Melody
Prelude
The melody appears in the first section of the prelude in first measure in the upper woodwinds. This motif is created by utilizing neighbor motion as well larger leaps down. This figure is then repeated in measure two by lower voices, creating an antiphonal effect. Bach sequences this motive in various voices to create a flowing melodic line. Below is the melody of prelude in the oboes at measure 1:
The melody appears in the first section of the prelude in first measure in the upper woodwinds. This motif is created by utilizing neighbor motion as well larger leaps down. This figure is then repeated in measure two by lower voices, creating an antiphonal effect. Bach sequences this motive in various voices to create a flowing melodic line. Below is the melody of prelude in the oboes at measure 1:
A variation on this idea of utilizing neighbor motion is introduced in measure 9 in the upper woodwinds while lower voices provide a descending counter-motive. Below are the parts for all saxophones at measure 9, which succinctly capture both ideas.
Amongst the descending counter-motive at measure 9 is a unique displaced descending scalar figure found in the bassoons and French Horns. Here is a quick view of what the horns have at measure 9:
In measure 17, the cornets enter with a variation of the upper woodwind figure in measure 9. Here is their part:
At measure 20, the upper woodwinds (flutes and clarinets) enter with a unique new figure that helps signal the cadence in F Major. Here is the flute part from pick-up to measure 20 to measure 24.
The beginning of the second section of the prelude sounds very similar to the beginning of the first section with the cornets starting with the theme and lower woodwinds and euphonium responding. Here is the baritone sax and cornet 1 parts from measure 25-28.
However, at measure 29, the upper woodwinds enter with a new melodic idea similar to their figure earlier at measure 9. Here is the oboe line at measure 31:
At measure 33, the woodwinds present a full-bowed, sequenced melodic line with a sequenced harmonic line in the horns and trombones and lower woodwinds and arpeggiated eighth-note figures in the low woodwinds and euphonium underneath. Below are the 3rd clarinet, alto clarinet, and bass clarinet parts from measure 33-35.
These voices all come together at measure 36 for a bold, accented, forte cadence in g minor. Here is the parts for the 1st and 2nd clarinet at measure 36:
After quickly presenting the theme in minor, the work modulates back into B-flat major with a recap of the original theme leading up to the coda. The coda starts in measure 51 with the upper woodwinds playing thirds while lower voices emphasizing motion between thirds as the lower voices emphasize the descending scalar motion:
The prelude concludes with tonic cadential figures in both endings, the stronger being in the second ending with the fermata. Here is the 2nd clarinet part from measure 54 to the end of the prelude (2nd time):
Fugue
The fugue begins shortly after the release of the fermata ending the prelude. There are three main ideas in this fugue: the subject, the tonal answer, and the counter-subject. These three ideas are presented through the fugue in four groups of voices (see form section below). Here are excerpts of each idea from the fugue:
The fugue begins shortly after the release of the fermata ending the prelude. There are three main ideas in this fugue: the subject, the tonal answer, and the counter-subject. These three ideas are presented through the fugue in four groups of voices (see form section below). Here are excerpts of each idea from the fugue: