Musical analysis of Invention no.

7- by Bach

This invention consists of 23 bars and is in the key of E minor. The first bar is set

upon the tonic chord of the key. It starts with an octave on the E and on the lower E,

in the right hand begins a melody which is the main motif. It is composed of

demisemiquaver notes. They are in descending order in this bar (B, A, G,F♯, G, E)

This motif is then imitated in the same bar, in the left hand by the notes :

G,F♯,E,D,E,C. Bar 7, goes unto the tonic again, and there is also in imitation, starting

from the right hand from the second beat (semiquavers) (D,C,B,A,B,C) going into the

left hand (G, A,B,A,B,G)

It can be shown in figure 0.1:

• Figure 0.1

Then the music goes into the dominant tonality of the key (in bar 2). It is noticeable

that he made use of some concord chords but then does a discordant chord, so that the

melody won’t sound too monotonous. Soon after a discordant chord is used, after it

there is always a concord chord.

We can see imitation of the same motif once again, from the second demi semiquaver

beat in the right hand, which is then imitated in the left hand, after the quaver rest.

(See figure 0.2)

Figure 0.2 (showing bar 2)

At the end of this bar the chords II, I ,VII , I are used.

The third bar starts on the tonic ,then it goes unto the IV chord and II . There is yet

another imitation of the main motif ,the one which was shown in bars 1 and 2.

In bar 4, the melody uses the chords VII and V. Here there is also an imitation of the

motif. Bar 5 is based upon the VI chord, and a new motif/idea is introduced, it starts

by the end of bar 4 (in the right hand part) and it is continued through imitation in the

left hand part of bar 5. It has different rhythmic beats and the notes are very similar to

the first motive, it only changes by a tone.

Figure 0.3 (showing bars 3, 4 and 5 with their respective imitative parts)
In the right hand part of bar 5, a sort of a counter melody starts which compliments

the motifs. Bar six is based upon the VI and V chords, and it has 4 semi quaver notes

in descending motion (G,F♯,E,D) imitated from the to the hand unto the left

(B,A,G,F♯) hand, and ends with two quaver beams on D (note)(in the left hand) which

are an octave apart. In the piece we can notice that having two quaver beams an

octave apart, was repeated several times ,as from bar 1, 2,3,4 ( all in the beginning of

the left hand part) and in this bar (6) it is at its end.

Bar 7 is in the Tonic chord and has the imitation of the first motif in it as well ,then in

bar 8, which continues in the Tonic , the right hand stops by a whole tone note D,

which is tied, and the melody is completely in the bass. Bar 9 continues in the tonic

and the goes unto the dominant chord. As imitation there are the first semiquaver

notes in the bass which are repeated at the end of the bar in the right hand.

Bar 10 is made up of the II , V and VI chords. In Bar 11 the key changes to B Major,

and the chords II, I are used, then goes unto IV, V in bar 12, I in bar 13, V in bar 14.

In bar 14 the imitation part is in the left hand itself, by making 2 pairs of 4 semiquaver

beams after each other, but the second time they moved down a tone. The music in

these bars is varied; it’s almost a new section which is built upon the motifs.

In bar 15 the key modulates to D Major, and the chords VI and II are used.

In bar 16 the chords used are II and I .The bass is sustained on a B by a tie, and the

melody is in the right hand, where there are two semiquaver beams similar to bar 14,

which are repeated after each other, with the second one being a tone lower.
Figure 0.4 (showing bar 16)
•

The first part of bar 11’s right hand part is similar to the motif in bar 16 but it’s bit

varied. The chords used are II and VI. In bar 17 the melody continues in the right

hand, with the sustained B note in the left hand. In this bar the chord used is the II

(supertonic).

In bar 18, the (subdominant) IV chord is used .In this bar there are two imitations one

in the right hand bar itself, and another in the bass part. This is shown in figure 0.5

In bar 19 the chords used are the VII (leading tone) and I (tonic) and in 20, the

supertonic (II), up till the third beat where the key changes to its original tonality, that

is E minor. In the last part of bar 20 the tonic chord or E minor is used then the

subdominant (IV).

Bar 21 is made up of the II chord, and there is an imitation in the bass part in the last 3

beats, where there are three consecutive 4 semiquaver beams. Bar 22 is in the

dominant chord, and there is an imitation in the first two beats of the right hands,

which are imitated in the last part of the bar in the bass part. The last bar ends by the
chords IV, V and I , having an octave leap again , on a B and resolves on the tonic ,

creating a perfect cadence.

Ornamentation

Several ornaments are used throughout the whole piece. In bar 1 there is a lower

mordent, in bar two two trills. In bar 6 there is a lower mordent and a trill. In bar 7

there is a long trill, followed with another short trill in bar 9. In bar 10 there are 3

lower mordents. In bar 20 appears another lower mordent and in bars 21 and 23 (last

bar) there are two trills.