sequence the music naturally works toward the most nearly re-
lated key (the dominant) and in the seventh measure reaches in
that key its first objective. These Inventions of Bach, as well
as the Dance forms soon to be studied, are almost invariably
in what is known asTwo-partform,i.e., the music consists of
two main divisions, clearly marked off by cadences[37]; the first
of which modulates to the dominant or some related key while
the second part, starting in this key, works back to a final close
in the home key. In Inventions it early became customary in
the second part to begin with the same motive as the first—but
in theoppositevoice. Thus we see, in the Invention now be-
ing discussed, that the seventh measure begins with the original
motive in the bass which, in turn, is imitated by the Soprano—a
process just the reverse of that in the opening measures.
[Footnote 36: The best edition is that by Busoni, published by
Breitkopf and Härtel.]
[Footnote 37: This technical term as well as others will later be
more fully explained.]
[Music]
In pieces in this Two-part form the second portion is gener-
ally longer than the first; for the composer, by the time he
has reached this second part, may consider the material suffi-
ciently familiar to be expanded and varied by excursions into
more remote keys, and by more intricate manipulations of the
chief motive. In measure 11 we find a modulation to D minor
and then, after some free treatment of the motive, we reach—in
measure 15—a cadence in A minor. A long sequential passage
brings us, through a modulation to the subdominant key of F
major (in measures 18 and 19), to a strong closing cadence in
the home key. It should be noticed that in this Invention and in
some of the dance forms there is shown a strong leaning towards
a tripartite division of the material as is indicated by thethree
cadences in measures 7, 15 and 22. Since, however, the middle
part is lacking in any strongcontrast—which is such an essential
factor in the fully developed three-part form—it seems better to
consider this piece, and others like it, as a tendency rather than
as a complete embodiment of tripartite arrangement. It is ex-
pected that the music lover will take these Inventions for what
they really are and not search in them for those notes of intense
subjectivity and dramatic power so prevalent in modern music.