ON BACH'S MOTETS: ANALYSIS OF COMPOSITIONAL TECHNIQUE USED FOR DOUBLE CHOIR
Author(s): RICHARD C. PISANO
Source: The Choral Journal, Vol. 9, No. 3 (NOVEMBER-DECEMBER 1968), pp. 21-23
Published by: American Choral Directors Association
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7th is Doubled 3 times
ON BACH'S MOTETS Three stylistic compositional techniques are used by Bach
in this motet. They both, in effect, represent the alternating
of two chorus bodies. ( 1 ) The most common technique other
ANALYSIS OF COMPOSITIONAL TECHNIQUE than chorus imitation of a phrase, is the exchange of ma
USED FOR DOUBLE CHOIR terial in order of presentation. This technique can be observed
in comparing measures 1 to 3 with measures 12 to 14. At
RICHARD C. PISANO the beginning of the work, chorus I is the focal point and
chorus II, the accompaniment and foundation. Then, at meas
Of the six motets by J. S. Bach, four are composed for ure 12, the presentation is exchanged; chorus II now has the
double choirs. It is the intent in this article to present some important material. Observe the example below ; notice the
indication as to Bach's technique of writing for double choir. change from tonic to dominant in example (2).
This compositional technique was rather unique with Bach. Example (1) measures 1-3
The objective here is twofold: (1) to arrive at Bach's
technique of doubling the tones within a chord for eight
voices; (2) to arrive at Bach's technique of alternating the
two bodies of the choir as opposed to one another. This has
been accomplished through chord analysis. The analysis was
specifically confined to those chords which required the par
ticipation of eight voices. The doubling is due primarily to
the contrapuntal texture and not the homophonic. Chords
were taken at their face value, and no extra unwritten notes
were assumed for them. In the event of elongated, florid pas
sages on neutral syllables, the chordal analysis was confined
to the strong beats of the measure. And in the extended pas
sages where passing chords appeared, the chordal structure
on the beat was recognized.
S in get Dcm Hcrrn Ein Ncitcs Lied (Sing unto the Lord
a New Song) *
In Singct dcm Herrn, the actual eight-part writing oc
curred in the first section. There were, however, two meas
ures in section III which had both choirs scored in seven-part
writing; these were also recognized. In this motet, more so
than in any other, Bach had used non-harmonic tones which
had to be taken into consideration in arriving at the signi
ficant doublings.
There were seventy-one chords analyzed in this motet.
Most of the eight-part grouping appeared in the first seventy
five measures, which in reality is part one of section I. The
fugue is part two of this section did not use eight individual
lines but doubled at the unison each time a voice of the ac
companying choir entered. Example (2) measures 12-14
Bach's technique of doubling was not treated haphazard
ly. We know from historical documentation that Bach was
not prone to simply recopy the notation of one choir and give
it to the next. In each composition there is a doubling char
acteristic that is readily apparent. In Sin get dent Hcrrn,
Bach has tripled the 5th constantly ; this occurs each time
lie uses a 1st inversion triad and whenever the root is tripled.
There is also less doubling of voices at the unison in this mo
tet ; when there is, the doubling of the bass and alto pre
dominates.
Sivi -
Chorus I and II appear together in forty-three measures ^ , Sib -
and form seventy-one chord structures.
Outlined below is the doubling procedure used by Bach 5£f:
in Singct dcm Hcrrn.
Root is Quadrupled 21 times
3rd is Quadrupled 2 times
5th is Quadrupled 3 times
7th is Quadrupled 0
Root is Tripled 21 times
3rd is Tripled 14 times
5th is Tripled 21 times
7th is Tripled 4 times
Root is Doubled 22 times
3rd is Doubled 46 times
5th is Doubled 37 times
21
NOVEMBER-DECEMBER 1968
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ON BACH'S MOTETS The root is Tripled 20 times
The 3rd is Tripled 12 times
(2) The next technique which Bach uses in writing for The 5th is Tripled 14 times
double choir is similar to a canon. It is different from the The 7th is Tripled 0
typical chorus imitation in that both choirs continue to per The root is Doubled 18 times
' form, rather than rest, until the passage is completed. An The 3rd is Doubled 51 times
example of this canon technique is noted below. The 5th is Doubled 45 times
The 7th is Doubled 9 times
Example (3) measures 59-61
Bach has used a combination of contrapuntal techniques
in this motet. He uses the choral groups as complete entities
and also as "one." There is a unifying thread running through
the first part of this work, which acts as a point of departure
for each chorus. This florid four-measure line is the identi
fication marker for the first line of the text, which is event
uallv handled bv every voice.
Example (4) measures 1-5 soprano line
This line is the basic reason for individual voice lines to
merge and create six and eight part counterpoint. There are
common voicings of thirds between the soprano of Chorus I
IS — Vfc
b wf t*y'^
f*<-VJ . ' «.
and the soprano of chorus II, or the bass of chorus I and the
bass of chorus II.
■i Then, too, the separate chorus bodies also take on an
I I individualism which is readily apparent. The concept of hav
iicvx if Ho «-Vj IS - - V«L> ing one choir answer the other was a commonplace technique
-4: during Bach's time and, as a result, we notice this character
lte= istic in Der Geist Hilft. However, there is more than just an
k«-v* <.», - 11^ imitation of two-measure phrases occurring. Bach uses an
Jt - - - interesting technique of inverting passages which have just
i-^' u been completed or passages which have been heard approxi
r T U
"\ Mk >l - Vfc- - «1. fl«« - mately twenty measures earlier. For example, at measure 18
both chorus I and II are united: they sing individual lines
until measure 25. Then Bach interchanges chorus I and
The example shows that chorus I is followed three beats chorus II, so that now chorus I has the same material that
later by Chorus II, singing a sixth below. There are slight, chorus II had, and chorus II has the same material chorus I
two-note changes in the inner voices, but the basic pattern sang. The notes are identical, and the length of the phrase
is still apparent. is complete.
(3) Section III is made up entirely of the common As a more subtle method of imitative phrase passages,
antiphonal style of double chorus writing. The two groups Bach also uses the same technique with a wider rhythmic
rarely meet at all, and if they do, it is a cadence point or at placement. At measure 42 both chorus bodies are again unit
the completion of a phrase. In this motet, the length of the ed. The passage in question lasts until measure 49. Then
phrase alternates frequently; this adds interest to the static turning ahead to measure 94, the same passage is transposed
antiphonal style. up a whole tone and appears in an inversion.
Der Geist Hilft Unsrer Schwachheit Anf (The Spirit Furchte Dich Nicht (Fear Thou Not)
Also Helpeth Us) Chorus I and chorus II appeared together with eight
Of the 124 measures in the first part ef Der Geist Hilft, voices in forty-two measures, and formed fifty-five chords.
there are only nine measures that indicate a complete rest. Perhaps the most outstanding feature derived from this anal
This is an indication of how active both choirs are. Practi
ysis is the fact that Bach is never totally consistent. There
cally every measure demands the utmost in personal partici is always an element of surprise involved in each analyzed
pation. The two choirs join forces very often and, unlike chord. It is interesting to keep in mind the basic stylistic
Furchte dich nicht and Komm, Jesu Komm., they remain to features of eighteenth century four-part writing, when re
gether for more extended phrases. viewing these findings. Notice below, the doubled root which
Approximately eighty-eight chords have been analyzed appears thirteen times — the 3rd doubled forty times, and
in Der Geist Hilft. Due to the frequent florid passages and the 5th, thirty-six times. Notice the relationship of the quad
elongated phrases, only the chords appearing on the strong rupled root to the 3rd and 5th. In the same light, notice that
beats have been recognized. Also, those chords which set the the root is only doubled when inversion or sevenths appear.
important text have been analyzed. The character of the Outlined below is the doubling procedure used by Bach
work is such that the eight voices appear together most often in Furchte Dich Nicht.
when they sing the same text in a declamatory fashion.
Outlined below is the doubling procedure used by Bach The root is Quadrupled 20 times
in Der Geist Hilft. The 3rd is Quadrupled 4 times
The 5th is Quadrupled 4 times
The root is Quadrupled 40 times The 7th is Quadrupled 0
The 3rd is Quadrupled 3 times
The 5th is Quadrupled 5 times The root is Tripled 19 times
The 7th is Quadrupled 0 The 3rd is Tripled 4 times
THE CHORAL JOURNAL
22
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The 5th is Tripled 10 times This double choir motet is definitely an example of what
The 7th is Tripled 0 Spitta inferred when he stated, "in motets for double chorus
The root is Doubled 13 times
. . . the working out was done by means of alternating the
two bodies of the chorus, ... as self—contained and com
The 3rd is Doubled 40 times
plete entities."1 From measures 79 to 167 this principle was
The 5th is Doubled 36 times
The 7th is Doubled 3 times
proven. There is a constant answering of bodies in antiphonal
style, but yet the text and musical material are exact repiti
The compositional technique employed in this motet is tion. These eighty-eight measures set, "Thou art the way of
to use the separate choral bodies as self-contained, complete life, the pathway to salvation." To set this, the two choirs
entities. The two choruses unite at the beginning and end of alternate in singing imitative passages. The passage is either
a phrase, and usually for not more than three to four beats. one measure long for the first idea of text or eight measures
They also unite at strong cadence points, which usually oc for the complete statement.
cur at the completion of a section or at the close of the com At measure 85. for example, chorus 1 begins an eight
position. Analysis showed that the double chorus usually measure statement, only to be answered in strict imitation
unites on the 1st or 4th beats of the measure. This meeting by chorus II at measure 93. Also, chorus I begins another
of choirs is the result of the antiphonal effect desired by eight measure statement at measure 107, only to be answered
Bach. The pattern for this style of writing is such that one in strict imitation by chorus II beginning at measure 115. In
chorus answer immediately at the completion of a phrase. a new key. and with slight variation, chorus I begins an
The musical notation is different for the answering choir, other eight-measure statement at measure 129. Chorus II
but the text is the same, and the rhythmic imitation is strict. proceeds to answer in strict imitation at measure 137. It is
With this technique of using the self-contained chorus this concept of antiphonal construction that formulates a
as an individual body, there is little opportunity for achiev well knit polyphonic movement.
ing a mass sound of combined choruses. Also, the opportunity * * »
for eight-part development of thematic material is non-ex The analysis shows that Bach considered each choir in
istent.
the double choir motet a complete and separate entity. The
Komm, Jesii, Komm (Come, Jesus, Come) antiphonal style of choir singing was not the main technique
In Komm, Jesu, Komm, the two choral groups appeared
in the composition. The two choirs combined to form an
together almost consistently in section I. Here, Bach has re eight-part grouping for fugal movements, for section com
pletion, for cadence points, or to offer a declaratory text
sorted to homophonic texture entirely, but still joining the
which called for special musical treatment.
groups at the end of phrases or short homophonic passages.
In the four double choir motets, Choirs I and II appeared
The second section also uses the combined choirs, but to a
lesser degree. Here, Bach uses the choirs to form a poly together to form approximately 330 chords. This general
treatment of arriving at which notes of the chord have been
phonic texture. With these two sections containing different
doubled reveals that Bach does not follow a basic pattern of
textures, Komm, Jesu, Komm is an unusually good motet for
doubling. The frequency of note doubling for eight voices in
investigating the doubling procedure.
A total of one hundred and sixteen chords have been the four motets using 330 chordal structures is illustrated
below :
analyzed in this motet. The analyzed chords, as mentioned
Root is doubled 85 times Root is tripled 89 times
earlier, are those which are made up of eight voices.
3rd is doubled 215 times 3rd is tripled 45 times
In this motet, as in the other double choir works, the 5th is doubled 286 times 5th is tripled 72 times
most outstanding feature is the lack of consistency in the 7th is doubled 23 times 7th is tripled 4 times
doubling of notes of the chord. The only characteristic in Root is quadrupled 128 times
this motet is the quadrupled 5th when using a second inver 3rd is quadrupled 11 times
sion triad. In this respect, Bach usually will continue a par 5th is quadrupled 18 times
ticular doubling practice : for example, in Der Geist Hilfl 7th is quadrupled 0
and Furchte dich nicht, he quadrupled the third when using One of the most significant implications from this in
an 0/7 chord; in Singet dem Herrn he tripled the 5th when vestigation is that contrary to the normal conjecture of note
using a 1st inversion triad. Also, the doubling of voices doubling for eight voices which, as Goetschius indicates,
at the unison is varied in Komm, Jesu, Komm. Whereas Bach would be "... to have the original four parts usually
has usually doubled the bass and alto in a comparatively doubled" ;z Bach quadruples the bass and doubles the 3rd and
similar number of measures, this motet his the bass doubling 5th of the chord.
much more than the alto. The bass doubles at the unison in
The investigation also revealed which of the individual
sixty measures, as compared to the alto who doubles in voices of Choirs I and II doubled at the unison while singing.
twenty-nine measures. It was expected that the basses of choirs I and II should sing
Outlined below is the doubling procedure used by Bach in unison more frequently than other voices. The doubling
in Komm, Jesu, Komm, at the unison appeared in the basses of Choirs I and II for
192 chords; the tenors for 111 chords; the altos for 116
The root is Quadrupled 47 times
chords ; and the sopranos sang at the unison in 63 chords.
' The 3rd is Quadrupled 2 times
If Bach's composition is a mature art, it at once becomes
The 5th is Quadrupled 6 times
The 7th is Quadrupled 0 apparent that in performing his works today we are obliged
to pay as careful attention to the music from a technical as
The root is Tripled 29 times well as aesthetic point of view. Therefore, analysis is im
The 3rd is Tripled 15 times perative.
The 5th is Tripled 27 times
The 7th is Tripled 0 FOOTNOTES
1. Philipp Spitta, Johann Sebastain Bach, Vol. II, tr. by
The root is Doubled 32 times Bel] and Fuller-Maitland, New York: Dover Pub., Inc., 1951,
The 3rd is Doubled 78 times p. 604.
The 5th is Doubled 68 times 2. Percy Goetschius, Materials Used In Musical Compo
The 7th is Doubled 8 times sition, New York: G. Schirmer, 1915, p. 244.
23
NOVEMBER-DECEMBER 1968
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