In the 2025-2026 Amustcl diploma music theory exam new syllabus, there is an analysis question for question 5. The allure of Bach’s Partita No.6 lies in its captivating melodies, intricate motifs, and improvisational qualities, making it a favorite among students.
For this Bach’s Partita analysis, we have consulted several analytical books on Bach’s music and selected the most suitable version for the AmusTCL diploma music theory exam format. We have also received many feedback regarding our analysis work for Beethoven’s Piano trio in previous syllabus 2023-2024, this time round we have decided to make some improvements according to our students’ requests, we offer the model answer in Bach’s partita analysis more exam smart, offering answers in point form according to the exam format, we have done the bar by bar, phrase by phrase analysis, identifying sequences, imitations, melodic decorations, modulations for changes of keys and all harmonic progressions stated in detail. The provided information is valuable for students to study and answer questions with increased confidence and detail.
The score provides clear markings for the main themes, subjects, motifs, counter-subjects, sequences, and imitations. These markings synchronize with our study notes, facilitating the students’ understanding of the analysis work. The detailed analysis includes descriptions and comments about the special characteristics and features of each movement.
Here is a sample of our analysis:
One interesting aspect of the Partita is the inclusion of unconventional elements, such as a Toccata with a Fugue in the middle, starting with a spoken characteristic instead of a melodic line, which is uncommon in Bach’s compositions. Following the Allemande is the Corrente, which is borrowed from an early version of the Sonata in G major for violin and harpsichord. The Corrente, the largest one composed by Bach, is a well-known Italian dance movement.
To enhance the profoundness of the subsequent Sarabande, Bach includes an ‘Air’ after Corrente. ‘Air’ is a term used to describe a song-like vocal or instrumental composition. It can also be used for the interchangeable melodies found in folk songs and ballads. Aria is a term commonly used to describe a variant of the musical song form. Prepare to be amazed by the extraordinary dissonant harmonies in the
upcoming Sarabande. Although carefully notated on the score, they give the piece an improvised quality. Bach’s time saw this second part of the Sarabande as especially unique due to its dissonant harmony. The gentle French dance called Tempo di Gavotta is known for its lively character and the anacrusis on the 3rd and 4th beats at the start of each bar. Out of all the dances, the last movement Gigue is the most fascinating. This Gigue is written as a form of Fugue and starts with subject 1 in first 2 bars, looks like 12 tone series in Schoenberg’s composition because there are 12 notes in subject 1 although 2 notes in the scale are missing, but when the 2nd subject appears in this Fugue, it brings us to conclusion of having 14 notes in the melody. If we assign numbers to each letter of the alphabet, BACH adds up to 14. Hence, in certain other Fugues, Bach cleverly inserts a 14-note subject at the start, as if discreetly placing his self-portrait or autograph within the music.
This analysis has been meticulously tailored to meet the feedback and requirements of students, ensuring a high score on the upcoming AmusTCL diploma music theory exam. The detailed analysis is available for SGD$130. Contact Jenny on WhatsApp at +65 98256286 if you’re interested. Payment can be made through PayLah or PayNow to 98256286 (for transactions within Singapore), or via PayPal to pianoplaying@yahoo.com (for international transfers). We’re excited to receive your response!