THIS CHAPTER IS A CONTINUATION of our investigation into the role of motive as a unifying device in Bach's suites, the focus now being on motive within the context of structural voice-leading. The term “structural” is used here and elsewhere in this work to refer specifically to Heinrich Schenker's concept of structural levels progressing from the Ursatz (fundamental structure). It is extremely important that we make a clear distinction between this concept of musical structure and other means of musical organization, like form and key succession. We have already observed the symbiosis of large-scale harmonic organization and voice-leading structure in chapter 2. Several of Bach's suites contain movements that share the same harmonic plan, occasionally at the level of a common figured bass, but more commonly at a much deeper level (e.g., common key succession). In some instances those in the latter group also share the same deep-level voice-leading structure, strengthening the association. We now turn our attention to motive within such a context.

Our first example is taken from the flute partita (BWV 1013). Figure 4.1 provides the opening sections of two of its movements, the Sarabande and the Bourrée anglaise. While each is unique in certain respects, it is also clear that the two openings share several motivic components. Of primary importance in this respect is the fifth a1–e2, and secondarily the prolongation of a1 by its lower neighbor note g#1 and of the e by its upper neighbor note f. In addition, following the prolongation of e2, both phrases descend by step to b1 supported by dominant harmony. The Sarabande opens with the ascending fifth a1–e2, then returns to a1 via g#1 before leaping to the metrically and agogically stressed f1 as the incomplete upper neighbor of the following e1. From there the line ascends to d2, which is subsequently decorated by its own third f 2–e2–d2 before descending by step to b1. By contrast, the Bourrée opens with a leap of a descending fifth e2–a1, then prolongs a1 by a progression involving the lower neighbor g# before returning to e2. From there the upper line descends to b1 while the lower line decorates e1 by its upper neighbor f1.