1

Chapter Nineteen
J. S. Bach’s Two-Part Inventions
The Invention

A. a. Inversion b. Transposition, fragmentation, and sequence

c. Transposition d. Transposition and augmentation
e. Transposition, fragmentation, and sequence

b 3 œ œ
œ œ œ œ œ
B.
&b 8 œ œ

b œ œ
&b œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ

*
& bb œ œ
œ œ œ
œ œ
œ œ œ œ œ œ œ
œ
* Many answers are possible for this fifth operation. Any part of the motive might
be fragmented.

C.
1. Tonal sequence; measures 11-14 display the same relationship.
2. Measures 5 and 6 are an inverted counterpoint (inexact) of mm. 3-4.
3. a. An augmented fragment (fragmented augmentation?) of the opening
measure.
b. A fragmentation of m.1
c. An augmented fragment of the inversion of m.1

4. d: ( i | viio7 )| i | viio7 | i | viio7 | i | ii | F: V | I |

ii7 | viiø7 | I7 | vi | V | iii7 | ii V | I

Invention No. 6

A.
1 PT PT

œ œ œ œ œ œ 2œ œ œ œ œ œ œ 4œ
PT PT
œ œ œ 3œ œ œ
PT PT PT
œ œ œ œ œ
PT
?# 3 œ
1

4 J œ œ œ œ œ
œ œ œ PT
7 6
œ
G: I V (or I) I ii 5 (or IV) V
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?#
5 œ NT
œ œ œ œ NT
œ œ œ œ PT
œ œ 6 œ NT œ œ 7œ œ œ œ
œ œ œ œNTœ œ œ œ PT œ œ.
8

œ œ œ œ
7
œ
ii V7 I IV V I V I

Measure 5 might be analyzed entirely as a V7. However, the analysis given recog-
nizes that a harmonic sequence likely accompanies the melodic sequence of mm.5-6
and also reveals the typical Baroque descending-fifth pattern in those measures.

œ œ
PT
œ œ œ
PT PT
b 3 1 2
œ œ
3
˙.
4

&b 4 œ œ œ œ
œ œ n PT
œ œ
? b 3 ˙. ˙. ˙. œ
b 4
g: i v6 VI V

b 5
œ œ œ PTœ œ 6 œ œ œ PTœ œ 7 œ œ
œ
8

&b ˙.
œ œ
? b n˙ œ œ œ
œ œ œ
b ˙
6 6
5 5 6
Bb: V ii V V I ii V I
B.
1. mm.1-2: l.v. imitates u.v.
2. m. 4: u.v. imitates l.v.
3. mm. 3-4: l.v. imitates u.v.
4. mm. 6-7: l.v. imitates u.v.
5. mm. 5-6: u.v.
6. mm.1-2: l.v.
7. mm. 3-5: u.v.

C. This invention is composed almost entirely of the sequencing, imitation, melodic

inversion, and contrapuntal inversion of the motive. Prominent examples are:

1. Motive: m. 1, beats 1-2, u.v.; possible countermotive: m.1, beats 1-2, l.v.
2. mm. 6-8 = inverted counterpoint (transposed) of mm. 1-3
m. 10 = inverted counterpoint of m. 9; m. 11 = inverted counterpoint of
m. 10
3. Melodic inversion: mm.1 and 2, u.v.
Imitation: mm. 4-5 (by melodic inversion); mm. 12-13, u.v. imitates l.v.;
mm. 16-18: u.v. imitates l.v.
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Sequence: mm.1-2, u.v.; mm. 4-5, both voices; mm. 12-13, both voices;
mm. 14-16, both voices

4. Tonal plan:

I V (m. 8) vi (m. 9) ii (m. 11) ( m. 12)

(vi and ii may be considered tonicizations rather than modulations.

Several tonicizations of IV occur as well. )

5. Extended imitation (canonic imitation): mm. 16-18