relationships.--This Invention is typical in that
most of the material is in Second Species counterpoint. The
following table shows the number of beats and the percentages
of each type of Species of counterpoint.
TABLE I
FREQUENCY OF COUNTERPOINT SPECIES IN INVENTION NO. I
Number of Beats Per Cent of

Species Total Beats
First 7
Second 47.5 54
Third 2 2
Fourth 3.5 4
Other 15.5 32
Within the First Species counterpoint twelve progressions
(48 per cent) were in similar and parallel motion, twelve

37
progressions (48 per cent) were in contrary motion, and one
progression (4 per cent) was in oblique motion.
Two authors offer other approaches. In his analysis of
all the Inventions, Miller reports the following figures for
the frequency of the types of motion: parallel--7 per cent,
similar--10 per cent, oblique--48 per cent and contrary--
25 per cent. The index of melodic independence is 2.0 (12,
p. 291). A number of two or more indicates a high degree of
melodic independence; a number of 1.0 or less indicates a low
degree of melodic independence. In his analysis of the re-
lationship of durational accents and metric accents in this
Two Part Invention, Satterfield classifies nine per cent of
the measures as "rough" and 91 per cent as "smooth" (14, p. 177).
(The term "smooth" indicates a coincidence of melodic and metric
accents; the term "rough" indicates a lack of coincidence in
these accents) (14, p. 173).
Tonal relationships--There are 142 intervals having
relative metric accents. Of these, thirty-six (25.3 per cent)
are dissonant. The remaining eighty-six (74.7 per cent) are
consonant (13, p. 278). An average of 2.6 identifiable chordal
structures are implied in each measure. There are three major
modulations--from tonic to dominant, to sub-mediant returning
to tonic--and two transient modulations. Twenty-four altered
tones occur in this Invention.

4
The meter signature is 4. The most prominent rhythmic
pattern is that of the motive itself which begins on the second
of four divisions of the beat. Notable also is the similar
positioning of the countermotive, which begins on the second
half of the beat. These patterns appear continually through
the Invention.
The following table shows the frequency of the note values
appearing in Invention No. I.
TABLE II
FREQUENCY OF NOTE VALUES IN INVENTION NO. I
Upper Voice
Note Values Number of Beats Per Cent of
.Total Beats
Quarter note (beat note) 0 0

Eighth note 13 15
Sixteenth note 49 56
Other note values and rests 26 29
Lower Voice
Total Beats
Eighth note 34 39
Sixteenth note 35.25 40
Other note values and rests 18.75 21
The majority of the movement occurs in sixteenth notes and none
occurs in the beat note.

39
There is considerable disagreement among pedagogues con-
cerning appropriate tempos for the Inventions. The tempos
suggested by Bodky and Keller are presented in this chapter.
(A list of these and other suggested tempos appears in
Appendix G). Bodky suggests a tempo of = +80 for Invention
No. I and Keller recommends a tempo of J=63 (1, p. 345).
Formal Design
Invention No. I is in three sections (11, p. 78). The
exposition contains four entrances, at the octave and at the
fifth. A three-entrance counterexposition can be seen in
the second section while the third section is dominated by
an echo-like imitation sequence and closes with a one-measure
codetta. The overall structure is unusually close knit in
that the theme is so very prevalent throughout the piece
(3, p. 339). Spitta describes Invention No. I in the following
manner: "Of all fifteen this one has the most reserved and
dispassionate character, and even the theme is somewhat con-
ventional, only revealing its importance by degrees" (17, p. 61).
Invention II
Motive and countermotive--The motive is seven-and-three-
fourths beats in length and has a range of a tenth. The motive,

40
Section I
_1 xxxxxxxxxxxxx
4 i iv iv Viv
4 c
I 3
Pat Se Se Pal
xxxxxxxxxxxxxxxxxx T -~
v7 E:iV
VI
Eb yy VII7
Vii
y bEIIi 1i7 I i i7 V77 I
Pat
xxxxxxxxxxxx xxxxxxxxxxxxx x xx f"~mt
5 7
Pat Se s Pat Seqs Pat S'e
SevPt v7 Pa Se ~
SoSq a q Pt g
9 11
Section II
ffffffff xxxxxxxxxxxxx
igvvid7v ~A04?L
~-ivyv7 vi Pat
13 15
xxxxxxxxxxxxxxxxx"
ii ii Tv iii ii VI ~V7
Seg seq Pat Seg Pat Se aPa Se s Pat 9e
17 19
TV VVT7 17 vT7
i~imod. iv V7 a: i i
at e ~c: ff'ff xxxxxxxxxxxxx*
21 23
xxxxxxxxxxxxxxxx rfffffrr Cad

v7 v v Siv V i
xxxffffNfffffIff li WPM~ 0 Cad
25 27
Fig. 10--Invention No. II, graphic analysis

41
like Invention No. I, moves primarily in sixteenth notes and,
like Invention I, is classed as a "tumult" motive (9, p. 645).
Whereas the motive in the First Invention is concise and com-
pact, that of the Second Invention is rambling. The outstand-
ing feature is wide leaps culminating in the interval of a
diminished seventh in measure two. Also important is the
trill on the dotted eighth note near the end of the motive.
Fig. 11--Invention No. II, motive, measures 1-3 (8, p. 1)
Thirteen of the intervals (46 per cent) in the thirty-
note motive change direction, fourteen (50 per cent) continue
in the same direction, and one (4 per cent) involves note
repetition. Twenty-six intervals (90 per cent) are a fifth
or smaller and three (10 per cent) are larger than a fifth.
The countermotive is eight beats long and moves in six-
teenth and eighth notes. It has a range of a ninth. It con-
tains the "sigh motive," a repeated note followed by a falling
second, which may be major, as it is here, but is usually
minor. This figure expresses a "true moderato affect (we sigh
only when we feel moderately badly; utter hopelessness and
sighing do not go well together)" (1, pp. 116-117).

42
4%,
AM"
Fig. 12--Invention No. II, countermotive, measures 3-5
Six (50 per cent) of the note progressions in the counter-
motive change direction, four (33 per cent) continue in the
same direction, and two (12 per cent) involve repition of
notes. All of the intervals are a fifth or smaller.
Episodes--There are 8.75 beats of free material (4 per
cent) in the Invention. Typically, the bulk of the material,
207.25 beats (96 per cent) is either related to the motive or
countermotive or important thematically. Falling in the latter
category is the following pattern which appears in measures
five through ten in the upper voice, reappears in the lower
voice, measures seven through ten and measures fifteen through
twenty-one, and is seen again in the upper voice in measures
seventeen through twenty-two.
3 M
Al
Fig. 13-Invention No. II, episodic pattern, measures 5-10

43
Satterfield classifies 29.6 per cent of the bars in the
upper voice "smooth" and 70.4 per cent "rough" in melodic ac-
cents. In the lower voice 28.0 per cent are "smooth" and
72.0 per cent "rough" (14, p. 174). There are twelve prall-
trillers and eight short trills.
Rhythmic relationships.--The following table shows the
number of beats and the percentage of each type of Species of
counterpoint in Invention No. II.
TABLE III
FREQUENCY OF COUNTERPOINT SPECIES IN INVENTION NO. II
Species Number of Beats Per Cent of

Total Beats
First 35 32
Second 26.5 25
Third 0 0
Fourth 28.25 26
Other 19.25 17
Atypically, First Species counterpoint represents the largest
per cent of the types. Within the First Species counterpoint,
a total of 134 note progressions, seventy-five (56 per cent)
were found to be in similar and parallel motion, fifty-six
(42 per cent) in contrary motion, and three (2 per cent) in
oblique motion.
44
Two authors have made other textural studies. An analy-
sis of the total Invention produces the following figures:
parallel motion--21.5 per cent; similar motion--6.0 per cent;
oblique motion--47.0 per cent; and contrary motion--25.5 per
cent. An index of melodic independence of 1.8 was assigned
to this piece (12, p. 291). Satterfield, in his analysis of
the relationship of durational and metric accents between the
voices classifies 11.1 per cent of the bars "rough" and 88.9
per cent "smooth" (14, p. 177).
Tonal relationships.--Of the 185 intervals having relative
metric accents, forty-four (23.8 per cent) are dissonant. Con-
sonances dominate, therefore, with a percentage of 77.2 (13,
p. 278). Major modulations occur in this order: relative major,
minor subdominant, and major leading tone returning to tonic.
One transient modulation is present. There is an average of
2.6 implied harmonies in each measure. Thirty-six altered
tones occur in this Invention.
The meter is quadruple simple. The following table shows
the frequency of the note values appearing in the first voice.

45
TABLE IV
FREQUENCY OF NOTE VALUES IN INVENTION NO. II
Upper Voice
Total Beats
Quarter note (beat note 0 0

Eighth note 11.5 11
Lower Voice
Total Beats

Eighth note 13.5 12
Most notably rhythmically is the continual movement in six-
teenth notes.
Tempo suggestions vary among editors, performers and
pedagogues. Keller suggests a tempo ofJ =52 and Bodky
recommends a tempo of ==+80 (1, p. 267).
Formal Design
Invention No. II, a two-section composition, is a perfect
canon with the imitation entering two measures later (6, p. 621).
The design can be shown graphically. In the following figure
each division marked by vertical lines represents a two-bar

46
section. The last division, which is marked by a double bar,
represents only one measure.
Voices
Upper AjB C D E F A B C D A B
Episode ~ Cad
Lower -IA B C D A B CD EEB A
Fig. 14.--Invention No. II, formal plan (3, p. 339)
This particular form is unique among the Inventions (3, p. 339).
This Invention is described, on one hand, as "?passionate and
eager" (17, p. 61) and "laughing and happy" (10, p. 26) while
on the other hand others call it "composed" and "impertubable"
(1, p. 230) or "contemplative" (2, p. 275).
Invention No. III
Motives.--The first motive is seven beats in length and
begins with an upbeat. Described as a "tumult" motive (9,
p. 645) it has a tonal range of a fifth and moves entirely in
sixteenth notes (the simple division of the beat). The strik-
ing feature is the rebounding movement of the tones within
the fifth.
Fig. 15--Invention No. III, motive A, measures 1-2

47
Section I
.. A
3 I IV I
D I I
7 7 7
3
////////AT --
I I mod. A V #i"0 V II
ffff ffffffff ffffffffffffff fffffffffbfffCf
5 7
ffffffrfffffffffffffrffffffff
V #ivo V #.v -V I 7 V117
A: V 7
ffffffffffffpffff aug.
9 11
Section II ii
ffffffffff y
7 ffffff 6
I~V (e) iv
I
4w" "Now4/
?Tr fffffff
13 15
Pat
ffffffff B
i
ii mod. b- ii VI7 Pat

WAOR
fff fif 1ffffffffff

q19-
17
I.fff'ff ffffrrrrffrrffffffffffr
b: f
ffffffff~ n'V B fffffft
21 23
B pP 4 PPPPPPPPPPPPPpppppppppppp
ffffffffffffffflffffftfff'
25 27
Fig. 16--Invention No. III, graphic analysis (continued
on next page)
Imi
3 ~pppppp pppppp p int A
VI I (D) VII II ITT IV
31M*mod A
pp ppppppppppppppppppppp,
-
29 31
A fffffffffff fffffffffff
VII TV7 I IIIa/viWj VII IV
iIv A i .iv A rtfffff
7 A I AAv f ffffffl
33 35 37
f ffff f naugB *Mae "

I
9 m w N0-11-a w,-mw' mA
I 17 VbVII IVV bVII 17 IV ii i a*t

B-
39 41
Section III
///////////////////// ffffff ff
TIVI V TI IV
IPat
43 45 47
fffffffff ifffffffffff fffffff A- g Affffff

vli 0 I IV 1 viTi
A - -
'
49 51
Codetta
fffffffffff 1 fffffffffff B fffrfffffff
jV 7
IV V vi 17 IV jI
fffftPp 1 pppppp
53 55 57
fff f ff Cad
IV V I
Cff C 1 Cad
Fig. 16--Continued
49
Seven of the intervals (58 per cent) change directions while
five (42 per cent) continue in the established direction. All
of the thirteen intervals are a fifth or smaller. Bodky
describes this motive as a "miniature 'Gloria' (the motive
of the falling octave)" (1, p. 267).
The second motive, appearing in the second section (11,
p. 82), is six-and-one-half beats in length and strongly re-
sembles the first motive. It could be considered a motive
variant. The second through the sixth beats of motive B
correspond to the pattern found in beats one through five of
motive A.
Fig. 17--Invention No. III, motive B, measures 12-14
Four of the intervals (40 per cent) change direction and six
(60 per cent) continue in the same direction. Ten of the
melodic intervals (91 per cent) are a fifth or smaller and
one (9 per cent) is larger than a fifth. It has a range of
an octave.
Episodes.--There are sixty-one beats (17 per cent) of
free material and 295 beats (83 per cent) of material which
50
is either derived from the motives or establishes its thematic
importance through use. The material in measures five through
eleven appears in measures forty-seven through fifty-three
with one significant alteration: the voices in the first four
measures of the second section have been inverted so that the
pattern which was in the first voice is seen in the second
voice and vice versa. Beginning with the fifty-first measure
the counterpoint resumes its original form.
A a-.04
AN
F- A
Adk Am
IV
A A me~
r-mmmums
Fig. l--Invention No. III, episodic pattern, measures

5-11
The counterpoint appearing in the lower voice in measures five
through eight could be considered a pedal point.

51
The cadence pattern occuring in measures nine through
eleven and fifty-one through fifty-three appears with some
alteration in measures twenty-one through twenty-three,
thirty-five through thirty-seven, and measures fifty-six
through fifty-eight.
In the upper voice 29.6 per cent of the bars are "smooth"
and 70.4 per cent are "rough." In the lower voice 28.0 per
cent of the bars are "smooth" and 72.0 per cent "rough" (14,
p. 174). There are six ornaments: four pralltrillers and two
mordents.
counterpoint.
TABLE V
FREQUENCY OF COUNTERPOINT SPECIES IN INVENTION NO. III

Total Beats
First 29 16
Second 71 40
Third 00
Fourth 29 16
Other 49 28
52
Most of the counterpoint is in Second Species and none occurs
in Third Species. Thirty-one of the fifty-six progressions in
the First Species counterpoint (55 per cent) are in similar
or parallel movement; twenty-two progressions (39 per cent)
are in contrary motion; and three (6 per cent) are in oblique
motion.
Two authors have made other studies of textural character-
istics. An analysis of the whole piece reveals that most of
the contrapuntal progressions are in oblique motion (57 per
cent), with 25 per cent in contrary, 12 per cent in parallel,
and 10 per cent in similar motion. The melodic index is 1.9
(12, p. 291). Regarding the relationship of durational and
metric accents between the voices, the findings were as
follows: 8.4 per cent of the bars are "rough" and 91.6 per cent
"smooth" (14, p. 177).
Tonal relationships.--An analysis of the 155 intervals
having relative metric accents revealed that thirty-eight
(24.5 per cent) were dissonant and 117 (75.5 per cent) were
consonant (13, p. 178). There are five major modulations and
two transient modulations. An average of 1.5 harmonies are
implied in each measure. There are twenty-one altered tones
in this Invention.
53
The meter is triple simple. An analysis of the Invention
showed the following frequencies of note values in the upper
and lower voices.
TABLE VI
FREQUENCY OF NOTE VALUES IN INVENTION NO. III
Upper Voice
Note Value Number of Beats Per Cent of
Total Beats
Eighth note (beat note) 39 22

Lower Voice
Total Beats
Sixteenth notes are most common with the remainder of the
motion fairly divided between the eighth note and other time
values.
Authorities disagree on the correct tempo. Bodky suggests
a tempo of4 =+60 (J'=+180) and Keller recommends a tempo of
0'= 138 (1, p. 364).

54
Formal Design
Mason classifies the D Major Invention formally as a
three-part song form because of the return to the beginning
in measure forty-three (11, p. 80). There is a counterexpo-
sition using the second motive in the second section, which
begins in the key of A Major. This section contains well-
defined cadences to b minor and to A Major and thus suggests
subdivisions. The third section begins in the original key
and closes with a six-measure codetta. This Invention is
described as being "merry" in character (17, p. 61).
Invention No. IV
Motive and countermotive.--The motive is seven beats long
and moves in sixteenth notes altogether except for the last
note, an eighth note. It has a range of a seventh. The most
striking feature of the motive is a leap of a diminished
seventh down followed by an identical leap upward. This leap
contrasts sharply with the stepwise movement of the 'rest of
the motive.
Fig. 19--Invention No. IV, motive, measures 1-3 (8, p. 2)

55
Elis
Section I E.1ig -rat
.
-_ _ xxxxxx::xxxxxxxxx: :xx.
3
1
-K 3
- --
V 7 xx
---- Elis
~~~xxxxxxx
IVII modF II 1 7
-at
xxxxxxxxx xxx 00000<oooooooooooooo000ooOOOOOOOOOOAN-fxm
7 9 11
01, *Mae 000( 000000000 o wmffffffff'

7 7 7 7 VI
ft" ao qm'" a* o*4- mm -* -Aa fv -m fw t-* - -- -oo -0 a* n=ppppppppp
13 15 17
Section II
0000oooooPp 7 pppppppppppp pppppppp _ VI
Pat kPat
I
-11
qw47
19 21 23
Fig. 20--Invention No. IV, graphic analysis (continued
on next page)
56
V7 mod a vi VII
4090 )00000000000{0000000000000
25 27
Pat
VII ii:
-Pp2ppppppppppp pppppppppppppp 1 pppppppppppp
PPPa:PPiPV'
29 31
vid7 j7I
PPPPPPPPPPPP PPPPPPPPPPPPPPPPP 000000000000000 0000000000000
33 35
Section III
Iffffffffff ffff ffrfffffr fff _ 00000000000000

iv V7 VI(7
V
00000000000000 0oooooooooooO
37 39
-nw-m-*000000;0000000000000000000
vijo
III
TV
000000000000000 ____
41 43
oOooOoooooooooooooo
000000000001 000000000000001
V7 V'7
Wxxxxxxxxxx- xxxxxxxxxxxxxx x4I
45 47
ffffffffffrffff 8 inv fffffffff Cad
VI yvii
- --.- ffff .1... .... --....fffffffff Cad 7
49 51
Fig. 20--Contirnued
57
There is little change of direction in the twenty-note
motivic line. Three intervals (27 per cent) change direction
and the remainder (73 per cent) continue in the same direction.
Ten of the intervals (83 per cent) are a fifth or smaller and
two (17 per cent) are larger than a fifth. Like those of the
first three Inventions, this motive symbolizes "tumult" (9,
p. 645).
An elision occurs on the last note of the motive and the
first note of the countermotive, a simple chordal outline of
a i6 chord and a viio 6 chord in eighth notes. The length is
six and one-half beats and the tonal range a seventh.
Fig. 21--Invention No. IV, countermotive, measures 3-5

(8, p. 2)
Two of the intervals (40 per cent) of the seven-note pro-
gression change direction while the remaining three (60 per
cent) continue in the same direction. All of the intervals
are a fifth or smaller.
Episodes.--The episodic material generally is derived from
the motive and the countermotive. The ten-and-one-half beats
of free material in the first voice and the thirteen beats of

free material in the second voice represent only 10 per cent
of the total material.
Several patterns are used frequently in the episodes.
The pattern appearing in measure eight (See figure 22) reap-
pears in measures ten, fifteen, thirty-four, thirty-five and
thirty-six (8, p. 2).
Fig. 22--Invention No. IV, episodic pattern, measure 8
The pattern first seen in measures eleven and twelve (See
figure 23) also occurs in measures thirteen and fourteen,
twenty-two and twenty-three, and twenty-four and twenty-five.
Fig. 23--Invention No. IV, episodic pattern, measure 11
A slightly-altered form of the motive appearing in the first
voice in measures seven through ten and imitated in the second
voice in measures eleven through sixteen is seen again in the
first voice in measures forty to forty-one.

59
6z7f~7tttt
1 4u I
Fig. 24--Invention No. IV, episodic pattern, measures
In the upper voice, 28.8 per cent of the bars are "smooth"
and 71.2 per cent are "rough." In the lower voice 24.0 per
cent of the measures are "smooth" and 76.0 per cent "rough"
(14, p. 174).
Invention No. IV contains few embellishments. Two ex-
tended trills are indicated: one in the first part for nine
beats and one in the second voice for fifteen beats.
Rhythmic relationships.--Most of the counterpoint in
Invention No. IV is in Second Species. The following table
shows the frequency of each Species in beats and in percentage.
TABLE VII
FREQUENCY OF COUNTERPOINT SPECIES IN INVENTION NO. IV

Total Beats
First 32 22
Second 68 44
Third 0 0
Fourth 26.5 17
Other 26.5 17
60
Within the First Species counterpoint thirty-two progressions
(51 per cent) move in parallel and similar motion, thirty (48
per cent) in contrary motion and one (1 per cent) in oblique
motion.
Two authors have made other textural studies of this
Invention. Based on an analysis of all the progressions in
Invention No. IV, Miller gives the following figures for the
types of motion: parallel--12 per cent, similar--10 per cent,
oblique--53 per cent, and contrary--25 per cent. The index of
melodic independence is 1.9 (12, p. 291). From a textural
approach Satterfield finds 9.6 per cent of the measures "rough"
and 93.6 per cent "smooth" in durational accents (14, p. 177).
Tonal relationships.--There are 140 intervals having
relative metric accents. Of these, thirty-six (25.7 per cent)
are dissonant and 104 (74.3 per cent) are consonant (13, p. 278).
An average of one identifiable chordal structure is
implied in each measure. There are three well defined modula-
tions and two transient modulations. Forty-nine altered tones
occur in Invention No. IV.
3
The meter is triple simple and the time signature 8. The
following table shows the frequencies of the note values in
this Invention.
61
TABLE VIII
FREQUENCY OF NOTE VALUES IN INVENTION NO. IV
Upper Voice
Total Beats
Thirty-second note 0 0
Lower Voice
Total Beats
The great majority of the movement is in sixteenth notes.
Two rhythmic patterns are obvious: a succession of six-
teenth notes as in the motive and a succession of eighth notes
as in the countermotive. Generally, the Invention is based on
these patterns.
There is considerable disagreement concerning the correct
tempo. However, Keller and Bodky both suggest a tempo of
J*-= 60 (1, p. 364). This is the only Invention of the fifteen
with identical tempo suggestions by these two authors.

62
Formal Design
Invention No. IV is in three-sections (ii, p. 79). The
exposition contains three entrances of the motive occurring
at the octave. There is no counterexposition in the second
section but rather only a free imitation of the motive in the
second voice. A strong cadence to the key of A minor in this
section suggests a subsection. The third section begins with
a quasi-exposition statement of the motive and ends with a
four measure codetta. Invention No. IV is described as "gloomy"
in nature (17, p. 61), as "contemplative" (1, p. 231) and as
having "sad colors of gray and lavender" (7, p. 452).
Invention No. V
Motive and countermotive.--The motive is fifteen-and-
three-fourths beats long and has a range of a tenth. Rhythmi-
cally, it begins on the second half of the first beat and ends
on the first quarter of the seventeenth beat. Classed as a
"tumult" motive (9, p. 645) it may be divided into two parts,
an antecedent group and a consequent group. The first part,
consisting of two measures, presents a strong rhythmic pattern
which is repeated one step higher in measure two. The con-
sequent group answers by continuing the momentum with new

63
I Section I
Eb y7 yIIVyI y7IB V7
fffffflxxxxxxxxxxxxxxxxxXXXXXXXXXXXxxxxxxxxxxx
3
Pat
xxxxx xxxxxxrxxx Xxxxxxxx xfxxxxx xxxxx.x....
.
Bxb:xx~xv yV ii E I l04 17
iVy1
EbI 7 Pat. (Ab)
60000000
5 7 9
Se Section It
'7 000000000000000000000000 00000000000
S V TITC~ii i 07 VjmV ru; vllvl7
0000o~~~~~~o oooooooooooooo6 I
11 13
oooooooooooooot F r~
f: V 7 Vbb:.V7
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx xx
-ro o09
o0 000000000; 0000000000
S i IV VII VII7III vio vio ITfI V
Pt Se Sec': v Pat S e
21 23
Section III
III VII9 III III V9I

b IV Eb I
V.
IV U ii 7~ V I IV I V7
Pat E
00000000000 00000000000000ooooooodo
25 27 29
fffffCad
I jjj IVfM i7 V I IV V I
Pat (Ab s (Eb
oq
00 00000ooo 000000000oo0oinv. Cad.
31
Fig. 25--Invention No. V, graphic analysis
64
material. A climax occurs on the highest note of the phrase
(Eb in measure 4).
Fig. 26 --Invention No. V, motive, measures 1-5 (8, p. 2)
Eleven intervals (39 per cent) change direction while
nineteen (61 per cent) continue in the same direction. All
of the intervals are a fifth or smaller.
The countermotive is fourteen and one-half beats long
and appears consistently with the motive. It consists entirely
of sixteenth notes except for the last, an eighth note and
has a range of a tenth. Basically, it is a sequence with
minor alterations of one figure.
I - -I--
* _ __ _ __ _ __ _ __ _
Fig. 27--Invention No. V, countermotive, measures 1-5

65
There are many changes in the directions of the line--forty-six
in all--for a percentage of 84. Only nine intervals (16 per
cent) continue in the same direction. Fifty-one intervals
(93 per cent) are a fifth or smaller, and four (7 per cent)
are larger than a fifth.
Leonard discusses the motive and countermotive in the
following passage:
In the Two Part Invention No. 5 (Eb Major), the

"joy motive" appears as the beginning of the subject,
which ends with the "step of confidence". . . . The
counterpoint is, as often happens, a long motive of
"simple joy." Here, however, is plainly one of the
"conflicts" of direction, which Bach so often created,
with the "upward striving" of one theme in combat with
the downward strength of another (9, p. 573).
Episodes.--Only two beats (1 per cent) of the material is
not derived from the motive, and this occurs at a cadence
point. Two-hundred-fifty-four beats (99 per cent) is derived
from the exposition.
upper voice "smooth" and 81.2 per cent "rough" in melodic
accents. In the lower voice 9.4 per cent are "smooth" and
90.6 per cent are "rough" (14, p. 174). There is one orna-
ment, a short trill.

66
counterpoint in Invention No. V.
TABLE IX
FREQUENCY OF COUNTERPOINT SPECIES IN INVENTION NO.V

Total Beats
First 20.25 16
Second 58 45
Third 41 32
Fourth 4 3
Other 4.75 4
Second Species is the most common and Fourth Species the least.
Within the First Species counterpoint forty-three progres-
sions (57 per cent) are in parallel and similar motion and
thirty-two progressions (43 per cent) are in contrary motion.
None of the motion is oblique.
Two authors have made other textural studies. An analysis
of the total Invention produces the following figures for the
types of motion: parallel--10 per cent, similar--ll per cent,
oblique--53 per cent, and contrary--26 per cent. The index
of melodic independence is 1.9 (12, p. 291). Based on a

67
study of durational accents 6.4 per cent of the measures are
"rough" and 93.6 per cent are "smooth" (14, p. 177).
Tonal relationships.--Of the 239 intervals having metric
accents, 23.4 per cent (fifty-six in number) were found to be
dissonant and 76.6 per cent (forty-four) consonant (13, p. 278).
There are eight modulations to new keys and one transient modu-
lation. An average of 2.9 harmonies are implied in each measure.
There are thirty-nine altered tones in this composition.
the frequency of the note values appearing in the first voice.
TABLE X
FREQUENCY OF NOTE VALUES IN INVENTION NO. V
Upper Voice
Total Beats
Eighth note 34.5 27
Lower Voice
Total Beats
Eighth note 24 19
Half of the total time is in sixteenth notes. Since this
Invention employs constant use of the motive and counter-
motive the rhythmic figures appearing therein are seen re-
peatedly throughout the piece.
Authorities disagree on the correct tempo for this piece.
Keller suggests a tempo of =69. Bodky recommends a tempo of
=+80 (1, p. 345).
Formal Design
Invention No. V may be considered a three-section composi-
tion. Cadences are not well-defined, however, and the division
probably would not be detected from oral observation alone
since the episodes do not present any new material and very
little development of the motive and countermotive. Rather,
the whole composition is a series of repetitions of the motive
accompanied by the countermotive. According to Bodky this is
the first Invention to use a countermotive throughout the
entire piece (1, p. 267).
The first section begins in the key of Eb Major and con-
tains modulations to Bb Major and back to Eb Major. The
second section begins in c minor modulates to f minor, bb minor
and back to f minor. The final section begins in Eb Major,
contains a transient modulation to Ab Major and closes in
Eb Major. This Invention is described as being "full of grace
and dignity" (17, p. 61).

69
Invention No. VI
Motives.--Invention No. VI is based on two coordinate
motives. Motive A appears in the lower voice and has a range
of an octave. Basically, it is an ascending scale line.
Fig. 28--Invention No. VI, motive A, measures 1-4 (8, p. 2)
There are only three changes (27 per cent) in the direction of
the motive; there are nine continuances (73 per cent). Only
one (9 per cent) of the twelve intervals is a fifth or larger.
The remaining eleven (91 per cent) move by step.
The second motive is a mirror of the first. It begins
on the second half of the first beat and continues in this
syncopated rhythm until the fourth measure. Motive B is
twelve-and-one-half beats in length and covers a range of a
ninth.
*1ii 94 ~wiL
Fig. 29--Invention No. VI, motive B, measures 1-5 (8, p. 2)

70
Section I
1 Motive B
I xxxxxxxxxxxxxxxxxxxxxxxxxxx xxxxxxxxxxxxx
I vii IV iii XXXXXXX7Xy
1 Motive A
Elis 1.
xxxxxxxxxxxxxx
I vii I Iy V io v in it 7 V7
5- %7 xxXXXXXXXXXXx xxxxxxxx, xxxx xxxxxxxxxxx
5 7
Tv t
-OOOOOOOOOOOOooooooooo 00000000000o
vi 17 V
Pat mod B See
xxxxxXXxxxxxxxxxt
9 1
OO0000oo0ooo0000000000ooooooooo 0000OOOOOOOOo
Tmod B 77
Seq
13 15
oooooooo~ooooooooa~ o~oooo T oooo
117 V vi 1I7
B: V7 I1
- -.- '- .ooooooooooooooooooooooooO
17 19
Section II
R:IOOOio 17 IyOOOIV i v v7
.5
xxxxxxxxxxxxxxxxxkxXXXX xxxxxxxxxxxxxxxx
21 23
vxxxxxxxxxxxxxxxxxxxxxxxxxxXxxxxxxx
I vi t17Iy iPO TV vii? V7

E U3
XXXXXXXXXXXXXX:: Mot iv IA
25 27
Fig. 30--Invention No. VI, graphic analysis (continued
on
next page)
71
Pt Se Sea Pat
xxxxxxxxxxooooooooooo0ooooooooooo0ooooooooooo0ooooooooooo C
I vi (g#) III vi 1117
29 31
0000000000o00000000000 00000000000000000000000 000000000000

/id7 (c ) ii viio7 I #vd7
333Pat Se SeSe Se35e 37

00000000000000000000000000000000000 00000000000 00000000 i,
39 41
Section ITT
x ________0000000_ XXXXXXXX3
E: Ivilpll IV iii 0 IV iii u7 V7 I vii I

o XXXXXX(XX XXXXXXXXXXX XXXXXXXXXXX XXXXXXXXXXXIxx
43 45 47
Pat
xxxxxxxxxxx xxxxxxxxxxx xxxxxxxxxx
0
Hilo IV/iii V
IV I Pat vi 3.1
XXXXXXXX~X00000 000000000000000000000000
49 51
Seq. _____Se___
e IVVIvii 7 V' I ii IV
oooooooooooooooooooo ooooooooooo0oooooooooooooooooooooo d
.53 55 57
000000000000000000000000oooooooooo
V7 I IV V I I I
00000000 -- - - -000000COOOOOOOOOOOO
59 -4 61
Fig. 30--Continued
72
There are nine changes and nine continuances in the direction
of the melodic intervals. All of the intervals are a fifth or
smaller. Motive B consists basically of the descending scale
with an interruption of an embellished arpeggio before reaching
tonic.
Leonard ascribes the following meaning to the two lines:
"It Envention No. sets forth the 'torturing grief' of the
chromatic line, and the 'faltering uncertainty' or syncopation
. .0 . .Against these two stalks the confidence of the 'step
motive,' in conflicting contrary direction; and the whole
theme ends with the motive of 'joyous agitation' . . . . (9,
p. 645).
Episodes.--All of the material is related to the motives.
There are no ornaments indicated by sign. However, the mordent
figure, first seen in the second motive, appears frequently.
In the upper voice of this Invention 27.5 per cent of the
bars are "smooth" and 72.5 per cent "rough" in melodic accents.
In the lower voice 17.7 per cent of the bars are "smooth" and
82.3 per cent "rough" (14, p. 174).
number of beats and the percentage of each type of Species
of counterpoint in this Invention.

73
TABLE XI
FREQUENCY OF COUNTERPOINT SPECIES IN INVENTION NO. VI

Total Beats
First 5 3
Second 24 13
Third 4 2
Fourth 95 51
Other 58 31
Atypically, most of the counterpoint is in Fourth Species with
the least amount in Third Species.
Within the First Species counterpoint there were found
to be nineteen progressions. Of these, thirteen (68 per cent)
are in similar and parallel motion, six (32 per cent) in con-
trary motion, and none in oblique motion.
Two authors offer other approaches. Based on an analysis
of the whole Invention there is 5 per cent parallel motion, 6
per cent similar motion, 76 per cent oblique motion, and 13 per
cent contrary motion. The index of melodic independence is
2.0 (12, p. 291). Based on a study of the relationship of
durational accents and metric accents 3.2 per cent of the
measures are classified as "rough" and 96.8 per cent as "smooth"
(14, p. 177).
Tonal relationships.--A study of the 237 intervals having
relative accents reveals that eighty-five (35.9 per cent) are

74
dissonant and 152 (64.1 per cent) are consonant (13, p. 278).
There are two major modulations, to the dominant and return-
ing to the tonic, and four transient modulations. An average
of 1.7 identifiable chordal structures occur in each measure.
There are forty-six altered tones in Invention No. VI.
The meter is triple simple and the signature is . The
following table shows the frequency of note values in this
Invention.
TABLE XII
FREQUENCY OF NOTE VALUES IN INVENTION NO. VI
Upper Voice

Total Beats
Lower Voice
Total Beats

75
Most of the movement is in eighth notes and a relatively large
amount in thirty-second notes, which appear 208 times. The
rhythmic patterns of syncopation and embellishment occurring
in the second motive and the eighth note pattern from the
first motive are all extremely important throughout the In-
vention.
There is considerable disagreement among editors, per-
formers and pedagogues concerning the correct tempo. Keller
suggests a tempo of *=96 and Bodky recommends a tempo of
J=+120 (1, p. 366).
Formal Design
Mason classifies Invention No. VI as a three part song
form although the return to the beginning in the last twenty
measures has the voices interchanged (11, p. 80). It is the
only Invention divided into two repeating sections (3, p. 339).
Schroder compares the section from measure twenty-nine to
measure forty-three, largely modulatory, to a "miniature
development section of a sonata form" (15, p. 30). Leonard
describes this passage in the following statements: "After
the double bar the first theme returns (measure 21), but the
joyous motive takes possession in measure 29 and is continually
interrupting grievous thoughts till measure 43. There the

76
original conflict recommences and ends with a double assertion
of the joyous agitation" (9, p. 645). Both the second and
third sections are marked by strong cadences. The final three
measures constitute a cadence rhyme to measures eighteen to
twenty (the last measure in the first section) (15, p. 30).
Says Schroder: "This device of cadence rhyme was one of the
distinguishing features of eighteenth century binary form, of
which this Invention is a good example. The formal effect is
to tie the composition together as a whole and reveal the
essential relatedness of each of the two sections to each
other" (15, p. 30).
Spitta points to the prominence of double counterpoint in
Invention No. VI and characterizes it as being "full of
roguish fun" (17, p. 61). Similarly, Landowska calls it
"jocose and spirited" (7, p. 452). Schroder terms this piece
a "highly imaginative little scherzo" the opening measures of
which "remind one of two dancing partners coming together,
after which both change their respective positions and move
apart once again" (15, p. 27).
Invention No. VII
Motive and countermotive.--The motive, beginning on the
second half of the beat, is two beats in length. Like

77
imi imi
Section I Patig
4 I VI VII III VI iy VI
4e mod G
imi Pat Se
// 7_-/n5 /r 1
1 3 5
Section II
//c Pp 3pppppppp pp///
III VI VIOG: I V I vi II I
G: IV V D:V
Se Pat/Se/ /_//Mod/br
7 9 11
se Section III - S e S
1fr/////trrrf frff rf.fff'fff ffffffffY ffff'ffff"f
b: V (a) (g. e: e: i V VI V
Pat e_S P5p p
AMA*low"PP 5PPPPPPPPPPPPPPpfff
13, 15 17
Pa t 9Se e oPtS9
Codetta
fffffffffffffffffff fff////////// 7 J//J//////////cad
vii0i V V i ivi ii V VI vi i V i V I
Pa - - - -n- Sea
.--- -.- Pat Seti S e
~f f f ff fff ffLff r. ...ffff ff11/Cadi
19 21 23
Fig. 31-Invention No. VII, graphic analysis
Inventions I and II the range is only a fifth and the movement
largely is in sixteenth notes. The striking feature is the
descent, mainly by step, from the dominant note to the tonic
followed by the leap back to the dominant.
Fig. 32--Invention No. VII, motive, measure 1 (8, p. 3)
There are three changes in direction and two continua-
tions, 60 per cent and 40 per cent, respectively. All of the
intervals are a fifth or smaller.
There is no countermotive. In the first measure, the
motive is accompanied by a pattern of an octave leap, ,which
reappears several times.
Episodes.--There are thirty-eight beats of free material
(20 per cent) in Invention No. VII. This is a relatively high
figure. One-hundred-and-forty-six beats (80 per cent) are
either derived from the motive or, if not, have gained thematic
importance through development and use.
upper voice "smooth" and 69.6 "rough" in melodic accents. In
the lower voice he finds 8.7 per cent "smooth" and 91.3 per
cent "rough" (14, p. 174). A relatively large number of

79
ornaments are indicated: nine pralltrillers, one short trill,
one extended trill, and seven mordents.
number of beats and the percentages of each type of Species
of counterpoint in Invention No. VII.
TABLE XIII
FREQUENCY OF COUNTERPOINT SPECIES IN INVENTION NO. VII

Total Beats
First 28.5 31
Second 20.75 23
Third 0 0
Fourth 19.5 21
Other 23.25 25
Unlike most of the Inventions, Invention VII contains more
First Species than Second Species counterpoint. The presence
of the two pedal points and the several rests is reflected in
the percentage for other rhythmic relationships.
Three other statistical analyses have been made. Within
the First Species counterpoint of fifty-six progressions,
twenty-five (45 per cent) were found to be in parallel and
similar motion, twenty-four (43 per cent) in contrary motion,

and seven (12 per cent) in oblique motion. In his analysis of
the total Invention Miller reports the following figures for
the types of motion: parallel--five per cent, similar-- nine
per cent, oblique--seventy per cent, and contrary--sixteen
per cent. The index of melodic independence is 2.0 (12, p. 291).
In his analysis of rhythmic relationships Satterfield classifies
6.4 per cent of the measures "rough" and 93.6 per cent "smooth"
(14, p. 177).
Tonal relationships.--An analysis of the 159 intervals
having relative metric accents revealed that thirty one
(19.5 per cent) are dissonant. Thus, slightly over four-fifths
of the intervals under study were found to be consonant (13,
p. 278). There is an average of 2.5 implied tonalities per
measure. There are four well defined modulations and two
transient modulations. Thirty-four altered tones occur in
this piece.
The meter signature is . The following table shows
the frequency of the note values appearing in the first voice
of this Invention.
TABLE XIV
FREQUENCY OF NOTE VALUES IN INVENTION NO. VII
Upper Voice
Total Beats
Eighth note 21 23
Lower Voice
Total Beats
Quarter Note 2 2
Eighth note 14.5 16
Most of the movement is in sixteenth notes. Contributing to
the large percentage of "other note values and rests" is a
pedal point and a large number of dotted eighth notes. The
rhythmic figure of the dotted eighth note followed by a six-
teenth note appears in the first measure and plays a prominent
role thenceforth. Leonard describes this pattern as symbolic
of "grievous passion" but claims that Invention No. VII ex-
presses "heaviness of spirit" rather than "extreme sorrow"
(9, p. 645).
Authorities disagree on the correct tempo (see Appendix
G). Bodky assigns this piece a tempo of J=+60, explaining

that the complicated ornaments necessitate a rather slow tempo
(1, p. 268). Keller suggests a tempo of J=72 (1, p. 348).
Formal Desig
Invention No. VII in e minor is in three sections. The

beginnings of both the second and third sections are marked
by strong cadences. However, the cadence into the third
section is not well-defined. The initial tonal centers for
the sections are e minor (i), G Major (III) and b minor (v).
Spitta recognizes in this Invention an "affinity" in form with
No. I but sees no similarity in expression. "It is suppliant
and mournful; still, in spite of its disturbed character, has
extraordinary melodic beauty" (17, p. 62).
Invention No. VIII
Motive and countermotive.--The motive is three beats in
length and, like Inventions I, II, V, VI and VII begins off
the beat. The notes of the motive outline the tonic chord.
The range is an octave.
Fig. 33--Invention No. VIII, motive, measures 1-2 (8, p. 4)

Section 1 -- P-t
x xx x xx
P/ / / /
x///
171 XXXXXXXXXX . 8
/
3F
8 ~xxxxxxxxxxx
1 3
ae Pt is S e Pat Sen
57
V~P
<
M II 7 modC II7
00000000000
V V7
00000000000C
i
Sea Si
ii7
000000000 000
9
Section II
o ~,ooi bfffffffff ffffxx
Ovof I 1
v V '"'.-W xxxxxxxx
Pat s- g CV Q
oooooooooooooooooooof Tf'xxx'cxxxx xxx-x
-
11 13
fff. fff ffffff..-, = xxxxxxxx M fffff ff f fff

ivd7
g:viid7 g: IPat #1vd
i-imi T A
xxxX xxxxxxxxxxxx fffffffffCff
17 19
15 PaSe e O4
ffffffffff.ffffffffrfffjfffff ffffr
Y ii*i0 7 I
21 23
Ba:I7t I Se vi7
Y//// 111H1
2527 29
ffffffffffofofff
00000000000 00000)OOOOOOOOOOOOOfff. tf'fffifirrf Cad
ad z
P00t VII VI Pat OSeg soCad
Fig. 34--Invention No. VIII, graphic analysis

All of the intervals change the direction of the line. These
tonal and directional patterns are the distinguishing character-
istics of the motive. Classed as a "tumult" idea (9, p. 645)
the motive contains four intervals (80 per cent) a fifth or
smaller and one (20 per cent) larger than a fifth.
Like the motive the countermotive is three beats long and
has a range of an octave.
Fig. 35--Invention No. VIII, countermotive, measures 2-3

(8, p. 4)
Three of the intervals, or one-third, change the direction of
the line while six, or two-thirds, continue in the same direc-
tion. All of the intervals are seconds. The countermotive
basically is simply a descending scale line in sixteenth notes,
thus offering a marked contrast to the ascending eighth note
arpeggio of the motive.
Episodes.--There are thirty-one beats of free material,
representing 15 per cent. The remaining 85 per cent consists
of material either derived from the exposition, or thematically
important. The following pattern first appears in measure
four and reappears in measures five through seven and twenty-
six through twenty-nine.

Fig. 36 --Invention No. VIII, episodic pattern, measure 4
Another pattern with a quasi-pedal point is first seen in
measure fifteen and is found in measures nineteen to twenty-
three. In a somewhat altered form it also appears in measures
twenty-four and twenty-three.
Fig. 37--Invention No. VIII, episodic pattern, measure 15
In the first voice 20.7 per cent of the bars are "smooth"
and 79.3 per cent are "rough" in melodic accents. In the
second voice 27.3 per cent of the measures are "smooth" and
72.7 "rough" (14, p. 174). There are no ornaments.
Rhythmic relationships.--Invention No. VIII is character-
istic in its large percentage of Second Species counterpoint.
The following table shows the number of beats and the percent-
age of each type of species.

TABLE XV
FREQUENCY OF SPECIES OF COUNTERPOINT

IN INVENTION NO. VIII

Total Beats
First 23.5 23
Second 68 67
Third 0 0
Fourth 0 0
Other 10.5 10
Within the twenty-three beats of First Species counter-
point, seventy-five progressions (96 per cent) are in similar
and parallel motion and three (4 per cent) are in contrary
motion. None of the movement is oblique.
Two authors have made other textural studies. An analysis
of all the progressions in the piece produced the following
figures for the types of movement: parallel--22 per cent,
similar--14 per cent, oblique--38 per cent, and contrary--
p. 291). From an analysis of the relationship of durational
accents and metric accents 6.1 per cent of the measures were
termed "rough" and 93.9 per cent "smooth" (14, p. 177).
Tonal relationships.--Satterfield finds 183 intervals
having relative metric accents. Of these, thirty-two (17.5

per cent) are dissonant, and 151 intervals (82.5 per cent)
consonant (13, p. 278).
There is an average of 1.5 identifiable chordal structures
implied in each measure. Five significant modulations occur.
There are twenty-five altered tones in this composition.
The meter is triple simple and the time signature is.3
The following table shows the frequencies of the note values
in Invention No. VIII.
TABLE XVI
FREQUENCY OF NOTE VALUES IN INVENTION NO. VIII
Upper Voice
Total Beats
Quarter note (beat note 1 1
Eighth note 43.5 43
Lower Voice
Total Beats

Eighth note 40 39
The great number of sixteenth notes produce a driving rhythm
in this piece. There are very few beats which are not divided
into sixteenth notes in one or both voices.
There is considerable disagreement among authorities con-
cerning the correct tempo. Keller recommends a tempo of
=116-126 and Bodky suggests a tempo ofJO=+100 (1, p. 358).
Formal Design
Invention No. VIII in F Major is in two-sections. (11,
p. 79) written in canonic imitation (4, p. 30). In the twelfth
bar the second voice takes the lead and the canon becomes less
strict (17, p. 62). The second section begins in the dominant
key and contains modulations to g minor, d minor, and Bb Major
before returning to the tonic key.
Probably the most popular of all the Inventions (4, p. 339),
this piece is described as being "delightful" (6, p. 621),
"full of happy and innocent contentment" (17, p. 62), as pos-
sessing a "vivacity replete with the very joy of live" (18,
p. 782) and as displaying "some concertizing elements en
miniature" (1, p. 233).

Invention No. IX
Motives.--The motive is twelve beats in length and has a
range of a twelfth.
Fig. 38--Invention No. IX, motive A, measures 1-4 (8, p. 4)
Ten of the intervals (32 per cent) change direction while the
remaining twenty-one (68 per cent) continue in the same direc-
tion. Thirty of the intervals (94 per cent) are a fifth or
smaller and two (6 per cent) larger than a fifth.
The motive is accompanied by a second motive which is
also twelve beats long and also has a tonal range of a twelfth.
Fig. 39--Invention No. IX, motive B, measures 1-4 (8, p. 4)
Eight note progressions (27 per cent) change direction and,
twenty-one note progressions (73 per cent) do not. Twenty-
eight of the intervals (93 per cent) are a fifth or smaller
and two (7 per cent) larger than a fifth.

Section I 90
3 fI Ptvi ios ioV T7

4 t
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx xxxxxxxxxxxx
~XXXXXX xxxxyxxxxxxxxxxxxxx
VXXXXXXfxXXXXXXXXXXXX
i vi ii vlio V i iv i V Pat
Pat D,---
0000000000
7 9
K0.d7 (c) II
OOOOOoOOoooooooooooooo
II7 7 #Td(g) VI V17
0000000000 00000000000 00000000000
11 13
Section II
fffffffffff fffffffffY xxxxxxxxxxxxxxxxxxxxxxx xxxxxxxxxxx
II iv 1 iI7
a- S.. V7 c:i VI ii viii V V7
OO00000000000000000007
15 17 19
imi
IT IV i IV vV III III7 11Z VI

[Vf f. f fj--f 1
21 23
iVV11 II III7 VI/b bf j f: I VI

v v7 f:f:
_000000 000000
25 27 29
ffffffffffff Cad
[ii vii? V V7 i V7 i i v V7 i
1 -"~_"oooooooooooo )02ffffff Cad
31 33
Fig. 40--Invention No. IX, graphic analysis
91
Episodes.--There are seventeen beats of free material
(8 per cent) and 187 beats of material (92 per cent) derived
from the exposition. In the upper voice 17.6 per cent of the
bars are "smooth" and 82.4 per cent "rough" in melodic accents.
In the lower voice 5.9 per cent are "smooth" and 94.1 per cent
"rough" (14, p. 174). There are two ornaments: one short trill
and one turn.
number of beats and the percentage of each type of Species
of counterpoint in this Invention.
TABLE XVII
FREQUENCY OF COUNTERPOINT SPECIES IN INVENTION NO. IX

Total Beats
First 19 19
Second 22 22
Third 1 1
Fourth 49.75 50
Other 9.75 8
Half of the motion is in Fourth Species; the least amount is
in Third Species. Of the seventy-two progressions in the
First Species counterpoint fifty were found to be in parallel

92
and similar motion (sixty-nine per cent), twenty in contrary
motion (twenty-eight per cent), and two in oblique motion
(two per cent).
Two authors have conducted other studies of rhythmic
relationships in the Inventions. An analysis of all progres-
sions in the Invention produced the following figures on the
types of motion: parallel--16 per cent, similar--4 per cent,

of melodic independency is 1.9 (12, p. 291). Based on a
textural analysis of the durational accents 2.9 per cent of
the measures are classified as "rough" and 97.1 per cent as
"smooth" (14, p. 177).
Tonal relationships.--Of the 195 intervals having rela-
tive metric accents, thirty (15.4 per cent) were found to be
dissonant. The remaining 165 intervals (84.6 per cent) are
consonant (13, p. 278). There is an average of 2.2 identifi-
able chordal structures implied in each measure. There are
three major modulations and four transient modulations.
Ninety-one altered tones occur.
The meter is triple simple. The following table shows
the frequency of note values appearing in this Invention.

93
TABLE XVIII
FREQUENCY OF NOTE VALUES IN INVENTION NO. IX
Upper Voice
Total Beats
Quarter note (beat note) 0
Eighth note 22.25 21
Lower Voice
Total Beats
Eighth note 17 13
The sixteenth note is the most common note value. A rhythmic

figure involving a tied note appears two times in the motive
and two times in the countermotive.
n
ap" oj_____
7o 44z pj- A- I, T
Fig. 41--Invention No. IX, rhythmic pattern (measures 1-2)
This tied note pattern appears frequently throughout the
Invention and accounts for the large percentage for "other

94
note values and rests."
Keller suggests a tempo of J=46 (1, p. 361). Bodky
assigns to this Invention a tempo of =+60 and adds: "This

relatively slow speed is necessary to bring out the richness
of Bach's original articulation" (1, p. 268).
Formal Design
A two-section Invention, it has been likened in form to
Invention No. V (17, p. 62). Geiringer calls this Invention
a "kind of double fugue in which theme and counter melody
usually appear together. . . ." (2, p. 275). The first
section passes through two transient modulations before the
cadence into c minor, the beginning tonality of section two.
At this point a counterexposition appears. Section two contains
two transient modulations and ends in the tonic key of f minor.
The third section states the two motives in accompaniment
before beginning the final cadence. This Invention is one of
two Inventions provided with slurs by Bach (1, pp. 202-203).
Invention No. IX is described as "mild and composed"
(1, p. 228), as "tender" (6, p. 621), as being "full of im-
passioned strains of sadness, which rise to a great intensity
of effect in bars 21 to 26" (17, p. 62). Bodky comments: "It
is this [pathos and declamation] which must have caused Bach
to distinguish the Invention in f minor with so many slurs for
articulation" (1, p. 131).

95
Invention No. X
Motive and countermotive.--The length of the motive is
twelve beats (four compound beats). Basically, the motive is
an arpeggiated chordal outline moving primarily in eighth
notes. "Arpeggio forms," says Leonard, "especially rising
ones are of cheerful mood, intensified always if the intervals
become wider" (9, p. 645).
Fig. 42--Invention No. X, motive, measures 1-2 (8, p. 4)
There are five changes and four continuances in the direc-
tion of the motivic line, 56 per cent and 44 per cent, respec-
tively. Nine of the intervals (90 per cent) are a fifth or
smaller, one (10 per cent) is larger than a fifth.
The countermotive is nine beats (three compound) in length
and has a range of a seventh. Like the motive, it is basically
a chordal outline--in this case the outlines of two chords, the
dominant and the tonic. The movement is in eighth notes.
Fig. 43--Invention No. X, countermotive, measures 2-3

96
Pat
SectIon I XXXXXXXXXXXXO00000%0
9 ItV V7 VL X X7X
X X X XoPatvi4
8xxxxxxx //
3
17 V7 I vi #ivvii V iii vi Il
Sea Seo Pat S mod'D
Section II-
f//If//If///// :a
V 7 I vi Ii Iu71 VI
13
000000000000000000000000
(C) iin IV ii
Pat
15 17 19
Pat
Pp ppppppp 3pp pppppoppppP pppp

at SeSeSea
/// ////p PP 4PPPPPPP
21 23
Seq
ppppppppp
7J 7
G:v
G 0I1 V7
5at Sml~
I '~Tat seqSea
25 27 29
///////////////////// oooooooo x-
vi V77 I vi VIV I
// //
-
31
Fig. 44--Invention No. X, graphic analysis
97
Four of the intervals (59 per cent) change direction
while three (41 per cent) continue in the same direction.
All of the eight intervals are a fifth or smaller.
Episodes.--All of the material in the Invention is either
derived from the motive or countermotive or is thematically
important. The following three note patterns appear very
frequently in the piece.
~~fz~dimb.j
Fig. 45--Episodic patterns, (measures 5 and 7, respectively)
These patterns appear to be equally as important as those
present in the countermotive and motive.
In his study of the relative congruence of melodic and
metric accents within each bar Satterfield classifies 37.5
per cent of the bars in the upper voice "smooth" and 62.5 per
cent of the bars "rough." In the lower voice 29.0 per cent
of the bars are "smooth" and 71.0 per cent "rough" (14, p. 174).
There are numerous ornaments. Invention No. X contains
five pralltrillers, three extended trills, and three mordents.

number of beats and the percentage of each type of counter-
point Species in this Invention.
TABLE XIX
FREQUENCY OF COUNTERPOINT SPECIES IN INVENTION NO. X

Total Beats
First 127 44
Second 15 6
Third 0 0
Fourth 64 22
Other 82 28
A relatively high percentage of beats are in First Species
Counterpoint, whereas none of the material is in Third Species
and a very small percentage in Second Species. Of the 127

progressions within the First Species Counterpoint, fifty-five,
(forty-three per cent) are in similar and parallel motion;
seventy-two, (fifty-seven per cent) are in contrary motion;
and none are in oblique motion.
the whole Invention Miller found seventeen per cent of the
progressions in parallel motion, eight per cent in similar
motion, forty-three per cent in oblique motion, and thirty-
two per cent in contrary motion. The index of melodic

99
independence is 1.9 (12, p. 291). Based on his study of the
relationships of durational and metric accents, Satterfield
classifies 3.1 measures "rough" and 96.9 measures "smooth"
(14, p. 177).
Tonal relationships.--There are 87 intervals having rela-
tive metric accents in this Invention. Of these, eighteen,
(20.7 per cent) are dissonant and sixty-nine, (79.3 per cent)
consonant (13, p. 278). There is an average of 1.8 identifi-
able chordal structures in each measure. Two major modulations--
to the dominant and back to the tonic--and one transient
modulation occur in this piece. There are eleven altered
tones in this piece.
The meter is triple compound; the time signature is 9
The following table shows the frequency of note values appear-
ing in the Invention.
TABLE XX
FREQUENCY OF NOTE VALUES IN INVENTION NO. X
Upper Voice
Total Beats
Sixteenth note 0 0
(Continued on next page)
100
TABLE XX--Continued
Lower Voice
Total Beats
Sixteenth note 0 0
e- -- - II
r 1 . I I I I i l | m
,
The great majority of the movement is in the basic eighth note
pulse.
Authorities disagree concerning the correct tempo.
Bodky assigns to this Invention a tempo of -=+100 whereas
Keller suggests -=108 (1, p. 370).
Formal Design
Described as a "fugue whose main subject consists of
broken chords, providing the Invention with a basically har-
monic character" (2, p. 275), Invention No. X is a two-section
composition containing a counterexposition. There is a brief
recapitulation section starting in measure twenty-seven and a
deceptive cadence in measure thirty before the final cadence
in measure thirty-two.
Bodky states: "The Invention in G Major (X) is the only
example of allegro assai in 8

9 time, among Bach's keyboard
101
works and is an early brother to the gigantic Gigue that Bach
wrote in A time for the Fourth Partita" (1, p. 138). Another
author Kinscella says "Number X is like nothing so much as an
old style Gigue" (6, p. 621).
Spitta describes this piece in the following statement:
No. 10, in G major, begins like a fugue, but with-

out any of the fetters of that form; it flits to and
fro--now in imitation, and now in episodic extension.
There is a piece of quite wanton fun at the reprise,
when the upper part takes upon itself the double duty
of a theme and response (dux and comes) (17, p. 62).
In his discussion of symbolism in Bach's music Leonard
states:
The gigue form, whether it has the rhythm of

dotted notes or of even triplets, designates, ac-
cording to its tempo, as moderato or headlong, the
idea of placid or ecstatic happiness, or the gaiety
of "animal spirits." It occurs . . . in Two Part
Invention, No. 10 (9, p. 645).
Invention No. XI
Motives A and B.--Invention No. XI is based on two motives
(11, p. 82). The motive appearing in the upper voice, Motive
A, is eight beats long and has a range of a ninth. It moves
entirely in sixteenth notes and contains two sequences. The
leaps of a seventh and the sequences are the distinguishing
characteristics of Motive A.
102
Section I Motive A
Pat Se Pat SElisInv
xxxxxxxxxxxxxxxxxxxx5
4 V7
0
iv
0
IV
0
PatatSc
7
0IT!
_ 5 &e
III vSij i III iv VII7
XXXIXXIXXXXXXXOOOOOOOOOX000
d:v7i
fffffxdamsxxxm 00
ITT V i Tj7 d: i v7
Elis ffff fffffff f'2
'000000000
PatSeaS SSectoI S
Section9 TIII 11
Pat e
I EIEI
0 00 0 00 7 f
C:0v i 1vif iv I00II__v______y

Lo". m- f. ... a* .6 -o Mu 0o000000o000o0
13 15
section IV
frrtt frffrrr inv 5
VI V i III iv 7i 7 d7vV 1 i
Sid7i V.in ITiv
-1Lxxxxxxxxxxxxx
17 19
a e
Pat x 0 Se0
F 1A7.ii V iv #i d7 Cad
0 #o fd7 Ca
xxxxx oooooo boooooo ---- --- oooooff a
21 23
Fig. 46 --Invention No. XI, graphic analysis
103
Fig. 47--Invention No. XI, motive A, measures 1-3 (8, p. 4)
There are twelve changes in direction (40 per cent) and
eighteen continuances (60 per cent) among the intervals.
Twenty-nine intervals are a fifth or smaller and two are
larger than a fifth (93 per cent and 7 per cent respectively).
The second motive is six-and-three-fourths beats long
and has a range of a fourth. The distinguishing features
are the sequence appearing near the beginning and the syn-
copated rhythmic pattern near the end.
Fig. 48--Invention No. XI, motive B, measures 1-3
There are seven directional changes (47 per cent) and
eight continuances (53 per cent) among the intervals. All
of the sixteen intervals are a fifth or smaller.
Episodes.--There are seventeen-and-one-half beats of
free (9 per cent) material in Invention No. XI. The remaining
167 beats (88 per cent) are material derived from the motives.
104
In the upper voice 13.0 per cent of the bars are "smooth" and
87.0 per cent "rough." In the lower voice 0.0 per cent are
"smooth" and 100 per cent "rough" (14, p. 174). There is one
ornament, a pralltriller.
counterpoint in this Invention.
TABLE XXI
FREQUENCY OF COUNTERPOINT SPECIES IN INVENTION NO. XI

'Total Beats
First 37.25 41
Second 33.50 36
Third 0 0
Fourth 14.50 16
Other 6.75 7
Atypically, most of the counterpoint is in First Species.
None is in Third Species. Within the First Species counter-
point sixty-seven progressions (56 per cent) are in similar
and parallel movement, fifty-two progressions (43 per cent)
are in contrary movement, and one progression (1 per cent)
is in oblique motion.
105
Two authors have made other studies of rhythmic relation-
ships in the Inventions. An analysis of all progressions in
the Invention produced the following figures for the types
of motion: parallel--21 per cent, similar--13 per cent,
of melodic independence is 1.7 (12, p. 291). Based on a
textural analysis 4.3 of the measures are "rough" and 95.7 per
cent are "smooth" (14, p. 177).
Tonal relationships.--Of the 175 intervals having rela-
tive metric accents, thirty-three (18.9 per cent) are dis-
sonant and 142 (81.1 per cent) are consonant (13, p. 278).
There are an average of 3.6 identifiable chordal structures
in each measure. There are three major modulations--from
tonic to minor dominant, to minor subdominant, back to tonic--
and two transient modulations. Sixty-one altered tones occur
in this Invention.
The meter is quadruple simple. The following table
shows the frequency of note values appearing in this Invention.

106
TABLE XXII
FREQUENCY OF NOTE VALUES IN INVENTION NO. XI
Upper Voice
Total Beats
Eighth note 12.5 14
Lower Voice
Total Beats
Eighth note 22.5 24
The two rhythmic figures appearing in Motive B are used fre-
quently in the piece. The continuous motion in sixteenth
notes in Motive A is evident throughout the piece and is re-
flected in the high percentage of sixteenth notes seen in
Table XX.
Authorities disagree on the correct tempo. Bodky recom-
mends a tempo of.2 =+80; Keller suggests a tempo of -=58 (1,
p. 345).
Formal Design
This Invention may be divided into four sections with the
following tonal scheme; g minor, d minor, c minor, and g minor.

107
Geiringer describes it as "a kind of double fugue, in which
theme and countermelody usually appear together" (2, p. 275).
Spitta makes the following comments about Invention No. XI:
The piece which follows Invention X11 has a

character of tormented restlessness. A chromatic
counter-subject of two bars long, attached from the
outset to the chief theme, evolves, by means of in-
version in the fourth bar, an episode of the most
painful and insistent kind, which reappears in alter-
nation with the original counterpoint at bar 14. The
phrases consist of six bars, but at the last
two recurrences it is only five bars and a half long,
and these two are merged directly in one another with-
out any cadences to give a moment's rest (see bars 12,
13, and 18); each beat of the bar is more restless
than the last (17, p. 62).
Invention No. XII
Motives A and B.--Like Invention No. XI, this one is
based on two motives. Motive A, that motive appearing in the
upper voice, is eighteen-and-one-half beats long (or six-and-
one-eighth compound beats) and has a range of an octave.
S4-
Fig. 49--Invention No. XII, motive A, measures 1-2 (8, p. 5)
Five of the intervals (37 per cent) change direction,
eight (50 per cent) continue in the same direction, and three
Section I
xxxxxxxxxxxxx
12 A I vi 1i 7 i V V7 TI117 E:I vi117 i
1 (Motive B) E: V
3
Patps q lit imt
V V7 [ I7 A: I vi 7 vt
7
ii V7 I TVvT7
A:V XXXXXXXXXXXXXX iii
.~~ X.... Xxxx xxxxxxxxxxxx irmi I
5 7
Section II
mi6 5
-07mt 6 - .XXXXXXXXXXXXXX
Vi ii T1I f#:i vi iio' 7 vto V7 1 117 c#:l VI iio7fj
imi f#:- V i c#: V7
7= %Jy'7... _xxxxcxxxxxxxxx.xxxxxxxxoooooooc 3
9 11
XXXXXX00 000Q00Q 0 Q000000 ,00900Y
viio V7i i IV IV7vii AI T
t seq p ( Se 0000000000000
-- 0O0ooooo 000000o0000000
13 15
0000000 0000000,000*000
J7 IV vii iii vi ii V7 T j1 7 iivil V7 I V7
(D) (c#) (b) A Pat Se Se
Segn1719
0000 ooooooffffffCad
J IV V IIV VI y I
1i _Cad2
21
Fig. 50--Invention No. XII, graphic analysis

109
(13 per cent) involve note repetition. All of the sixteen
intervals are smaller than a fifth. The outstanding charac-
teristics of the motive are the repeated notes, the embellish-
ments, and the two sequence figures.
Motive B is twenty beats (or six-and-two-thirds compound
beats) in length and has a range of a thirteenth, an unusually
large range. Fourteen note progressions (52 per cent) change
direction while fifteen note progressions (48 per cent) con-
tinue in the same direction.
Fig. 51--Invention No. XII, motive B, measures 1-2 (8, p. 5)
All of the thirty intervals are smaller than a fifth.
The distinguishing feature is the winding nature of the
notes in the first measure, which is quite similar to the
second measure of motive A. The second measure of motive B
is basically a harmonic outline of the dominant chord ending
on the tonic note.
Episodes.--Like Invention No. X all the material in the
Invention is derived from the two motives. The following
sequential passage appears first in measure seven and reap-
pears later in measure sixteen.

110
Fig. 52--Invention No. XII, episodic pattern, measure 7
This pattern could be considered a derivation of either of
the motives.
metric accents within each bar Satterfield classifies 9.5 per
cent of the bars in the upper voice "smooth" and 90.5 per
cent "rough." In the lower voice 14.3 per cent of the bars
were found to be "smooth" and 85.7 per cent "rough" (14, p. 174).
Invention No. XII contains a relatively high number of
ornaments. There are six extended trills and seventeen mor-
dents. (These figures include several ornaments printed in
small type. They appear originally in the motive in ordinary
type, however. According to the performance practice of the
day the embellishments appearing in the motive as it is first
presented must be executed each time the motive occurs.

111
point species in this Invention.
TABLE XXIII
FREQUENCY OF COUNTERPOINT SPECIES IN INVENTION NO. XII

Total Beats
First 18.5 7
Second 105 42
Third 41 16
Fourth 2 1
Other 39 34
A high percentage of the counterpoint is in Second Species,
and as the table indicates, much of the texture involves rests
and pedal points (inherent in motive A).
Of the seventy-seven progressions within the First
Species counterpoint, forty-one, representing fifty-three per
cent, are in similar and parallel motion and thirty-six, rep-
resenting forty-seven per cent, are in contrary motion. None
are in oblique motion.
the whole Invention Miller found six per cent of the progres-
sions in parallel motion, eleven per cent in similar motion,
sixty-one per cent in oblique motion, and twenty-two per cent
in contrary motion. The index of melodic independence is

112
2.0 (12, p. 291). Based on his study of the relationships
of durational and metric accents, Satterfield classifies 4.7
per cent of the bars "rough" and 95.3 per cent "smooth" (14,
p. 177).
relative metric accents in Invention No. XII. Of these,

thirty-six (17.4 per cent) are dissonant and the remaining
170 (82.6 per cent) are consonant (13, p. 278). There are
an average of 3.5 identifiable chordal structures in each
measure. Five major modulations and four transient modulations
occur in this piece. Thirty-three altered tones occur.
The meter is quadruple compound, a meter unique in the
Two Part Inventions. The following table shows the frequency
of note values appearing in the Invention.
TABLE XXIV
FREQUENCY OF NOTE VALUES IN INVENTION NO. XII
Upper Voice
Total Beats
(Continued on next page)
113
TABLE XXIV--Continued
Lower Voice
Total Beats
Other 7329
Most of the motion is in sixteenth notes. The rhythmic figures
appearing in the two motives appear throughout the Invention.
There is considerable disagreement among authorities
concerning the correct tempo. Bodky assigns to this Invention
a tempo of J-=+60 (1, p. 268). Keller suggests a tempo of
J=7 2 (1, p. 370).
Formal Design
As he does Invention No. V, IX, and XI, Geiringer likens
this to a "kind of double fugue" (2, p. 275). It can be con-
sidered in two sections with the beginning tonalities of A
Major and f# minor (returning to A Major in a codetta). The
second section contains a counterexposition in which the voices
have not been transplanted, as is usually the case. The coda,
however, does begin with the inverted counterpoint--motive A
appears in the lower voice and motive B in the upper voice.
After stating the motives and developing them briefly rthe
section closes.
114
Two other authors comment on Invention No. XII. Says
Spitta, "A feeling of honest German fun is given by No. 12,
in A Major, which corresponds in form to Nos. 5 and 9" (17,

p. 62). Leonard similarly states that the Invention is based
on motives of "typical joy" (9, p. 645).
Invention No. XIII
Motives and countermotives A and B.--Invention No. XIII
again is based on two motives, each having its own exposition
(11, p. 82). Kennan concurs with Mason in recognizing two
"coordinate" motives (5, p. 68). Motive A, that motive
appearing first, is two-and-one-fourth beats long and has a
range of a seventh. Three intervals (50 per cent) change
direction and three (50 per cent) continue in the same direc-
tion. All of the seven intervals are smaller than a fifth.
Except for the last note, all the movement is in sixteenth
notes.
Fig. 53--Invention No. XIII, motive A, measure 1

115
Section I
5.M :A xxxx xxx M.B. xxxxx
4 =iV i V7 i V7 IV
f'rfff M.A. xxxxxx5 xxxxxxx I M.B,
3
B B B B B B
Section II A
0000000 000
S00 OOOOy z A xx
VII III i 11 VII i iv VII C:IV7 i~Vf' V7
B mod C B B B B oofV7 A
xxxxxxx B_ 000 000, boooofff '7 0000000, A
w
A oooooooo 1 B xxxxxxx B 00000000 000

S 1 Tr xI7 V7~ i7 V117"~ i
B xxxxxxx B oooooooo vB oB0000000 B

9 11
il l"zj' v7Wii- I7 -
-co*o
07 #iv7 VIIIVsipvivivd7In
V7 S
B
,am** 000000/ f'ooooo
13 is
Section III Pat
So a a:i V7 P i vio d7
o 1
00000000*1 yff f 000000004/ f fj xxxxxxx A
fAx
7o AE B
AI A A B
17. 19
00000000 Pat e a e e
F V#.vV9 V7 i
(E) Pat -e to t SodSe
Aoooooooooooo Ainv -40ocoodo00000006000000
21 23
Fvifi iv Vviid7#IViv
B A
[::oo::o0oooooo:>0OOooooo Cad
25
Fig. 54--Invention No. XIII, graphic analysis
116
The distinguishing feature is the "somersaulting" direc-
tions of the motive. Leonard classes this motive as a "typical
joy" idea. (This type motive is characterized by movement in
sixteenth notes and constant return to one or two notes) (9,
p. 645).
The countermotive accompanying motive A is one-and-three-
fourths beats long. The range is a sixth.
Fig. 55--Invention No. XIII, countermotive A, measure 1
All of the intervals change direction. One of the three inter-
vals is a fifth or smaller and the other two are larger than
a fifth.
Motive B, first appearing in measure three in the upper
voice, is two-and-three-fourths beats long and has a range of
an octave. The distinguishing characteristic is the number
of changes in the direction of the intervals: all of the
motivic intervals change direction. One interval (29 per cent)
is larger than a fifth while the remaining six intervals
(84 per cent) are smaller than a fourth.
Fig. 5 6 -- Invention No. XIII, motive B, measure 3

117
Like countermotive A countermotive B is one-and-three-
fourths beats long and has a range of an octave. All of the
intervals continue in the same direction.
Fig. 57--Invention No. XIII, countermotive B, measure 3
One interval is larger than a third and the other three a
third or smaller.
Episodes.--Three per cent (six beats) of the material in
the Invention is free. The remaining 97 per cent (194 beats)
is derived from the motives or countermotives. There are no
ornaments.
metric accents within each bar Satterfield classifies 20.0
per cent of the bars in the upper voice "smooth" and 80.0
per cent of the bars "rough." In the lower voice he finds
8.0 per cent "smooth" and 92.0 per cent "rough" (14, p. 174).
point Species in this Invention.

TABLE XXV
FREQUENCY OF COUNTERPOINT SPECIES IN INVENTION NO. XIII

Total Beats
First 6.5 7
Second 66 66
Third 1 1
Fourth 6 6
Other 20.5 20
The greatest amount of counterpoint is Second Species and the
least is in Third Species.
An analysis of the twenty-five progressions in First
Species counterpoint produced the following percentages for
the types of motion: similar and parallel--sixty per cent,
and contrary--forty per cent. None of the progressions were
in oblique motion.
Two authors have made studies of rhythmic relationships
in the Inventions. An analysis of all progressions in the
Invention produced the following figures for the types of
motion: parallel--six per cent; similar--thirteen per cent;
oblique--forty-nine per cent, and contrary--thirty-two per
cent. The index of melodic independence is 2.1 (12, p. 291).
Based on a textural analysis four per cent of the bars are
"rough" and ninety-six per cent "smooth" in durational
accents (14, p. 177).

119
Tonal relationships.--Of the 164 intervals having relative
metric accents, thirty-six, or twenty-two per cent, are disso-
nant. The remaining seventy-eight per cent are consonant
(13, p. 278). An average of three identifiable chordal struc-
tures are implied in each measure. There are three major
modulations--from minor tonic to relative major, to minor
dominant, back to tonic--and seven transient modulations.
Fifty-four altered tones occur.
TABLE XXVI
FREQUENCY OF NOTE VALUES IN INVENTION NO. XIII
Upper Voice
Quarter note (beat note) 1TotalBeats

Eighth note 22.5 23
Lower Voice
Total Beats
Quarter note 1 1
Eighth note 50 50
Sixteenth 38.25 38
120
Most of the movement in the upper voice appears in sixteenth
notes, whereas most of the movement in the lower voice is in
eighth notes. Thus, the sixteenth note movement of the motives
and the eighth note movement of the countermotives appear to
be nearly equally reflected in the Invention.
Authorities differ in their opinions of the correct tempo
(see appendix). Keller recommends a tempo of =69 and Bodky
suggests a tempo of J=+80 (1, p. 345).
Formal Design
Invention XIII is in three-sections. The exposition
based on motive A contains four entrances of the motive; the
exposition based on motive B contains two entrances of the
motive. Section two presents two counterexpositions whereas
section three states only motive A. The key scheme for the
sections is a minor, C Major and a minor. Section two contains
a modulation to e minor, perhaps suggesting a subsection.
Two authors offer comments concerning this Invention.
Kinscella says ". . . Number XIII is another example of Bach's
frequent use of the simple triad as subject matter" (6, p. 621).
Spitta attributes to this piece the character of a prelude,
"because the subjects and the workings-out alike move almost
exclusively in harmonic passages" (17, p. 62).

121
Invention No. XIV
Motive and countermotive.--The motive is twelve-and-one-
fourth beats long and consists of sixty notes. The tonal range
is two octaves and one step, an unusually wide range. The
motive consists of one idea, or figure, and the following two
sequences of that idea. The distinguishing features of this
motivic idea are the strong rhythmic patterns involving thirty-
second notes, the movement by arpeggio up the chord and then
down (beats three and four are a melodic inversion of beats
one and two) (4, p. 340), and the two sequences of this motive
figure.
Fig. 58--Invention No. XIV, motive, measures 1-3
There are forty-one changes in the direction of the
intervals (71 per cent) and seventeen continuances (29 per
cent). Fifty-three intervals (90 per cent ) are a fifth or

122
Section I
17a ________________
a
I
a
UI
-111"
4 I I~JTIV ii v
4 xxxxxxxxxx x *1 xxxxxxxxx z 4 xxxxxxxxx
1s 3
S ection II
. 1 imiy imi y:xxxxxxxxx x 7 xxxxxxxxX
I IVviii vi "ov V I
(F) V7 I I
vi
imi imi0
I 9
xxxxxxxxxx z -1 ooooooooooooooo Section III

117 V O JFd I vi 17 fi ~#id7 VIl
(F) (g) (c)
00000000000000 _ 00060000000000
9 11
Pat Seq Seq Pat Se Pat Se Se
i strett VI~' I7 T vii V7 1V7 1
Pat Se Se S (E Pat Se Pat Se S
13 15
Se Section IV
UsvitI( OW1 MP
vI 7 IV 7
r~~sB9tj (Eb)'vlv BbV
I v
ff ff
17 19
Cad
Cad
Fig. 59--Invention No. XIV, graphic analysis
123
smaller and six intervals (10 per cent) are larger than a
fifth. This motive is symbolic of "typical joy" (9, p. 645).
The countermotive is a simple arpeggio figure moving
primarily in eighth notes. This figure appears in a sequence
as does that of the motive. These figures are separated by
rests.
Fig. 60--Invention No. XIV, countermotive, measures 1-3
Eleven beats in length, the countermotive contains only
one change (11 per cent) in the direction of the intervals
(notes separated by rests were not considered in this analysis)
and eight continuations (89 per cent). Nine intervals (90 per
cent) are a fifth or smaller and one interval (10 per cent)
is larger than a fifth. The countermotive (with an octave
range) functions primarily as an accompaniment figure.
Episodes.--All of the material is derived from the motive
and countermotive. There are no ornaments.

124
metric accents within each bar Satterfield classifies forty
per cent of the bars of the upper voice "smooth" and sixty
per cent "rough." In the lower voice twenty-five per cent
of the bars were found to be "smooth" and seventy-five per
cent "r ough" (14, p. 174).
point Species in this piece.
TABLE XXVII
FREQUENCY OF COUNTERPOINT SPECIES IN INVENTION NO. XIV

Total Beats
First 16.75 21
Second 17.5 22
Third 0 0
Fourth 6 7
Other 39.75 50
Most of the counterpoint in this Invention could not be
classified as First, Second, Third, or Fourth Species. Within
the First Species counterpoint there are eighty-seven progres-
sions. Of these, sixty-eight progressions (78 per cent) were

125
found to be in similar and parallel motion, and nineteen
(22 per cent) in contrary motion. None of the progressions
were found to be in oblique motion.
Two other authors offer statistical approaches to this
Invention. In his analysis of the whole Invention Miller
found twenty-one per cent of the motion to be parallel,
thirteen per cent to be similar, forty-nine per cent to be
oblique, and twenty-one per cent to be contrary. The index
of melodic independence is 1.6 (12, p. 291). Based on his
study of the relationships of durational and metric accents,
Satterfield classifies all of the measures "smooth" and none
"rough" (14, p. 177).
Tonal relationships.--In another study Satterfield found
215 intervals having relative accents in Invention No. XIV.
Of these, thirty-four, or 15.8 per cent were classified dis-
sonant and the remaining ll, or 84.2 per cent, consonant
(13, p. 278). There are an average of 2.5 identifiable
chordal structures in each measure. Because of the continually
shifting tonal center all of this Invention was analyzed in
terms of the tonic key. The tonality changes six times before
finally returning to the tonic key. Some of these tonalities
last for several measures, others for only a few beats. There
are only eighteen altered tones in this piece.

126
the frequency of note values appearing in the Invention.
TABLE XXVIII
FREQUENCY OF NOTE VALUES IN INVENTION NO. XIV
Upper Voice
Total Beats
Eighth note 8.5 11
Thirty-second note 17.5 22
Lower Voice
Total Beats
Quarter note (beat note) 4
Eighth note 16.5 20
Thirty-second note 16.5 20
The greatest amount of motion is in sixteenth notes. The
rhythmic pattern from the motive involving the thirty-second
note is very important thematically and, therefore, there is
an unusually high percentage of motion using that note value.
There is considerable disagreement among editors, per-
formers, and pedagogues concerning the correct tempo. Keller

127
suggests a tempo of =88. Bodky assigns to this Invention
a tempo of 2=60 (1, p. 268).
Formal Design
Invention No. XIV can be considered in four sections with
the following key scheme: Bb Major, F Major, c minor, and
Bb Major. A highly sequential and modulatory passage occurs
in measures twelve through sixteen, at which point (Section
four) a stretto occurs.
Fig. 61--Invention No. XIV, stretto, measures 16-17
Spitta discusses this Invention in the following excerpt:
The two next inventions, in A minor and B Flat

major, both have somewhat the character of preludes,
because the subject and the workings-out alike move
almost exclusively in harmonic passages; the second
betrays a close relationship to the prelude of the
B flat partita in the first portion of the Clavierutbung.
The three-fold division is, however, preserved in this
case. In the B flat invention the first subject comes
in in canon at its repetition (bar 16, in the middle),
and in this place it has a bold, soaring character,
while in the former it was dreamy and rather melancholy.
(17, pp. 62-63).
128
Invention No. XV
Motive and countermotive.--The motive is eight beats in
length and has a range of a seventh. The outstanding features
are the continual recurrence of a few notes and the appearance
of the melodic interval of a sixth.
Thirteen intervals (61 per cent) change direction, five
intervals (28 per cent) continue in the same direction, and
two intervals (11 per cent) involve note repetition. Seven-
teen intervals (89 per cent) are a fifth or smaller and two
(11 per cnet) are larger than a fifth.
Fig. 6 2--Invention
No. XV, motive, measures 1-3
One author suggests symbolic meaning in this motive.
Leonard sees a combination of joy (a) and sadness, the "sigh-
ing" motive of grief (b) (9, p. 645).
The countermotive first appears opposite the motive in
the first Imitation. It is five-and-one-fourth beats in length
and has a range of a sixth.

-129
Section I
4
1
iv v i
1y vii0 i f#:i
xxxxxxxx
iv v i
4b
ffa4 ff, ff *7 fftiff4 ff1 ff I ff / ffI5
1 3
xxxxxxxxxoooo
V7 ivii 0 WT~7 f ~IV 7ThiT
,at Se
U fffxxxx9xx xxxxxxxxx 0000000
5 7
Pa.
S( s Sea Pat Se e Se Pat Se Se
000 RO.'0000 0000000000000000
(bI ',vii iV7 III 7VE viT7 7
Vi u7fi
at se Seq Se Pat Ve
f ffff A fff fff f 0000000 fffffL
Section II 9 11
SXXXXXXXXXX"XXXXX XX -00000000
D:I IV V I V7vii 0 I 71ivO V I 71/T V vi 0
(A Pat Se
*4WD
xxxxxxxxxxxxxxxfffffff
13 15
ooooooooooooo ooooooooooooo oooooooooooooo oooooodo 1

#i v IAVOVII iii V VI ii IV V I I7
v iiv V iv
f f fff f ff f fff ffffVAouwow m mo1W
17 19
Cad
V V vii i iv IIIiv i
Pat Se
00000000000060 000 Cad
21
Fig. 63--Invention No. XV, graphic analysis
130
51At i V
Fig. 64--Invention No. XV, countermotive, measures 3-4
Half of the intervals change direction and half continue
in the same direction. Only one interval (6 per cent) is
larger than a fifth; the remaining eighteen (94 per cent) are
a fifth or smaller.
Episodes.--Twenty-two beats of the material (13 per cent)
are classified as free. One-hundred-fifty-four beats (87 per
cent) are derived from the motive or countermotive. Leonard
points to several symbolic figures in the episodic material
related to the motive or countermotive. The sequenced figure
(appearing in the upper voice) in measures eight to ten is
designated a "tumult motive."
_IL.
Fig. 65--Invention No. XV, episodic pattern (measure 8)
In the lower voice accompanying the "tumult motive" is the
stepp motive." The passage appearing in the lower voice in

131
measures sixteen and seventeen is also symbolic, according
to Leonard.
__ _ _ __ _ _ _ _ _ _ _ _ _ _ rim-
___ __ ___ __ __ r"~ w~qAd
Fig. 6 6 --Invention
No. XV, episodic pattern, (measures
16-17)
At this point, the Invention continues with "wide skips and
turns of sadness" (9, p. 645).
In his analysis of the relative congruence of melodic and
metric accents within the measure Satterfield found 27.3 per
cent "rough." In the lower voice he found 22.7 per cent
"smooth" and 77.3 per cent "rough" (14, p. 174).
There are a great number of ornaments. Twenty-four
pralltrillers and one mordent occur in this composition.
The following table shows the number of beats and the
percentage of each type of Species of counterpoint in this
Invention.
132
TABLE XXIX
FREQUENCY OF COUNTERPOINT SPECIES IN INVENTION NO. XV

Total Beats
First 12 13
Second 61 69
Third 0 0
Fourth 3.75 4
Other 11.25 14
Most of the counterpoint is in Second Species. Within the
First Species counterpoint two-thirds of the progressions
are in similar and parallel motion with one-third appearing
in contrary motion. None of the progressions are in oblique
motion.
Two other authors have made statistical studies of texture.
In his analysis of all the progressions in the Invention
Miller reports the following figures for the types of motion:
parallel--14 per cent, similar--15 per cent, and contrary--
p. 291). Satterfield in his study classifies 13.6 per cent
of the measures "rough" and 86.4 per cent of the measures
"smooth" (14, p. 177).
relative metric accents in Invention No. XV. Forty-eight

133
(30.8 per cent) are dissonant and 108 intervals (69.2 per
cent) are consonant (13, p. 278). An average of 3.8 identifi-
able chordal structures is implied in each measure. There
are three major modulations and two transient modulations.
Thirty-five altered tones occur.
TABLE XXX
FREQUENCY OF NOTE VALUES IN INVENTION NO. XV
Upper Voice
Total Beats
Eighth note 30.5 35
Lower Voice
Total Beats
Eighth note 51 58
In the upper voice most of the motion is in sixteenth notes
whereas in the lower voice most of the motion is in eighth
notes.
134
Authorities disagree on the correct tempo. Keller sug-
gests a tempo of J=92. Bodky recommends a tempo of J=+80
(1, p. 345).
Formal Design
A two-section Invention, this piece, according to Gei-
ringer "has the character of a two-part fugue, although,
contrary to tradition, the first entrance of the subject is
supported by brief notes in the bass" (2, p. 275). The first
section modulates to the minor dominant as the lower voice
enters in imitation of the motive. A strong cadence confirms
this tonality at the beginning of the third entrance of the
motive.
A cadence to D Major marks the beginning of the second
section. In measures sixteen to seventeen a series of altered
chords appear, largely as a result of melodic patterns in the
upper voice. The motive appears in the tonic in measures
eighteen and is imitated in measure nineteen before the
Invention comes to a cadence in measure twenty-two
Geiringer describes Invention No. XV as "gay and high
spirited" (2, p. 275). Another author, Kinscella calls it
"yan elaborate dancelike movement of great brilliancy" (6, p. 261)
and, lastly, Spitta says:

135
The last invention comes in gravely, yet not with-

out a certain dignified grace; in its fugal working-out
it alternates with episodic interludes, founded on the
counterpoint to the theme. It is remarkable that the
theme does not come in alone, but is supported by short
notes in harmony in the bass. In no other of the in-
ventions is this the case; but it happens so in the
sinfonias (or inventions in three parts), and I believe
that these had a reactive influence on this invention
. . . (17, p. 63).
Summary
The purpose of this chapter has been to present an analysis
of line, texture, rhythm, and formal design in the Two Part
Inventions. The study of linear characteristics included
examination of the motive (s), countermotive, and the episodes.
It was found that the motives of nine Inventions contain
50 per cent or more changes in the direction of the melodic
intervals and those of six Inventions contain less than 50 per
cent. The motives of nine Inventions have ranges of an octave
or greater. Motives of six pieces contain 10 per cent or
more intervals of a sixth or larger; nine pieces have less
than 10 per cent of intervals a sixth or larger. The counter-
motives of nine Inventions contain 50 per cent or more melodic
intervals that change direction and those of six Inventions
contain less than 50 per cent. The countermotives of nine
Inventions have ranges of an octave or greater; ranges of
countermotives of six pieces are smaller than an octave. The

136
countermotives of only two Inventions contain 10 per cent or
more intervals of a sixth or larger.
In studying the episodes, the derivation of material, the
amount of "rough" and "smooth" measures according to melodic
accents, and the presence and amount of ornaments were dis-
cussed. It was found that five Inventions contain 10 per
cent or more free material. Ten pieces have less than 10 per
cent free material. All of the Inventions contain 62 per cent
or more "rough" measures according to melodic accents in the
upper voice; all of the pieces contain 64 per cent or more
"rough" measures in the lower voice. Four Inventions have
no ornaments. Eleven compositions contain from one to twenty-
five ornaments. Seven pieces contain six or more embellishments.
The study of texture included an examination of the fol-
lowing rhythmic relationships: the counterpoint species, the
types of motion, the index of melodic independence, and the
relationship of durational accents and metric accents. It
was found that most of the counterpoint occurs in Second
Species. Nine Inventions contain 36 per cent or more Second
Species. Only two pieces have 36 per cent or more First
Species counterpoint. None of the pieces contain as much as
36 per cent of Third Species counterpoint, but two Inventions
contain 36 per cent or more Fourth Species.

137
Two analyses of the types of contrapuntal motion were
made. In the first analysis it was found that in the First
Species counterpoint twelve Inventions contain 50 per cent or
more similar motion; most of the motion in the other three
pieces occurs in oblique and contrary motion. An analysis of
all the contrapuntal progressions revealed that most of the
motion is oblique. The average frequencies of the types of
motion is as follows: oblique--54 per cent; contrary--23 per
cent; parallel--13 per cent; and similar--10 per cent. The
average index of melodic independence is 1.9. Eleven
Inventions received an index of 1.9 or greater. Four pieces
received an index of less than 1.9.
The last textural study of rhythm concerned "rough" and
"smooth" measures according to durational accents. It was
found that all the Inventions contain 86.4 per cent or more
measures classified as "smooth."
In addition to a study of rhythmic relationships the
following aspects of tonal relationships were examined: the
amount of dissonance and consonance, the number of identifiable
chordal structures, the number of altered tones, and the
frequency of modulations. All of the Inventions contain at
least 15.8 per cent of relatively accented dissonance. Three
compositions contain over 25 per cent of relatively accented
dissonance. The majority of the relatively accented

13 8
intervals in each Invention are consonant. Ten of the com-
positions have an average of 2.0 or more implied tonalities
per measure; five pieces have an average of less than 2.0.
Thirteen Inventions contain twenty-five or more altered
tones; two contain fewer. Three pieces have over fifty
altered tones. At least three modulations occur in every
Invention; eight pieces contain six or more modulations.
The study of the characteristics of rhythm included the
following: meter, the frequency and amount of the note values,
and suggested tempos. Eight pieces have a time signature of
C; two have a time signature of ; three have a time signature

4,
3 9
of 3; one has a time signature of 9; and one has a time
signature of 12. The most frequent note value is the sixteenth
note. Eight Inventions have 50 per cent or more of the beats
in sixteenth notes. Two pieces contain 50 per cent or more
of the beats in eighth notes. Five Inventions have less than
50 per cent of the beats in any one note value. According to
Keller the most rapid Inventions are Nos. I, VIII,

_X, XII,
and XV. Bodky's most rapid tempo suggestion is for No. X.
He also suggests relatively rapid tempos for Nos. III, IV, X,
and XII.
Study of the formal design produced several observations.
Eight of the Inventions can be divided into three sections;

139
six can be divided into two sections; and one can be divided
into four sections. Seven of the pieces are based on two
coordinate motives. One is based on only one motive and no
countermotive. Others contain a motive and countermotive.
Two of the Inventions are canons.
Comments of writers concerning the Inventions have been
included. It was found that these authors often hold opposing
views concerning the mood and character of the pieces.
Selected findings related to the performance problems in
the Inventions are discussed in Chapter III of this report.
In addition a ranking based on the factors relating to diffi-
culty is presented.

2. Geiringer, Karl, Johann Sebastian Bach: The Culmination

of an Era, New York, Oxford University Press, 1966.
3. Hutcheson, Ernest, "How to Teach the Two-voiced Inventions

of Bach," Etude, XXXVII (June, 1919), 339-340.
4. , The Literature of the Piano, 2nd ed.,

New York, Knopf, 1949.
5. Kennan, Kent, Counterpoint, Englewood Cliffs, Prentice

Hall, 1959.
6. Kinscella, H. G., "Making a Start with Bach," Etude, LIV

(October, 1936), -621.
7. Landowska, W., "Charm of Bach's Two-Part Inventions,"

Etude, LI (July, 1933), 452.
8. Landshoff, Ludwig, "Notes" accompanying the Two Part and

Three Part Inventions, New York, Peters Corporation,
1933.
9. Leonard, F., "What Did Bach Mean," Etude, LVI (September-
October, 1938), 573-574, 645.
10. Maier, Guy, "Two-voice Invention in c Minor; a Master
Lesson," Etude, LXXII (March, 1954), 26.
11. Mason, Neale B., Essentials of Eighteenth-Century Counter-
point: A Practical Stylistic Approach, Dubuque, Wm. C.
Brown Company, 1968.
12. Miller, H. M., "Progression in Two-part Counterpoint: A

289-299.
13. Satterfield, J., "Dissonance and Emotional Content in The
Bach Two-Part Inventions," Music Review, XVI
(November,
1956), 273-281.
140
141
14. Satterfield, J., "The Emotional Content of the Bach Two

Part Inventions," Music Review, XIX (August, 1959),
173-179.
15. Schroder, C. F., "Piano Lesson: Two Part Invention No. 6
in E Major by J. S. Bach," Clavier, III (number 4, 1964),
27-30.
16. Schweitzer, A., J. S. Bach, translated by E. Newman,

(2 volumes), Boston, B. Humphries, 1962.
17. Spitta, Phillip, Johann Sebastian Bach: His Work and

Influence on the Music of Germany, translated by Clara
Bell and J. A. F. Maitland, New York, Novello Ewer and
Company, 1899.
18. Weir, R. S., "The Beauty of Bach," Etude, XLVIII (November,

1930), 782.
CHAPTER III
IDENTIFICATION OF PERFORMANCE PROBLEMS AND
RANKING OF THE TWO PART INVENTIONS
After having examined the stylistic characteristics of
the Inventions certain factors were identified which would
present problems to the intermediate pianist. These factors
will be identified and discussed in relation to the Inventions.
It should be emphasized that these factors do not constitute
all the difficulties in these pieces.
Performance Problems Related to the

Five of the linear characteristics investigated were
considered to contribute to the difficulty of an Invention.
They are as follows: (a) a high percentage of intervals of
the motive or countermotive which change direction, (b) wide
tonal ranges of the motive or countermotive, (c) a high per-
centage of intervals of the motive or countermotive which are
larger than a fifth, (d) a relatively large percentage of
free material and (e) the presence and amount of ornaments.
The characteristics of the motive and countermotive
were believed to be representative of the entire Invention
142
143
since the piece is based structurally on these two elements.
(Should an Invention contain a second motive, or a second
motive and a countermotive, only the characteristics of the
first and second motives will be considered in this section).
A high percentage of changes in the direction of the melodic
intervals was felt to increase the technical difficulty of a
piece. Therefore, the direction of the intervals in the
motive and countermotive was examined. There are twelve
Inventions containing 50 per cent or more changes in direction
of melodic intervals in the motive or countermotive. They
are Inventions Nos. I, I, III, V, VI, VII, VIII, X, XII, and
XV.
Composite scores representing the percentage of changes
in the direction of the motive and countermotive produced the
following figures. Invention No. XIII contains the largest
percentage (75) and Invention No. VII the lowest (30). Other
Inventions with scores of fifty or more are Nos. I, V, VIII,
X, and XV. Other Inventions with scores of less than fifty
are Nos. II, III, IV, IX, XI, XII, and XIV.
Changes in hand position were believed to be technical
problems. Two measurable factors felt to be related to this
problem are wide tonal ranges of the motive or countermotive
and a relatively high percentage of intervals in the motive
or countermotive which are larger than a fifth.

144
The first of the two factors examined was the size of the
range. All of the Inventions except Nos. I and VII have
motives or countermotives with a range of at least a sixth.
Invention No. XIV has the motive with the largest range--a
sixteenth.
The examination of the size of the intervals within the
motive and countermotive revealed the following facts. A
majority of the intervals are no larger than a fifth. To
produce a composite figure for each Invention the percentages
of intervals larger than a fifth in the motive and counter-
motive were added together. The highest figure was 20 per
cent (Nos. VIII and XIV). Inventions I, VII, and XII had no
intervals larger than a fifth. Those Inventions in which
intervals larger than a fifth constitute from eleven to twenty
percent are Nos. IV, VIII, IX, XIII, XIV, and XV. Those
Inventions with percentages of 10 per cent or less are Nos.
I, II, II, V, VI, VII, X, XI, and XII.
It was felt that a large percentage of material not de-
rived from the motive and thematically unimportant would tend
to complicate the formal design of an Invention. This de-
creased distinction could affect negatively the student's
understanding and memorization of the piece. Therefore, the
amount of free material was determined in each Invention.

145
The Invention containing the greatest amount of free material
is No. VII (20 per cent). Inventions Nos. VI, X, XII, and
XIV contain no free material. Inventions with 15 to 19 per
cent free material are Nos. III (17 per cent), IX (15 per
cent), and XI (19 per cent). Amounts of free material in the
remaining Inventions vary between 1 per cent and 10 per cent.
Teachers generally agree that ornaments contribute to
the technical difficulty of a piece. Ornaments were divided
into three categories. The first category include mordents,
turns, and pralltrillers. Invention No. XV contains the
greatest number of ornaments in this classification with a
total of twenty-five. In order of decreasing number of
mordents, turns, and pralltrillers are Invention Nos. XII
(seventeen), VII (sixteen), II (twelve), X (eight), III (six),
I (six), XI (one), and IX (one). All other Inventions contain
no ornaments of these types.
The second category of ornaments consists of short trills.
Those Inventions containing short trills (trills other than
the pralltriller which are less than two beats) are Nos. I
(eight) and Nos. V, VII, and IX with one short trill each.
The third category consists of extended trills. Inven-
tions containing the extended trill (a trill of two beats or
longer) are Nos. XII (six trills), X (three), IV (two), and

VII (one).
146
Invention No. XV contains the greatest number of total
ornaments with twenty-five; Invention No. XII contains the
second highest number with twenty-three ornaments. Invention
Nos. VI, VIII, XIII, and XIV contain no ornaments.

Four textural characteristics were felt to be factors in
the difficulty of an Invention. They are as follows: (a) a
relatively high percentage of First Species counterpoint;
(b) a relatively high percentage of parallel and similar
motion within the First Species counterpoint; (c) a great
number of altered tones; and (d) contrasting articulation in
the voices.
A high percentage of First Species counterpoint (note
against note) was regarded as a factor which might increase
the technical difficulty of an Invention. Those Inventions
in which First Species counterpoint constitutes at least 25
per cent of the total counterpoint are Inventions Nos. II
(32 per cent), VII (31 per cent), X (44 per cent), and XI
(41 per cent).
The type of motion within the First Species counterpoint
was deemed important. Parallel and similar motion were
thought to pose the most difficulty. Only those Inventions

147
in which First Species counterpoint represented at least
15 per cent of the material were considered. Of those, the
following contain at least 50 per cent similar and parallel
motion: Inventions Nos. II, III, IV, V, VII, VIII, IX, XI,
and XIV. Especially noted were Invention No. VIII with 96
per cent similar and parallel motion and Invention'No. XIV
with 78 per cent of these types of motion.
Altered notes were thought to increase the difficulty of
reading the Invention and, possibly, the difficulty of memori-
zation. The Invention containing the greatest number of
altered tones is No. IX with ninety-one. Next iscNo. XI
with sixty-one. Other Inventions containing at least thirty-
five altered tones are Nos. II, IV, V, VI, XIII, and XV.
Although articulation is an aspect of interpretation and
therefore varies among performers, technical difficulties
related to certain common performance practices will be
mentioned here. If a great deal of the eighth notes are
detached and the sixteenth notes played legato, the resulting
contrast in articulation between the voices could pose tech-
nical difficulty in Invention Nos. IV, VIII, and XIII. This
factor could also cause problems to a lesser degree in Nos.
XI, XIV, and XV. Only two Inventions were amply edited by
Bach. Invention Nos. III and IX are "well provided with

slurs" (2, pp. 202-203). The observance of these slurs could
well cause difficulty for the intermediate student.

Two measurable factors related to rhythmic characteristics
were felt to contribute to the performance problems of the
Inventions. They are the tempo (as suggested by Keller) and
the percentage of sixteenth notes.
Those Inventions in simple time with the most rapid
tempos are Nos. VIII (J=116-126) and XV (J=92). Those Inventions

in compound time with the most rapid tempos are Nos. IV
(J.=60); XII (4-=72); and X (4.=108). The percentages of

sixteenth note movement in these Inventions are as follows:
No. VIII--52 per cent, No. XV--43 per cent, No. IV--57 per
cent, No. X--O per cent, and No. XII--65 per cent. Other
Inventions with high percentages of sixteenth note movement
are Nos. XI (65 per cent), V (55 per cent), VII (53 per cent),
and XIII (50 per cent).
The views concerning the correct tempos vary greatly
among editors, teachers, and performers (see Appendix G).
Maier states, however, that one of the virtues of these pieces
is their capacity for being musically performed at varying
tempos (9, pp. 2-3).

149

Formal Design
The complexity of the formal design was thought to affect
the performer's intellectual grasp of the piece and his ability
to memorize. Three measurable factors were felt to relate to
the formal design of an Invention. They are as follows: (a)

a relatively high number of implied chordal structures in
each measure; (b) a relatively high number of modulations;
and (c) obscurity of sectional divisions. In addition, the
opinions of one pedagogue concerning the difficulty of analysis
of each Invention will be given.
The first factor in the complexity of the formal design
is a relatively high number of implied chordal structures in
each measure. Those Inventions containing an average of at
least 2.5 implied chordal structures in each measure are
Nos. I, II, V, VII, XI, XII, XIII, XIV and XV. Of those,
Invention Nos. XI, LII, and XV contained 3.5 or more implied
chordal structures per measure.
The second factor in the complexity of the formal design
is the number of modulations present in an Invention. All
of the Inventions contained at least three modulations.
Those Inventions containing at least six modulations are
Nos. III, V, VI, VII, IX, XII, XIII and XIV. The greatest
number of modulations occur in Invention Nos. V (nine), XII
(nine) and XIII (ten).

150
The third factor related to the complexity of the formal
design concerns the sectional division of the Invention.
Those pieces in which the sections were well-defined were
felt to be more easily grasped than those in which section
divisions were somewhat obscure. Inventions Nos. V, XI, and,

to lesser extents, XII and IX were felt to be somewhat less
clear in sectional design than the other pieces. The cadences
marking the sections were not well-defined.
One pedagogue (Terhune), in addition to evaluating the
difficulties of technique, memorization, and interpretation
of the Inventions, gave his opinion of the difficulty of
analysis for each piece. He specified the analysis in terms
of the performer, not the composer ("how difficult is the
Invention to analyze in such a way as to make it intelligible
to the student?"). Invention No. X received the highest
score (8). (The rating scale was 1--easy and 9--difficult).
The next in order of difficulty was No. VI with a score of
7. The Inventions of medium of analysis difficulty were
Nos. IX (6), XV (6), XI (5), III (4), IV (4), VIII (4), and
X (4). Those Inventions judged to be simple in regard to
analysis were Nos. I (3), II (2), V (2), XII (2), and XIV (2).
151
Ranking of the Two Part Inventions
Two overall rankings of the Inventions were established.
The first was based on the factors of difficulty determined
through the analysis of the compositions. The second order
was based on the evaluations of six pedagogues.
The first ranking was based on sixteen factors relating
to difficulty (see Table XXXI). It was necessary to assign
numerical values to each of the factors related to difficulty
in order to produce an overall indication of the difficulty
of the piece. The composite figures of the Inventions could
then be compared and a ranking established.
It was decided that each factor would be measured on a
scale from zero to ten. Those factors which had been measured
in percentages were easily converted to this scale by dividing
by ten. Thus, a factor which had been measured as 68 per
cent received a value of 6.8. However, it was necessary to
devise a procedure for assigning numbers to those factors
not indicated by percentages. The following system was used:
the greatest amount of a factor found in any of the Inventions
was given a value of 10.0. All other amounts of the factor
occurring in the remaining fourteen Inventions were assigned
proportionate numbers. Relative tempos were based on the
speed of the fastest note in each composition.

152
After values had been determined for all the factors, a
composite average figure was established for each Invention.
The following table shows the numerical values for the factors
relating to difficulty and the composite averages for the Two
Part Inventions.
153
TABLE XXXI
NUMERICAL VALUES OF THE FACTORS RELATING TO

DIFFICULTY IN THE TWO PART INVENTIONS
0 CHr H
4-ACH4) Hr CH tO 4 o ci
o) 0 A 0 40 0 -)Or
0 3)4- 2)(1 1 H 40o(1
H tC~o .H tbQ48co
+
-PHQcotSco)l~
+D co -P)4-)
MICM*NmeM. 1CM. CM.

I 6.7 5.0 3.1 2.3 0 0 .6
II 4.6 5.0 6.3 6.9 1.0 0 .4
III 4.0 3.1 6.2 0 .9 1.7
IV 2.7 4.0 4.4 5.4 1.7 0 1.0
V 3.9 6.3 7.7 0 .7 .1
VI 5.0 2.7 5.0 6.9 0 .9 0
VII 6.0 3.1 . .0 0 2.0
VIII 10.0 3.3 5.0 6.2 2.0 0 1.5

IX 3.2 2.7 7.5 9.2 .6 .8
.7
X 5.6 5.9 5.0 5.4 1.0 0 0
XI 4.0 4.7 5.6 3.1 .7 0 .9

XII 3.7 5.2 5.0 10.0 0 0 0
XIII 5.0 10.0 4.4 6.2 0 1.4 .3

XIV 7.1 1.1 10.0 6.2 1.0 1.0 0
XV 4.4 4.4 4.6 1.1 .6 1.3
*M. means motive. **CM. means countermotive.

Rating scale: 1--easy; 9--difficult.
154
T ABLE XXXI--Continued
r)d
CHU()f4) CH 0 CO CH ) % U) 4-)Pt
00 ) -4 0 OH 0 04-) 0 U)0(3) r-, 00(1 0
*H*H4-0
O) 0 40%i 1) 0 Z 4-
4 ~ 00000
0 O -HCO
~d0Q~ EU) U - UCH4)
0 P- 0c co !:i CH 4-)COS co (1 O0
-CO0-D )C H (a) a000 0H OQ Z0
Q) 4 i-)
Z (D-Hr0 0 ~ *4-) 0
0(-1)
j 0 r-,H 0001)d -P Or
0U) 0-H 0 0400 4-0 0.pI OH cf
a) HCD a)CfDiSHH a0 x cf):7
f~ef~zP-4 co.
2.4 .o8 4.8 2.6 5.2 4.o8 2.6 5.0 0 2.19

8.0 3.2 5.6 4.0 4.3 6.2 2.6 5.0 0 3.94
2.4 1.6 5.5 2.3 5.7 5.3 1.5 7.0 0 3.31
1.3 2.2 5.1 5.4 7.6 5.7 1.0 5.0 0 3.28
.4 1.6 5.7 4.3 6.0 5.5 2.9 9.0 6.7 4.33

0 3.0 6.8 5.1 8.0 3.0* 1.7 6.0 0 3.38
7.5 3.' 4.5 3.7 6.0 4.9 2.5 6.0 0 3.79
0 2.3 9.6 2.7 10.0 5.2 '.5 5.0 0 3-.46
1.3 '.9 6.9 10.0 3.8 4.4 2.2 7.0 3.3 4.09
4.4 4.4 4.3 1.2 6.7 70 3.0 0 3.48
.4 4.1 5.6 6.7 4.8 6.5 3.6 5.0 10.0 4.11
9.2 .7 5 .3 3.6 8.9 5.6 3.5 9.0 3.3 4.56
0 .7 6.0 5.9 5.7 5.0 3.0 10.0 0 3.35
0 2.1 7. 2.0 7.3 6.2* 2.5 6.0 0 3.77
10.0 1.3 6.7 3.o8 7.6 4.4 3.8 5.0 0 4.11
- -- '- - - _- E
*The percentages of sixteenth and thirty-second notes were

combined.
*"The percentage of eighth note movement was used as there
were no sixteenth or thirty-second notes in the piece.
155
The figures in the last column, "composite scores," were
arranged in order of decreasing value. The following table
shows the Inventions and the scores beginning with the most
difficult.
TABLE XXXII
RANKING OF THE TWO PART INVENTIONS IN ORDER OF

DECREASING DIFFICULTY ACCORDING TO
COMPOSITE SCORES OF FACTORS
RELATING TO DIFFICULTY
Inventions Composite Scores
XII . . . . . . 0 . 4.56
.
.
.
.
.
.
V . . . . . . 0 4.33
.
.
.
.
XI . . . . * . . 4.11
.
.
.
.
.
XV .. . . . . * . . 4.11
.
.
.
IX . ., . . . . . . . 4.09
.
.
.
II . . . . . 0 3094
.
.
.
.
VII . . * . 0 3.79
.
-
-
XIV - - * . . 3.77
-
X . . . . . . . 3.48
.
VIII . . . . . 3.46
.
.
-
VI - -. - - * . . 3*38
-
.
-
-
XIII . . . . . . . 3.35
.
.
.
.
III . . . 4. 3.31
.
.
.
IV - . . . . 3.28
-
-
-
I . . . . . . 2.19
.
.
.
.
156
Only 2.37 points separates the most difficult Invention,
No. XII from the least difficult, No. I. Four of the pieces
have scores of 4.00 or above and one piece has a score of
less than 3.00. The majority of the Inventions received
scores between 3.00 and 4.00.
To establish the second ranking, six pedagogues evaluated
the difficulties of technique, memorization and interpretation
in each Invention. Scores of one, two, and three indicated
least difficulty; scores of four, five and six indicated
medium difficulty; and scores of seven, eight, and nine indi-
cated the most difficulty. The following table shows the
scores and the averages for each category of difficulty.

157
TABLE XXXIII
LEVELS OF DIFFICULTY OF PERFORMANCE OF THE

INVENTIONS AS RATED BY SIX COLLEGE
PIANO INSTRUCTORS*
Technique _Memorization
Invention Individual Piano Average Individual Piano
Nos. Teachers IRatings _Teachers'Ratigs
I 122444 2.83 1 13445
II 3 5 5 5 6 6 5.00 4 4 5 5 6 7
III 4 4 5 5 6 6 5.00 3 3 4 5 5 7
IV 3 4 4 4 4 7 4.33 2 2 3 4 4 5
V 3 5 5 5 6 7 5.17 5 5 5 6 6 6
VI 2 5 5 5 5 6 4.67 2 4 4 5 6 7
VII 4 5 5 5 6 6 5.17 2 5 5 6 6
VIII 2 4 4 5 7 5.00 1 2 4 4 4 6
IX 3 5 5 5 6 6 5.00 5 5 5 6 6
X 2 4 5 5 6 5.00 1 3 4 5 5 6
XI 2 5 6 6 7 7 5.50 4 6 6 6 7
XII 6 7 7 8 9 7.50 5 5 7 7 7
XIII 4 4 4 6 6 6 5.00 1 3 4 4 5 5
XIV 2 4 5 6 6 6 4.83 2 3 4 4 5 S
XV 2 4 5 6 6 7 5.00 2 5 5 6 7 7
*Rating scale: 1--easy; 9--difficult

**No rating given by one teacher
TABLE XXXIII--Continued
Interpretation Composite
J- w Average
I v
I- ---
Average Individual Piano Average
,. i
Teachers' Ratings
-- --2
-
3.00 1 1 2 3 4 4 2.50 2.78
5.17 2 5 6 6 6 6 5.17 5.11
4.50 3 4 4 5 5 5 4.33 4.61

3.33 2 2 4 4 4 6 3.67 3.78
5.50 4 5 6 7 7 9 6.33 5.67
4.67 4 4 5 6 6 7 5.33 4.89
4.0 4 5 5 5 6 7 5.33 5.10
3.50 1 2 3 4 4 5 3 .17 3.89
583 3 4 5 6 6 7 5.17 5.33
4.00 2 2 4 5 5 7 4.17 4.39
5.67 4 5 6 6 7 7 583 5.67
6.50 5 5 7 7 6.40 6.80
3.67 1 4 4 4 5 383 4.17

3.83 4 4 4 5 6 6 4.83 4.50
5.33 5 5 5 6 6 8 5.83 5.39
159
Invention No. I received the greatest number of

"one 's." Only two Inventions received a score of nine in
any category. They are No. V, in the difficulty of interpre-
tation, and No. XII, in technical difficulty.
There was a wide variance in the opinions of the peda-
gogues. The greatest range in figures occurred in the scores
for technical difficulty in Invention Nos. VIII and X. In
either case the lowest figure was "2" and the highest "s."
Table XXXIV -below lists the Inventions in order of de-
creasing difficulty in technique, memorization, and interpre-
tation. In addition, the last column presents the Inventions
in order of overall difficulty. In each ranking Invention
No. XII was judged to be most difficult and No. I to be the
least difficult. Based on the rating scale of one to nine,
however, the range of difficulty of all the Inventions was
only 4.02 (from 2.78 to 6.80). Thus, all the Inventions were
classified as either simple (1-3) or medium difficult (3-6).

160
TABLE XXXIV
RANKING OF THE TWO PART INVENTIONS ACCORDING TO

TECHNIQUE, MEMORIZATION, INTERPRETATION
AND COMPOSITE SCORES IN ORDER OF
DECREASING DIFFICULTY*i
Order According Order According Order According Order Ac-

to Technique to Memorization to Interpreta- cording
Scores Scores tion Scores to Com-
posite
Scores
XII (7.50) XII (6.50) XII (6.40) XII (6.80)
XI (5.50) IX (5.83) V (6.33) V (5.67)
V (5.17) XI (5.67) XI (5.83) XI (5.67)
VII (5.17) V (5.50) XV (5. 83) XV (5.39)
II (5.00) XV (5.33) VI (5.33) IX (5.33)
III (5 . 00) II (5.17) VII (5.33) II (5.11)
VIII (5.00) VII (4.80) II (5.17) VII (5.10)
IX (5.00) VI (4.67) IX (5.17) VI (4.89)
X (5.00) III (4.50) XIV (4. 83) III (4.61)
XIII (5.00) X (4.00) III (4.33) XIV (4.50)
XIV (5.00) XIV (3.83) X (4.17) X (4.39)
XV (5.00) XIII (3.67) XIII (3.83) XIII (4.17)
VI (4.67) VIII (3.50) IV (3.67) VIII (3 . 89)
IV (4.33) IV (3.33) VIII (3.17) IV (3.78)
I (2.83) I (3 .00) I (2.50) I (2.78)
*Rating scale: i--easy; 9--difficult

161
The next table presents a comparison of the two overall
rankings of the Inventions.
TABLE XXXV
A COMPARISON OF THE RANKING OF THE TWO PART INVENTIONS

BASED ON THE EVALUATIONS OF SIX PEDAGOGUES AND
THE RANKING BASED ON THE FACTORS
RELATING TO DIFFICULTY
Ranking Based on Evaluations Ranking Based on the Factors

of Six Pedagogues Relating to Difficulty
Inventions Scores Inventions Scores
XII 6.80 XII 4.56
V 5.67 V 4.33
XI 5.67 XI 4.11
XV 5.39 XV 4.11
IX 5.33 IX 4.09
II 5.11 II 3.94
VII 5.10 VII 3.79
VI 4. 9 XIV 3.77
III 4.61 X 3.48
XIV 4.50 VIII 3.46
X 4.39 VI 3.38
XIII 4.17 XIII 3.35
VIII 3 .89 III 3.31
IV 3.78 IV 3.28
I 2.78 I 2.19
& .5..
162
Several observations can be made concerning the two orders
shown in Table XXXV. First, ten of the Inventions (67 per
cent) received the same positions in both rankings. This is

a high correlation. Second, the orders of the seven most
difficult Inventions and the two least difficult correspond
exactly. Third, the five pieces whose orders differed vary
no more than five places. The numerical difference in the
widest variance is .46. Inventions Nos. XIV and X differ two
places in the rankings; No. VI differs three positions; No.
VIII varies four places; and No. III varies five positions.
Properly qualified, the following proposition appears
to be valid: there is a large possibility that the factors
identified and measured in this study are related to the
difficulty as determined here by the evaluations of six peda-
gogues. Within limits, the difficulty of an Invention is
proportionate to the amount of each of the factors relating
to difficulty contained in it.
Requirements for Performance of Bach
Several authors offer opinions on the requirements of
performance ability before studying Bach. Bryant states
That "the performer must develop the technique to maintain a
singable line . . . artistic performance will be in proportion
to the relative absence of strain and excess physical effort"

163
(3, p. 53). Maier states similarly that the Two Part Inventions
"should only be studied by players who possess well developed
technique" (9, pp. 2-3).
Lanning discusses further the necessary technique for
performance of Bach.
Although this music may be played fairly well

without proper attention to a well grounded finger
technic, experience has shown that all the famous
specialists and the best student performers of this
music, all have fine finger action.
Weak finger tips, especially when playing the
black keys, will cause uneveness of tone and insecurity.
Special attention should be given to the "up-
stroke," or the exactness with which each key is
released, for the blurring of any tone or tones by
improper overlapping, is about the worst defect in
almost all Bach playing (7, p. 5).
Three authors emphasize other musical requirements before
playing Bach. Balogh states: "To play Bach well, one has to
have a good legato and a crisp leggiero touch. To do justice
to the polyphonic part-writing one must have independent and
well-trained fingers, and one needs good ears to hear what is
going on in the music" (1, p. 51). Schroder writes, "A good
sense of musical phrasing and tonal control is absolutely
imperative if one is to perform these Inventions in such a
way as to do them justice" (11, p. 27). Tureck stresses
"special mental preparation" before playing Bach.

164
You don't just sit down and learn him--you learn how to
learn him. This intermediary step of learning how to
learn is essential. It roots in habits of thought which
grew from musical sources which are different from the
sources of the 19th century. The purely pianistic as-
pects of Bach playing are also highly important. The
student needs to develop (1) a finger technique which
is much more complete than that which is generally ac-
quired today. One of the most important factors is the
strength and true independence of each finger: (2) a
good, dependable legato: (3) a technique for changing
fingers--sometimes on the same note, sometimes in se-
quences which demand a kind of inverted fingering, such
as fourth to third, third to second, etc.: (4) a wide
variety of staccato: (5) a swift foot for pedalling.
All these are necessary: none is the least helpful
musically unless the playing is bulwarked by certain
ways of thinking (5, p. 13).
When to Begin the Study of the Inventions
Several authors emphasize the great importance of not
beginning the study of the Two Part Inventions too soon.
Spry says, "It is my belief that the Inventions are frequently
given too soon in the young pupil's study, and thereby a
distaste for Bach's music is acquired. If properly adminis-
tered, the Inventions are a splendid preparation for the
Partitas, and then the French and English Suites" (13, p. 640).
Spencer states:
. . . most piano teachers seem to think that there are

only two collections of Bach's works that are available
for teaching purposes: the "Inventions" and the "Well
Tempered Clavichord." There is no greater pedagogical
mistake than to begin the study of Bach with the "In-
ventions." To the untrained musical mind, they are
stern and forbidding; and they should be left until the
student has written advanced counterpoint for at least
165
a year. When he has reached this stage of advancement

he not only will begin to comprehend the
almost uncanny
cleverness of these "Inventions," but he also will be
able to grasp, in some degree, the deep musical feeling
which pervades so many of them, particularly those in
three parts (12, p. 62).
Spencer recommends an approach to Bach through the "almost
limitless number of Gavottes, Bourees, iMenuets and Gigues
that are scattered throughout his many suites" (12, p. 62).

Campbell recommends that the study of Bach begin, for the
average student, in the sixth or seventh grade (a technical
classification) (4, pp. 77-78).
Editions
Several writers offer recommendations concerning editions
of the Inventions. Lanning recommends the Bischoff edition
(7, p. 3). Piersel recommends the Landshoff edition (10,
p. 6). Hutcheson recommends the Busoni edition (for "students
needing a guide") and the Bischoff edition (6, p. 59-60).
Lockwood suggests the Busoni edition "for those who need an
intelligent guide. . . .' (8, p. 20). Stone suggests that

the student study as many editions as possible (he mentions
Bischoff, Czerny, Busoni and Landshoff). "But," he continues,

"one should trust nothing but a conscientious Urtext edition,
and draw one's interpretative conclusions exclusively from
what Bach himself wrote" (14, pp. 12-14). He recommends the

166
Landshoff edition as "an excellent example of an Urtext
edition" (14, p. 13).
Summary
The following characteristics were felt to be factors
related to the performance problems in the Inventions: (1)

a high percentage of intervals of the motive or countermotive
which change direction, (2) wide tonal ranges of the motive
or countermotive, (3) a high percentage of intervals of the
motive or countermotive which are larger than a fifth, (4) a
relatively large percentage of free material, (5) the presence
and amount of ornaments, (6) a relatively high percentage of
First Species counterpoint, (7) a relatively high percentage
of parallel and similar motion within the First Species
counterpoint, (8) a great number of altered tones, (9) con-
trasting articulation in the voices, (10) tempo, (11) a high
percentage of sixteenth notes, (12) a relatively high number
of implied chordal structures in each measure, (13) a relatively
high number of modulations, and (14) obscurity of sectional
divisions. Based on these factors the following ranking of
the Inventions in order of decreasing difficulty was prepared:
Nos. XII, V, XI, XV, IX, II, VII, XIV, X, VIII, VI, XIII, III,
IV, I.
167
Six pedagogues were asked to evaluate the Two Part In-
ventions according to the difficulty of technique, memorization,
and interpretation. The most technically difficult pieces are
Nos. XII, XI, V, and VII; the easiest pieces are Nos. I, IV,
and VI. The remaining Inventions were judged to be the same
in technical difficulty. The following order shows the com-
positions according to difficulty of memorization, beginning
with the most difficult: Nos. XII, IX, XI, V, XV,

II, VII,
VI, III, X, XIV, XII, VIII, IV, I. The next list presents
the Inventions in order of decreasing difficulty of inter-
pretation: Nos. XII; V; XI and XV (tied); VI and VII (tied);
II and IX (tied); XIV; III; X; XIII; IV; VIII; I.
The last ranking represents the composite difficulty of
the compositions. In order of decreasing difficulty they
are Nos. XII, V, XI, XV, IX, II, VII, VI, III, XIV, X, XIII,
VIII, IV, I.
A comparison of the ranking based on the evaluations of
the six pedagogues and the ranking based on the factors re-
lated to difficulty revealed a high correlation. Ten Inventions
hold identical positions in both rankings: the most difficult
seven and the two least difficult were among the ten. This
high agreement between the rankings suggested that, to some
degree those factors identified and measured are related

168
to the difficulty as here determined. Within limits, the
difficulty of an Invention is proportionate to the amount of
each of the factors.
Several writers have offered comments concerning the
requirements for performance of Bach. The essential musical
abilities discussed are as follows: (a) a well-developed
technique, (b) strong fingers, (c) a good legato and a crisp
leggiero touch, (d) independent fingers, and (e) a good sense
of musical phrasing. Tureck, in addition to pianistic require-
ments, emphasizes the need for mental preparation.
Three authors--Spry, Spencer, and Campbell--emphasize the
importance of not beginning the study of the Inventions too
soon. Spencer suggests that the student begin the study of
Bach through selected Gavottes, Bourees, Menuets, and Gigues.
Three editions of the Two Part Inventions--Bischoff,
Landshoff, and Busoni--are recommended by authors. Stone
suggests that the student study as many editions as possible
but trust only an Urtext . He recommends the Landshoff edition.

1. Balogh, Erno, "Some Thoughts On How To Perform Bach,
"
Etude, LXIX (January, 1951), 51.

3. Bryant, Celia Mae, "Eighteenth Century Showcase," Clavier,

Vol. VI, No. 8 (November, 1967), 53.
4. Campbell, Le Roy B., "When and How To Begin the Study of

Bach," Etude, XXXVII (February, 1919), 77-78.
5. Heylbut, R., "Learning to Learn Bach," Etude, LXXIV (May-

June, 1956), 13.
6. Hutcheson, Ernest, The Literature of the Piano, 2nd ed.,

New York, Knopf, 1949.
7. Lanning, Russell, Bach Ornamentation, Ann Arbor, J. W.

Edwards, 1952.
8. Lockwood, Albert, Notes on the Literature of the Piano,

Ann Arbor, University of Michigan Press, 1940.
9. Maier, Guy, "A Master Lesson," Etude, LXVII, (December,

1949), 2-3.
10. Piersel, David T., "Bach's Ornaments,t" Clavier, Vol. VII,
No. 1 (January, 1968), 6.
11. Schroder, C. F., "Piano Lesson: Two Part Invention No. 6

in E Major," Clavier, Vol. III, No. 4 (April, 1964),
27-30.
12. Spencer, Allen, "A Different Bach," Etude, LIV (July,
1936), 413-414.
13. Spry, Walter, "Bach and Handel Compared," Etude, LIII

(November, 1935), 640.
169
170
14. Stone, Kurt, "What Bach Edition Should I Play?" Etude,

LXVIII (July, 1950), 12.
CHAPTER IV
SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
Summary and Conclusions
The purpose of this report was to analyze the Bach Two
Part Inventions and to prepare a graded list for pedagogical
purposes. The analysis of the Inventions included an exami-
nation of the characteristics of line, texture, rhythm, and
formal design. From the analyses, performance problems were
determined for each composition and a ranking of the Inventions
according to difficulty was established.
To determine the relative difficulty of the pieces six
pedagogues were polled. These teachers were asked to evaluate
the difficulty of technique, memorization, and interpretation
in each of the Two Part Inventions. From the results of this
survey a graded list of the compositions was prepared.
Chapter I of this report presents the purpose of the
study, the sub-problems involved, definitions of terms,
delimitations, the basic hypothesis of the report, the basic
assumptions of the report, background for the study, methodology,
and the plan of the report

.
171
172
Chapter II contains the analyses of the Inventions and
related comments of writers. The discussion of each piece
is accompanied by a graphic analysis showing the form, the
modulations, the implied chordal structures, and the contra-
puntal devices used.
Chapter III presents the identification of performance
problems in the Inventions and a graded list.

In addition,
a ranking based on the factors as measured in this study was
established. A discussion of the musical and pianistic re-
quirements for performing the Two Part Inventions, the suit-
able level for beginning the study, and the editions of the
Inventions was also included.
Appendices A through G present the following: (a) the

frequency of parallel, similar, oblique and contrary motion
in the Inventions; (b) the frequency of relatively accented
dissonant intervals in the Inventions; (c) the frequencies
of "rough" and "smooth" measures according to melodic accents;
(d) the frequencies of "rough" and "smooth" measures according
to durational accents; (e) the list of piano pedagogues from
whose surveys a graded list of the Inventions was prepared;
(f) a copy of the rating sheet sent to the pedagogues; and
(g) tempos for the Inventions suggested by five authorities.

173
The Two and Three Part Inventions were written about
1720 when Bach was conductor of the orchestra at Cathen.
They were intended as exercises for his son Wilhelm Friedmann
Bach, then nine years old. According to Geiringer the first
two and the last eight were written by the father and Nos.
III through VII by Friedmann. The pieces are intended as
studies for performing and for composing, both of which Bach
considered necessary. Bodky concludes that the Inventions
were intended to be performed on the clavichord.
Three studies related to the Two Part Inventions have
been made by three authors--Platt, Miller and Satterfield.
Platt points out the common use of melodic patterns in Bach's
counterpoint, a practice which offers a clue to the less
easily explained intricacies of his counterpoint. Miller
examines the motion in the progressions. Oblique motion
constitutes more than half of the progressions with other
types of motion in order of decreasing frequency being con-
trary, parallel, and similar. The average index of melodic
independence was found to be 1.9, an indication of a high
degree of melodic independence. Satterfield finds the emotional
content of the Inventions is related neither to the disso-
nance content nor to roughness in melodic accents. He concludes
that poignancy is related to roughness in durational accents.

174
The following characteristics of the motive and counter-
motive are found in a majority of the Inventions: (a) 50 per

cent or more changes in the direction of the melodic intervals;
(b) less than 10 per cent of intervals a sixth or larger; and
(c) a range of an octave or more.
A study of the episodes produced several facts. (a)

Most of the material in the Inventions is derived from the
motive and countermotive. (b) A majority of the measures are
rough in melodic accents. (c) Most of the pieces contain
ornaments, ranging in number from one to twenty-five.
An investigation of the texture revealed the following
facts. Most of the counterpoint is in Second Species. A

majority of the progressions within First Species counter-
point are in similar and parallel motion. Most of the rela-
tively accented intervals are consonant. Two-thirds of the
pieces have an average of two or more implied chordal struc-
tures per measure. Over three-fourths of the Inventions
contain twenty-five or more altered tones. The majority of
the pieces contain six or more modulations.
A study of the rhythmic characteristics produced the
following observations. A majority of the pieces are in
simple meter. The most frequent note value is the sixteenth
note. Keller and Bodky agree on rapid tempos for Nos. VIII,
X, and XII.
175
An analysis of the formal design revealed that most of
the Inventions are in three sections. Two pieces are canons.
Two rankings of overall difficulty were established.
Based on the factors identified in relation to the difficulty
of the pieces the following ranking of the Inventions in
order of decreasing difficulty was prepared: Nos. XII, V, XI,
XV, IX, II, VII, XIV, X, VIII, VI, XIII, III, IV, I. According
to the evaluations of six pedagogues the most technically
difficult pieces are Nos. XII, XI, V, and VII; the easiest
pieces are Nos. I, IV, and VI. The remaining Inventions
were thought to be the same in technical difficulty. The
following order shows the pieces according to difficulty of
memorization beginning with the most difficult: Nos. XII, IX,
XI, XV, II, VII, VI, III, X, XIV, XII, VIII, IV, I. The
third list based on the opinions of the pedagogues presents
the pieces in order of decreasing difficulty of interpreta-
tion: Nos. XII; V; XI and XV (tied); VI and VII (tied); II
and IX (tied); XIV, III, X, XIII, IV, VIII, I. The second
ranking indicating the composite difficulty of the composi-
tions is as follows, beginning with the most difficult: Nos.
XII, V, _XI, XV, IX, II, VII, VI, III, XIV, X, XIII, VIII,
IV, I. There is a high correlation between the two rankings
of overall difficulty. Ten of the Inventions have identical
positions in both orders.

176
Several authors make recommendations concerning the
study of the compositions. First, the student should have
a well-developed technique and a good sense of musical phrasing.
Second, the student should not begin his study of polyphonic
music with the Inventions. Third, the student should study
as many editions as possible but should trust only an Urtext.
The Landshoff edition is highly recommended.
Based on the results of the investigations of this study
the following conclusions are drawn:
1. The ranking of the Inventions based on the evalua-
tions of pedagogues is as follows, beginning with the most
difficult: Nos. XII, V, XIII, VI, III, XIV, X,
XIII, VIII, V, I.
2. The ranking of the Inventions based on the identifi-
able factors related to difficulty is as follows, beginning
with the most difficult: Nos. XII, V, X, XV_, IX, I, VII,
XIV, X, VIII, VI_, XII, III, IV, I.
3. There is a high correlation between these two lists.
This suggests a large possibility that the factors identified
and measured in this study are related to the difficulty as
determined by the evaluations of the six pedagogues.
4. A wide range of opinions concerning the difficulty of
these pieces exists among pedagogues.

177
5. The majority of Inventions received scores indicating
similar difficulty in each of the aspects of performance
listed--technique, memorization and interpretation.
6. It is possible to determine and measure the factors
related to difficulty in a group of compositions and to com-
pare their overall difficulties.
Recommendations
Based on this study of Bach's Two Part Inventions the
following recommendations are submitted to teachers, students,
and researchers.
-
1. Teachers should not begin the intermediate student's
study of polyphonic music with the Two Part Inventions.
2. Teachers should give serious consideration to the
performance problems in each Invention before assigning it
for study.
3. Teachers should give serious consideration to the
particular strengths and weaknesses of the student in assign-
ing the Inventions.
4. It is recommended that the student study as many

editions of the Inventions as possible, but form his inter-
pretative ideas on the basis of the Landshoff edition.
5. Further study should be made concerning the other
smaller keyboard works of J. S. Bach.

6. Further study should be made to establish valid
criteria for judging the difficulty of piano music.

APPENDIX
179
APPENDIX A
FREQUENCIES OF PARALLEL, SIMILAR, OBLIQUE, AND

CONTRARY MOTION, AND MELODIC INDICES
IN THE TWO PART INVENTIONS
TABLE III*
CONTRAPUNTAL PROGRESSION IN BAcH's Two-PART INVENTIONS
Invention Parallel Similar Oblique Contrary Index
No. z, C major .. .- 7% 1o% 58% 25% 2-0
No. 2, C minor .. .. .. 21-5, 6 47 2558
NO.3, D major- - .. ro 57 22 1-9
NO.4, D minor 12 20 53 25 1 *9
No. 5, E major .. 0 II 53 26 2-O
Xo. 6, E major,.- 5 6 76 13 2-0
1O. 7,
8
E minor . - 5 9 70 16 20O
No. , F major .. 22 14 38 26 1.7
o. 9, F minor . .. 1 59 27 1.9
NO. loGmajor .. 17 8 43 32 1.9
N. I, G minor .. . 21 13 41
No. 12, A major 25 1-7
.. . 11 6 22 2*0
No- 13,A minor . . 63 49 32 2-1
NO. 14, Bb major .. .. 2 13 49 17 1 -6
NO. 15, B minor . .. 4 15 50 21 1-8
Average .. .. .. 13 10 54 23 1-9
*Complete table reproduced from 2, p. 291.

APPENDIX B
FREQUENCIES OF RELATIVELY ACCENTED

DISSONANT INTERVALS IN THE
TWO PART INVENTIONS
TABLE I
*
Number of Intervals Number of relatively Percentage of
having relative accented Dissonant relatively accented
Invention i1 Metric Accents Intervals Dissonance
1 142 36 25-3%
Ii 185 44 238%
III 155 38 . 24-5%
IV 140 36 25-7%
V 239 56 23.4%
Vi 1237 85 35'9%
VIi1 159 31 19.5%
VIII 183 32 17-5%
1X 195 30 5*4/
X 8778 20-7%
Xl 175 33
XIl. 6 36 17-4%
X11436 220%
xV 34,15-8%
XV164k 30-8%

182
APPENDIX C
PER CENT' OF ROUGH AND SMOOTH MEASURES

ACCORDING TO MELODIC ACCENTS
TABLE
Upper Voice Lower Voice
Invention Smooth Rough Smooth Rough
13-6 86-4 18-2 81-8

II 29-6 70-4 28-0 72-0
III 37'3 62-7 35*1 649
IV 28-8 71-2 24-0 76-0
V 18-8 81-2 9-4 90-6
VI 275 72-5 17-7 82-3
VII 30-4 69-6 8-7 91-3
VIII 20-7 79-3 27-3 72-7
IX 17-6 82-4- 59 94-1
X 37-5 62-5 29-0 71-0
XI 130 87-0 0*0 100-0
XII 9-5 90-5 14-3 85-7
XIII 20-0 8o-o .8-o 92-
XIV 40-0 6o-o 25-0 75-0
XV 27-3 72-7 22-7 77-3
'Complete table reproduced from 4, P. 174.

APPENDIX D
PER CENT OF ROUGH AND SMOOTH MEASURES

ACCORDING TO DURATIONAL ACCENTS
TABLE II
Upper Lower -I Macro-

Tirmc
invenion, Signature Key %R % %R % j %S
%
%.4
I
C
Icc 13-6 86-4 13-6
77-1
86-4 9-0
1101
91-'0
88-9
II C) 77"1 22*9 22-9
III 3/8 D 8-4 91 -6 11-8 88-2 $-4 91-6
IV d 88-5 57 94.3 9-6 90-4
3/8
c Eb, 59*4 40'6 40-6 59#4 6-4 93-6
VI 3/8 E 2704 72-6 22-6 77 4 3-2 c)6-8
VII C
3/4
IC
e
F
34-8
6-1
65-2
93-9
13-0
6-1
87-0
93.9
13'0
6-z
87-0
93.9
IX 3/4 76-5 23-5' 621-7 38-3 2.9 97-4
X 9/8 G 3-1 96-9 9.3 90-7 96-9
XI IC 34-8 65-2
90'5
43.4 56-6
6i -9
4-3 95.7
95-3
XII 12/8 A 9-5 38-1 4.7
XIII. c a 20-0 80-.0 16-d 86-o 4-00 96-c
XIV c Bb 15.0 85-0 20-0 8o-o 00 10040
XV c b 22-7 77-3 31-8 68-2 13-6 86.4
owwwwwwwom" t I- i I" - ~, .- ~ ..

APPENDIX E
PIANO PEDAGOGUES
The rating sheet in Appendix F was sent to the following
piano pedagogues:
Bardas, Stefan, School of Music, North Texas State University,

Denton, Texas, 76201
Cass, Richard, School of Music, North Texas State University,

Drath, Jan, School of Music, North Texas State University,

Elliott, Denson, School of Music, Murray State University,

Murray, Kentucky, 42071
Rogers, Robert, School of Music, North Texas State University,

Terhune, Russell, School of Music, Murray State University,

Winter, John, School of Music, Murray State University,

185
APPENDIX F
RATING SHEET*
Please indicate the degree of difficulty of each of the
Two Part Inventions on the scales below by circling the
appropriate number.
Invention No. I
Simple Medium Difficu lt
a. Technical difficulty 1 2 3 4 5 6 7 8 9
b. Memorization difficulty 1 2 3 4 5 6 7 8 9
c. Interpretative difficulty 1 2 3 4 5 6 7 8 9
d. Other 1 2 3 4 5 6 7 8 9
Invention No. II
Simple Medium Difficu Lt
d. Other 1 2 3 4 5 6 7 8 9
Invention No. III

Simple Medium Difficu]Lt
d. Other 1 2 3 4 5 6 7 8 9
Invention No. IV
Simple Medium DifficulLt
d. Other 1 2 3 4 5 6 7 8 9
*The rating sheets for the remaining

eleven Inventions
followed the same form.
186
APPENDIX G
TEMPOS FOR THE TWO PART INVENTIONS

SUGGESTED BY FIVE AUTHORITIES*,
Inventions Suggested Tempos
Nos. Beat Note Bodky Bischoff Czerny Keller Landshoff
+80 96 120 63 84
II 4= +80 69 108 52 63
IV
III +60 60 80 46 51
IV +60 76 72 60 48
V 180 72 108 72 69
VI +120 138 144 96 104
VII 4= 60 69 112 72 60
4. =
VIII +100 126 144 116-126 116
IX 4e=
-= 60 60 116 46 58
X 100 100 152 108 112
XI +80 80 108 58 69
-=
XII +6(D 76 84 72 56
XIII 4- = +80 116 104 69 80
XIV +6(D 69, 88 44 69
XV +8(D 96 104 92 84
I -I -__-_I__- --- __---_.__I_ II
*Tempos reproduced from 1, pp.o 345-370.o

APPENDIX BIBLIOGRAPHY

2. Miller, H. M., "Progression in Two-Part Counterpoint:

A Method of Analysis," Music Review, XVI (November,
1955), 289-299.
3. Satterfield, J., "Dissonance and Emotional Content in the

Bach Two-Part Inventions," Music Review, XVIII
(November, 1956), 273-281.
4. , "The Emotional Content of the Bach Two

Part Inventions," Music Review, XIX (August,
1959),
173-179.
BIBLIOGRAPHY
Books
Apel, Willi, Harvard Dictionary of Music, Cambridge, Harvard

University Press, 1962.
Bodky, Erwin, The Interpretation of Bach's Keyboard Works,

Forkel, J. N., Johann Sebastian Bach: His Life, Art, and Work,
translated by C. S. Terry, London, Constable and
Geiringer, Karl, Johann Sebastian Bach: The Culmination of

an Era, New York, Oxford University Press, 1966.
Grove's Dictionary of Music and Musicians, edited by Eric

Blom, 5th edition, 10 vols., London, MacMillan and
Hutcheson, Ernest, The Literature of the Piano, 2nd ed., New

York, Knopf, 1949.
Kennan, Kent, Counterpoint, Englewood Cliffs, Prentice Hall,

1959.
Lanning, Russell, Bach Ornamentation, Ann Arbor, J. W. Edwards,

1952.
Lockwood, Albert, Notes on the Literature of the Piano, Ann

Arbor, University of Michigan Press, 1940.
Mason, Neale B., Essentials of Eighteenth-Century Counterpoint:

A Practical Stylistic Approach, Dubuque, Wm. C. Brown
Company, 1968.
Oxford English Dictionary, Oxford, Oxford University Press,

Vol. V, 1933.
Scholes, Percy, Oxford Companion to Music, 9th edition, London,

Oxford University Press, 1955.
Schweitzer, A., IJ. S. Bach, translated by E. Newman, (2 volumes),
Boston, B. Humphries, 1962.
Spitta, Phillip, Johann Sebastian Bach: His Work and Influence

on the Music of Germany, translated by Clara Bell and
J. A. F. Maitland, New York, Novello Ewer and Company,
1899.
Webster's New World Dictionary of the American Language,

College edition, New York, The World Publishing Company,
1955.
Articles
Balogh, Erno, "Some Thoughts on How to Perform Bach," Etude,

LXIX (January, 1951), 51.
Bryant, Celia Mae, "Eighteenth Century Showcase," Clavier,

Vol. VI, No. 8 (November, 1967), 53.
Campbell, Le Roy B., "When and How to Begin the Study of Bach,"
Etude, XXXVII (February, 1919), 77-78.
Heylbut, R., "Learning to Learn Bach," Etude, LXXIV (May-June,

1956), 13.
Hutcheson, Ernest, "How to Teach the Two-voiced Inventions of

Bach," Etude, XXXVII (June, 1919), 339-340.
Kinscella, H. G., "Making a Start With Bach," Etude, LIV

(October, 1936), 621.
Landowska, W., "Charm of Bach's Two-Part Inventions," Etude,

LI (July, 1933), 452.
Landshoff, Ludwig, "Notes," accompanying the Two Part and

Three Part Inventions3 New York, Peters Corporation,
1933.
Leonard, F., "What Did Bach Mean?" Etude, LVI (September-

October, 1938), 573-574, 645i
Maier, Guy, "A Master Lesson," Etude, LXVII, (December, 1949),

2-3.
190
Maier, Guy, "Two-voice Invention in c Minor; a Master Lesson,"

Etude, LXXII (March, 1954), 26.
Miller, H. M., "Progression in Two-part Counterpoint: A

289-299.
Piersel, David T., "Bachis Ornaments," Clavier, Vol. VII,

No. 1 (January, 1968), 6.
Satterfield, J., "Dissonance and Emotional Content in the

Bach Two Part Inventions," Music Review, XVII (November,
1956), 273-281.
, "The Emotional Content of the Bach Two Part

Inventions," Music Review, XIX (August, 1959), 173-179.
Schroder, C. F., "Piano Lesson: Two Part Invention No. 6 in

E Major," Clavier, Vol. III, No. 4 (April, 1964), 27-30.
Spencer, Allen, "A Different Bach," Etude, LIV (July, 1936),

413-414.
Spry, Walter, "Bach and Handel Compared," Etude, LIII (November,
1935), 640.
Stone, Kurt, "What Bach Edition Should I Play?" Etude, LXVIII
(July, 1950), 12.
Weir, R. S., "The Beauty of Bach," Etude, XLVIII (November,

1930), 782.

Coryell PDF

Uploaded by

Copyright:

Available Formats

Coryell PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Coryell PDF

Uploaded by

Copyright:

Available Formats

1

A PEDAGOGICAL APPROACH TO THE BACH

TWO PART INVENTIONS

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

Since the nineteenth century the Two Part Inventions

have become standard repertoire for piano students. However,

piano teachers have often failed to give serious consideration

to the suitable selection of Inventions for study. Piano

students have commonly formed a dislike for Bach's piano

music because of an ungratifying initial experience.

There is little material written in English dealing with

the Two Part Inventions. Those studies of the Inventions

which do exist consist mainly of brief articles in periodicals

and limited discussions in piano literature books. Therefore,

there seemed to be a need for a systematic collection of

pedagogical ideas concerning the Two Part Inventions. In

addition, it was felt that an analysis of the problems in

each piece and a subsequent graded list of the Inventions

would be a step toward a more intelligent and more knowledge-

able approach in the teaching of these compositions.

I. STATEMENT OF THE PROBLEM . . . . . . . . . . . . 1

II. A STYLISTIC ANALYSIS OF THE BACH

III. IDENTIFICATION OF PERFORMANCE PROBLEMS AND

Performance Problems Related to

IV. SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS. . . . 171

Summary and Conclusions

APPENDIX....*.. ......... . . . . . . . . . . . . . 179

Appendix A: Frequencies of Parallel, Similar,

I. Frequency of Counterpoint Species in

VII. Frequency of Counterpoint Species in

IX. Frequency of Counterpoint Species in

X. Frequency of Note Values in Invention

XI. Frequency of Counterpoint Species in

XII. Frequency of Note Values in Invention

XIII. Frequency of Counterpoint Species in

XIV. Frequency of Note Values in Invention

XVIII. Frequency of Note Values in Invention

XX. Frequency of Note Values in Invention

XXI. Frequency of Counterpoint Species in

XXII. Frequency of Note Values in Invention

XXIII. Frequency of Counterpoint Species in

XXIV. Frequency of Note Values in Invention

XXV. Frequency of Counterpoint Species in

XXVI. Frequency of Note Values in Invention .

XXVII. Frequency of Counterpoint Species in

XXVIII. Frequency of Note Values in Invention

XXIX. Frequency of Counterpoint Species in

XXX. Frequency of Note Values in Invention

XXXI. Numerical values of the Factors Relating to

XXXII. Ranking of the Two Part Inventions in

XXXIII. Levels of Difficulty of Performance of

XXXIV. Ranking of the Two Part Inventions According

XXXV. A Comparison of the Ranking of the Two Part

1. Invention No. VII, Melodic Pattern, Measure 21 13

2. Invention No. I, Melodic Pattern, Measure 21 . . . 14

3. Invention No. XI, Melodic Pattern, Measure 4 . . . 14