1

AUS MEINES HERZENS GRUNDE

BWV 269
Johann Sebastian Bach
Analysis by Lester Knibbs

Basic Analysis of Chorale Harmonization (I-IV-V-I)

Fig. 1 is J.S. Bach's harmonization of Aus meines Herzens Grunde (No. 1 in the Bach-
Riemenschneider collection). A chordal analysis is provided (allowing for my shortcomings in
web writing - no superscripts, for example). Assigning such labels to chords tells us little about
how this harmonization functions.

Before moving on to my cadential structure analysis, a few comments:

M. 1, b. 2: Passing tone in tenor creates a root position submediant chord.

M. 2, b. 2: suspension in soprano creates a first inversion mediant chord.

M. 5, b. 2: Passing tone in alto creates a submediant 6/5 chord (some would say,
instead of the root position tonic chord indicated).

M. 8, b. 2: Passing tone in alto creates a first inversion leading-tone chord.

M. 11, b. 2: Passing tone in alto creates tonic 6/4 chord; compare this moment to
measure 2, second beat, mentioned above.

M. 17, b. 2: A compressed recap of measure 4 (from the upbeat on the third beat of
measure 3); although the first inversion leading-tone chord is missing, it is still heard.

M.19, b. 3 - M. 20: Motion in soprano repeats, in augmentation, motion of tenor in

measure 1, creating a similar IV-6 to vi to dominant progression.

Cadential structure is a series

of variations on a simple
theme - the harmonic
progression [I-IV-V-I]. In Fig
2.1 below, this progression is
stated in the first five quarters of
the harmonization (2.1a) and
repeated in mm.2-3 (2.1b). This
double statement of the basic
progression is a prolongation of
the tonic function. The various
statements of subdominant,
dominant and other chords do not perform basic structural functions; they prolong or
elaborate structural functions, in this case the tonic (I). In this first phrase, the first three
measures (with the upbeat) are a prolongation of the tonic, and the last chord is the
structural dominant. There is no structural subdominant; in cadential structure, the
structural subdominant is optional. This phrase is a half-cadence - [I - V] (2.1c).
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These two
phrases
constitute the first
part of the
chorale; they are
repeated.
Together they
constitute a
form of binary
statement - half
cadence, full
cadence - found
in short pieces by Bach and sonata themes by Mozart, as well as in the overall structure
of short compositions by composers as disparate as Bach and Liszt and in the overall
structure of entire symphonic movements. The essence of cadential structure analysis is
that it shows how the entire tonal repertoire is based on the simple tonal cadence [I-IV-V-I].

The third phrase (Fig. 3.1) is a simple

prolongation of the structural tonic, by
way of alternations with dominant chords
(3.1a), followed by the structural dominant; a
half cadence (3.1b).
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From the point of view of cadential structure, the fourth phrase (Fig. 3.2) is a problem. The
tonic chords occurring in the middle of the phrase seem to be the only structural functions. I
analyze this phrase as beginning with a motion into the tonic (3.2a), continuing with a
prolongation of the
tonic (3.2b) and
concluding with a
motion away from the
tonic (3.2c). The
entire phrase is a
prolongation of a
structural function
which occurs only in
the center of the
phrase, and not at
either end (3.2d). It
begins up in the air
and, despite the
tonicizing f-natural and the strongly voiced subdominant chord, it ends up in the air.
There is no modulation - inadequate preparation, and the b-natural in the soprano would
need to resolve upward to c-natural - and, although we cannot be sure until we hear the
continuation, the c-major chord is not a structural subdominant.

Inside-out structures of this sort are not characteristic of cadential structures in the tonal period,
but extensive prolongation, especially of the initial tonic, and extensive elaborations of motions
from one structural function to another (especially from the initial structural tonic to the structural
subdominant) are the basic ingredients of symphonic compositions. My analyses may seem
extreme, but I believe that it is the prolongation of the initial structural tonic into the latter part of
the development section that gives the first movement of Beethoven's third symphony both
power and coherence; it is the elaborate motion from the initial structural tonic to the structural
subdominant in the latter part of the development section of the first movement of Beethoven's
Pathetique sonata for piano (opus 13) that gives the movement, overall, enormous driving force.
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Now that we've had a little quasi-modulation,

we have a semi-recapitulation. In Fig. 4.1,
we see a phrase that begins as a
recapitulation of the second phrase (mm.
5-7) but continues and concludes as a
recapitulation of the end of the first phrase
(mm.3-4), compressing four quarters into
three. This entire phrase is a half
cadence, as was the first phrase,
prolonging the tonic from its first quarter-
note upbeat to the final eight note before
the final dominant chord. I like to point out
the pattern of alternating tonic and dominant
functions (4.1a); it's common and it works. Any student practising the harmonization of
melodies should be encouraged to use this technique wherever possible.

The last phrase (Fig. 4.2) ends exactly as did the second phrase, a full subdominant-dominant-
tonic cadence. The first five quarters of this phrase, however, set forth new voicings of familiar
chords. One of the delightful characteristics of this harmonization is the recurrence of identical
voicings and similar
sonorities. The tonic chord
at the end of m. 3 returns
no less than eight times in
that identical voicing, and
three more times with a b-
natural replacing the g-
natural in the bass. The
dominant chord at the end
of the first phrase returns
five times. The constant
return of similar or
identical voicings is more
the rule than the exception
in this harmonization. Consequently, the newly introduced opening voicings of the last phrase
stand out.
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Another difference in this last phrase is that instead of prolonging the initial structural tonic this
phrase uses an elaborated motion from the initial tonic to the structural subdominant. I prefer
the first analysis (4.2a) in which the structural subdominant is not reached until the halting
motion in the bass reaches the low c-natural. This interpretation is supported by the change in
both melodic direction and rhythm at that point, as well as by the return of familiar chords,
voiced to emphasize the idea of recapitulation at the conclusion. In the alternate interpretation
(4.2(b) and (c), the structural subdominant is reached on the e-natural in the bass and
prolonged for three quarters. I do like this idea, for a number of reasons, among them: (1) it
provides a nice counterpoint to the meter; and (2) prolongation of the structural subdominant is
often an exciting process in larger works. But aside from the first-inversion subdominant chord,
this interpretation is not well supported in this instance.

Fig. 5.1 is Bach's harmonization with my cadential structure analysis. Row (a) is a simple
analysis indicating the structure of each phrase. The opening two phrases are a binary
statement, and the last two phrases recapitulate that idea. In between, we have some
ambiguity. Row (b) indicates a recurrent idea which I suspect is the key to the middle section.
Row (c) presents my (tentative) conclusion that the middle section begins a prolongation of the
tonic which continues into the penultimate phrase.
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This conclusion is based on the recurrent pattern of {I>V>vi>IV>I} which prolongs the
tonic in the first and fifth phrases. This pattern also extends from the end of the third phrase
to the beginning of the fifth phrase. This pattern suggests that the fourth phrase, instead of
being an inside-out prolongation of the tonic, is an elaborated motion from the submediant to the
subdominant. The strong root-position tonic in the middle of this phrase - accented in the text,
as well (see #17 in C.P.E. Bach's 185 Four-Part Chorales for the text) - goes against that
interpretation. Frankly, I love the contradiction. Both analyses are true; the ambiguity is
real: this is both (1) an inside-out prolongation of the tonic and (2) a motion from the
submediant to the subdominant using the tonic as a connecting harmony. It is important
to notice that the harmonic structures holding this composition together cut across phrase
boundaries. In symphonic works, such harmonic structures cut across sectional divisions. (And
in some symphonies of Gustav Mahler, harmonic structures transcend the divisions between
movements.)

This form of analysis helps us to grasp the larger structures of musical compositions. I am
indebted to the concepts of Heinrich Schenker and Felix Salzer, as presented in the latter's
Structural Hearing, but I am proposing a significant difference. The [I-IV-V-I] pattern is central
to this form of analysis. For example, Liszt's Etude in D-flat (Un Sospiro) seems to
modulate in a series of major thirds from D-flat major to A major to F major and back to
D-flat major. This pattern is real and might be emphasized in Salzer's form of analysis, but
the underlying cadential structure holding this composition together is strong and rather
conventional, and the modulation in major thirds turns out to be a beautiful illusion.
Another difference is that cadential structure is harmonic, not contrapuntal, focusing on
the bass-line, whereas Schenker analysis deals with multiple lines. I am also indebted to
Arnold Schoenberg's concepts as presented in Structural Functions of Harmony.

Every musical composition is a varied repetition of the music that came before it, and every
musical composition in the tonal period consists of varied repetitions of the [I-IV-V-I] pattern.
Theme-and-variations on a grand historic scale.