Bach: Invention 1 in C Major, BWV 772 (Musical Analysis)

Sheet music for piano or harpsichord with melodic analysis (see below for details).

Invention No. 1 in C Major by Johann Sebastian Bach, BWV 772, from Fifteen Two-Part Inventions (BWV 772-786).

Source: Final Autograph, manuscript preserved at the Berlin State Library.

00:00 Titles - Subject Analysis
00:17 Exposition - Episode 1
00:37 Middle Entry - Episode 2
01:05 Episode 3 - Coda

Melodic analysis:

Key melodic figures, from short motifs to larger thematic units, are marked with a distinct color.

A new color means a new melodic figure. The same color means a recurring melodic figure.

Small gaps within a recurring melodic figure signify mutations, changes in the size or direction of the intervals.

A saw-toothed edge means that the melodic figure has been truncated at the head, tail, or both.

Melodic figures that are part of a sequence or imitative passage that does not appear elsewhere, are marked grey.

[bachpianoscores]

Subject (blue)
Countersubject (green)
Octave leap followed by rest (grey)
Subject, inverted (violet)
Subject head, augmented (yellow)
Countersubject, variation with octave displacement of first note, mordent instead of trill on second note, and delayed third note (orange)
Cadential motif (pink)
Subject tail, augmented (indigo)
Subject head, inverted and augmented (magenta)

Section 1
Exposition (C Major)
Bar 1
00:17 Subject in right hand, echo of subject in left hand with countersubject in right hand
Bar 2
00:20 Same as bar 1 but a fifth higher
Episode 1 (C Major -> G Major)
Bars 3-4
00:24 Descending 2-beat sequence: inverted subject in right hand with augmented head of subject in left hand
Bars 5-6
00:30 Subject in left hand with variation of countersubject in right hand, cadential approach based on material of preceding sequence, cadential motif in right hand, perfect authentic cadence in G Major

Section 2
Middle Entry (G Major)
Bar 7
00:37 Subject in left hand, echo of subject in right hand with countersubject in left hand (cf. bar 1)
Bar 8
00:41 Same as bar 7 but a fifth higher in the left hand and a second higher in the right hand (cf. bar 2)
Episode 2 (G Major -> D Minor -> A Minor)
Bars 9-10
00:44 Ascending 1-bar sequence: inverted subject and augmented tail of subject in left hand with echo of inverted subject in right hand
Bars 11-12
00:51 Descending 2-beat sequence: inverted subject in left hand with augmented head of subject in right hand (cf. bars 3-4)
Bars 13-14
00:58 Subject in right hand with variation of countersubject in left hand, cadential approach based on material of preceding sequence, cadential motif in right hand, perfect authentic cadence in A Minor (cf. bars 5-6)

Section 3
Episode 3 (A Minor -> D Minor -> G Major -> C Major -> F Major -> C Major)
Bars 15-18
01:05 Descending 2-bar sequence: dialogue in canon between both hands with alternating inverted subject and subject, right hand leading (cf. bars 9-10)
Bars 19-20
01:18 Ascending 2-beat sequence: subject in right hand with augmented inversion of head of subject in left hand (cf. bars 3-4 & 11-12), cadential motif in right hand with subject in left hand, evaded cadence in C Major
Coda (F Major -> C Major)
Bars 21-22
01:25 Inverted subject in right hand with augmented head of subject in left hand, head of subject in left hand with free counterpoint in right hand, perfect authentic cadence in C Major

[zeeyangs.r]

I couldn't express my gratitude enough, because you've saved my first assignment on music analysis

[ireneli]

you just saved me from my music theory class, thank you!

[Osphin]

Is it me or both reversed head and tail of subject/main motif are actually counterpoints of "C-E-D-C" ?

[GracefulLiving]

Is there somewhere an explanation for what each different colour means?

[mingzesun]

Excellent analysis! Hope you don't mind I use it through my teaching. Thank you!

[composer]

It would have been fantastic if you included the chords and modulations.Thank you.

[김경민-jr]

could you let me know who(pianist) recorded, thank you for posting this

[doublevision]

The F natural in the treble at the end of the 2nd measure is obviously a transcriptional mistake. I wish people would stop playing it that way. It should be an F#. It's like if someone writes a play but accidentally writes an inconsistent verb tense but then everyone commits to reciting the script that way.