Lessons · Showcase

Sheep May Safely Graze

Bach — two flutes in thirds, one line and a mark

% mm.1 — the ritornello line, stated bare: it rocks on the fifth of
% B-flat, dipping to the third and back twice, then lifts from the sixth
% to the tonic above. Ten notes in one measure, two shapes — Rock and
% Lift — that the flutes spend the piece marking.
 
bpm 60
meter 4
unit 1/4
key bb4 maj
mode diatonic
 
Dip   ::= 5 3 5 _2
Rock  ::= 5 _2 Dip*2
Lift  ::= 6 _2*2 '1 _2
Theme ::= Rock Lift
 
Theme
 
 
% Two flutes, one line. The second flute is not a second melody: it is
% the first, two scale steps lower — a third under every note. The
% assert says so: one mark spells what a copyist writes out ten times.
 
assert Theme@~-2 == 3 _2 3 1 3 _2 3 1 3 _2 4 _2*2 6 _2
 
{Theme, Theme@~-2}
 
 
% mm.1-2 — the answering measure sequences the same two shapes: the rock
% a step down, the lift a step up. Parallel motion is a device, not a
% law: at the cadence the lower flute leaves the thirds and takes three
% notes of its own.
 
Break ::= 4 _2 2 _2 4 _2
Duet  ::= {Theme Rock@~-1 Lift@~1, Theme@~-2 Rock@~-3 Break}
 
Duet
 
 
% mm.1-2 — under both flutes the bass grazes on one note: a tonic pedal,
% eight B-flats to the measure, unchanged through both measures.
 
Ped ::= ..1 _2*8
 
{Duet, Ped*2}
 
 
% mm.9-10 — the theme states itself again and is answered by itself one
% scale step higher, and this time nothing breaks: two whole measures of
% two flutes, one line written once and marked twice.
 
Climb ::= Theme Theme@~1
 
{Climb, Climb@~-2}
 
 
% The two phrases in order, every voice. The pedal holds under the
% first; under the second the bass walks and an alto fills the fourth
% part — and there, unlike at the first cadence, the lower flute is the
% upper one at @~-2 the whole way through.
 
Alto ::= .5 _4 .7b _2 .6 _2 .6 _6 .7 _2 1 _4 3 _2 2 _2 .7 _4 .6 _2 .5 _2
Walk ::= ..3 _2*2 ..1 _2*2 ..4 _2*2 ..3 _2*2 ..2 _2*4 ..5 _2*2 ..4 _2*2
 
{Duet, Ped*2}
{Climb, Climb@~-2, Alto, Walk}
 
 
% THE WHOLE PASTORAL — flutes and bass, from the verified grammar.
 
bpm 60
meter 4
unit 1/4
key bb4 maj
mode diatonic
 
% The cast — every motif and chord the lead line uses:
 
M28 ::= 4 _2 4 2
M9 ::= M28 M28
S1 ::= M9@~1 5 _2 6b _2? 6 6b _2? 6 '1 _2 M9 4 _2
M33 ::= 7 _2 '2 _2
M31 ::= '2/2 '3
M3 ::= M31 '1 '3 '2 7? 5
M49 ::= '1 _5/2 M3
S3 ::= M33 M49 M49 '1 _2
M37 ::= 2 _2 1 _2
M26 ::= 3 _4 M37
M22 ::= M26~@~9/4 '3 '1
M10 ::= '1 _2 M22 '2
S10 ::= '2 5? 7 M10 7
M19 ::= '1 _4 - _12
M59 ::= -*32
M41 ::= M19 M59 - _16
M12 ::= ..3 _2 ..4 _2*2
M4 ::= 5 3 M28@~1 M12@~16
M36 ::= 6 _2 6 5b? 4
M11 ::= 7 _2 M33
S6 ::= 5 _2 M4 4 _2? '1 M36 M36 6 _2 M11
M40 ::= - _2 '1/2 M3 '1 _2 - _6
S7 ::= M4 '1 _2 M9 4 _2? 7 7 _2? '1 7 _2? '1 '2 _2
M56 ::= ..4 ..5 _2
M14 ::= '2 _5/2 M31@~1 '2 '4 '3 6
M45 ::= -*32
M32 ::= eb5 _4 g5 _2 f5 _2
M46 ::= -*24
M51 ::= M10@~1 '2b
M52 ::= '2 _4 - _4
M53 ::= M28@~3 M28@~4
M48 ::= -*24
 
key c4 harm
key bb4 maj
key f4 maj
key bb4 maj
% mm.1-12 — M11 stepped through the scale; S9 down a fourth, in a bent variant; S2 down a fifth, in retrograde · 4 voices.
F1a1 ::= S1 7 _2 S3 M22 S10
F1a3 ::= S6
  | M40 |*2
F1a1 M41 F1a3
 
% mm.1-12 — M11 stepped through the scale; S9 down a fourth, in a bent variant; S2 down a fifth, in retrograde · 4 voices.
F13a1 ::= -*16
F13a2 ::= - _8 5 _2 S7 - _2 M22 5 M56@~17 S7#8 M14@~-1 '1 _5/2 M31 '1 '3 S10#2 M10 7
F13a1 F13a2
 
 
% ——— Part 2, from m.1 ———
 
% mm.1-12 — M11 stepped through the scale; S9 down a fourth, in a bent variant; S2 down a fifth, in retrograde · 4 voices.
F21a ::= M19 M45
F21a
 
key c4 harm
% mm.1-12 — M11 stepped through the scale; S9 down a fourth, in a bent variant; S2 down a fifth, in retrograde · 4 voices.
F24a ::= | '3 _4 M33~@3 M32 |
F24a
 
 
% ——— Part 3, from m.1 ———
 
key bb4 maj
% mm.1-12 — M11 stepped through the scale; S9 down a fourth, in a bent variant; S2 down a fifth, in retrograde · 4 voices.
F25a1 ::= M46 S1#4@~1 '2b _2*2 '3 _2 M14
F25a2 ::= M14 M51 M51 M52
F25a1 F25a2
 
 
% ——— Part 4, from m.1 ———
 
key f4 maj
% mm.1-12 — M11 stepped through the scale; S9 down a fourth, in a bent variant; S2 down a fifth, in retrograde · 4 voices.
F31a ::= -*16
  | - _8 M9@~6 |
  | '3 _2 M11@~4 M9@~5 |
F31a
 
% mm.1-12 — M11 stepped through the scale; S9 down a fourth, in a bent variant; S2 down a fifth, in retrograde · 4 voices.
F34a1 ::= '2 _2 '6b _2*2 '7 _2 S1#4@9 M11@~3 S6#8 M53@~2
F34a2 ::= M37~@17 '4 _2 '7 _2 M48
F34a1 F34a2

% mm.1 — the ritornello line, stated bare: it rocks on the fifth of
% B-flat, dipping to the third and back twice, then lifts from the sixth
% to the tonic above. Ten notes in one measure, two shapes — Rock and
% Lift — that the flutes spend the piece marking.

bpm 60
meter 4
unit 1/4
key bb4 maj
mode diatonic

Dip   ::= 5 3 5 _2
Rock  ::= 5 _2 Dip*2
Lift  ::= 6 _2*2 '1 _2
Theme ::= Rock Lift

Theme

% Two flutes, one line. The second flute is not a second melody: it is
% the first, two scale steps lower — a third under every note. The
% assert says so: one mark spells what a copyist writes out ten times.

assert Theme@~-2 == 3 _2 3 1 3 _2 3 1 3 _2 4 _2*2 6 _2

{Theme, Theme@~-2}

% mm.1-2 — the answering measure sequences the same two shapes: the rock
% a step down, the lift a step up. Parallel motion is a device, not a
% law: at the cadence the lower flute leaves the thirds and takes three
% notes of its own.

Break ::= 4 _2 2 _2 4 _2
Duet  ::= {Theme Rock@~-1 Lift@~1, Theme@~-2 Rock@~-3 Break}

Duet

% mm.1-2 — under both flutes the bass grazes on one note: a tonic pedal,
% eight B-flats to the measure, unchanged through both measures.

Ped ::= ..1 _2*8

{Duet, Ped*2}

% mm.9-10 — the theme states itself again and is answered by itself one
% scale step higher, and this time nothing breaks: two whole measures of
% two flutes, one line written once and marked twice.

Climb ::= Theme Theme@~1

{Climb, Climb@~-2}

% The two phrases in order, every voice. The pedal holds under the
% first; under the second the bass walks and an alto fills the fourth
% part — and there, unlike at the first cadence, the lower flute is the
% upper one at @~-2 the whole way through.

Alto ::= .5 _4 .7b _2 .6 _2 .6 _6 .7 _2 1 _4 3 _2 2 _2 .7 _4 .6 _2 .5 _2
Walk ::= ..3 _2*2 ..1 _2*2 ..4 _2*2 ..3 _2*2 ..2 _2*4 ..5 _2*2 ..4 _2*2

{Duet, Ped*2}
{Climb, Climb@~-2, Alto, Walk}

% THE WHOLE PASTORAL — flutes and bass, from the verified grammar.

bpm 60
meter 4
unit 1/4
key bb4 maj
mode diatonic

% The cast — every motif and chord the lead line uses:

M28 ::= 4 _2 4 2
M9 ::= M28 M28
S1 ::= M9@~1 5 _2 6b _2? 6 6b _2? 6 '1 _2 M9 4 _2
M33 ::= 7 _2 '2 _2
M31 ::= '2/2 '3
M3 ::= M31 '1 '3 '2 7? 5
M49 ::= '1 _5/2 M3
S3 ::= M33 M49 M49 '1 _2
M37 ::= 2 _2 1 _2
M26 ::= 3 _4 M37
M22 ::= M26~@~9/4 '3 '1
M10 ::= '1 _2 M22 '2
S10 ::= '2 5? 7 M10 7
M19 ::= '1 _4 - _12
M59 ::= -*32
M41 ::= M19 M59 - _16
M12 ::= ..3 _2 ..4 _2*2
M4 ::= 5 3 M28@~1 M12@~16
M36 ::= 6 _2 6 5b? 4
M11 ::= 7 _2 M33
S6 ::= 5 _2 M4 4 _2? '1 M36 M36 6 _2 M11
M40 ::= - _2 '1/2 M3 '1 _2 - _6
S7 ::= M4 '1 _2 M9 4 _2? 7 7 _2? '1 7 _2? '1 '2 _2
M56 ::= ..4 ..5 _2
M14 ::= '2 _5/2 M31@~1 '2 '4 '3 6
M45 ::= -*32
M32 ::= eb5 _4 g5 _2 f5 _2
M46 ::= -*24
M51 ::= M10@~1 '2b
M52 ::= '2 _4 - _4
M53 ::= M28@~3 M28@~4
M48 ::= -*24

key c4 harm
key bb4 maj
key f4 maj
key bb4 maj
% mm.1-12 — M11 stepped through the scale; S9 down a fourth, in a bent variant; S2 down a fifth, in retrograde · 4 voices.
F1a1 ::= S1 7 _2 S3 M22 S10
F1a3 ::= S6
  | M40 |*2
F1a1 M41 F1a3

% mm.1-12 — M11 stepped through the scale; S9 down a fourth, in a bent variant; S2 down a fifth, in retrograde · 4 voices.
F13a1 ::= -*16
F13a2 ::= - _8 5 _2 S7 - _2 M22 5 M56@~17 S7#8 M14@~-1 '1 _5/2 M31 '1 '3 S10#2 M10 7
F13a1 F13a2

% ——— Part 2, from m.1 ———

% mm.1-12 — M11 stepped through the scale; S9 down a fourth, in a bent variant; S2 down a fifth, in retrograde · 4 voices.
F21a ::= M19 M45
F21a

key c4 harm
% mm.1-12 — M11 stepped through the scale; S9 down a fourth, in a bent variant; S2 down a fifth, in retrograde · 4 voices.
F24a ::= | '3 _4 M33~@3 M32 |
F24a

% ——— Part 3, from m.1 ———

key bb4 maj
% mm.1-12 — M11 stepped through the scale; S9 down a fourth, in a bent variant; S2 down a fifth, in retrograde · 4 voices.
F25a1 ::= M46 S1#4@~1 '2b _2*2 '3 _2 M14
F25a2 ::= M14 M51 M51 M52
F25a1 F25a2

% ——— Part 4, from m.1 ———

key f4 maj
% mm.1-12 — M11 stepped through the scale; S9 down a fourth, in a bent variant; S2 down a fifth, in retrograde · 4 voices.
F31a ::= -*16
  | - _8 M9@~6 |
  | '3 _2 M11@~4 M9@~5 |
F31a

% mm.1-12 — M11 stepped through the scale; S9 down a fourth, in a bent variant; S2 down a fifth, in retrograde · 4 voices.
F34a1 ::= '2 _2 '6b _2*2 '7 _2 S1#4@9 M11@~3 S6#8 M53@~2
F34a2 ::= M37~@17 '4 _2 '7 _2 M48
F34a1 F34a2

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