Violin A
upper treble
jj
b c b
#
b
#
&
#
b
c
b
&
#
Violin C
Bass line
& b c
Violin B
lower treble
& b
Violin A, B, C show the reduction of the Adagio. The result is very similar
to the Trio Sonata texture, two treble voices supported by a bass line.
3
S. Vln.
b b j
&
J
J
b
Vln. a
&b
Vln. b
Vln. c
& b
j
#
#
#
bJ
n
J
J
R
b
J
J
b
# J
& b
Cadence - D minor
S. Vln.
Vln. a
Vln. b
Vln. c
6
b b# n
& J
J
J
b
b
&
b
& b #
& b
j
)
# n
J
#
b
&
Vln. a
&b
Vln. b
&b
Vln. c
b
&
nb b #
#
R
b
#
#
j
b # nn b b
J
J
# n
Deceptive Cadence
Instead of cadencing in E flat, Bach adds a dramatic
touch by going to a deceptive, fully dimished
chord, setting up the eventual cadence to C minor.
b
b n b b
b n
& b
b
J
b J
b J
b
b
b
b
n
&
11
S. Vln.
Vln. a
Vln. b
Vln. c
&b
& b
Eb: I
V /IV
b 6
ii
Cadence - C minor
S. Vln.
13 U
b b
& b
n
b
n
R
heightened expression with 2 octave expansion
bU
Vln. a
&b
U
& b b
Vln. b
n o
Cm: vii 7
b
i
U
Vln. c
& b
n
o
vii 7 /V
Section 3, "Return" in
Subdominant m.14-22 (iv/c - i/g)
compare the opening A section to its return in the subdominant
14
& b
#
#
J
jj
b
J
S. Vln.
b b j
b
J
J
b
& b b b n n n
n
Vln. a
&b
Vln. b
&b
& b
i
Vln. c
16 b
&
j
b #
J
J
# #
bJ
J
R
n
J
S. Vln.
Vln. a
j
b
b
n
&
bb
J
J
J
b
n
&b
Vln. b
&b
Vln. c
& b
j
b
n b
n J
J
J
J
b
n
j
n
18 b
& #
J
b #
J
S. Vln.
Vln. a
Vln. b
Vln. c
b
b n#
b
& #
J
b
b
b
&b
b #n
&
& b #
20 b
#
J
&
S. Vln.
&b
Vln. a
&b
Vln. b
&b
Vln. c
b n
b
b
b
& b
21 b
&
n
J
Vln. a
#
b
&
#
&b
Vln. b
& b n
Vln. c
& b
# J
b w
w
w
w
w
w