It consists of two sections, equal as to length, of twelve bars each. With a first look we can see that the harmonies are broad and both parts have various figures. The piece begins commonly with a short note, a semiquaver before the first bar and it is followed by an arpeggiation of the tonic chord in the left hand. We have two part texture with semiquavers against semiquavers that share the melodic sequence until bar 3. The harmony is mostly straightforward but intere

The second part starts exactly as the first one, with one note before the bar followed by an arpeggiation of chord I (D major). The texture is also similar with semiquavers against semiquavers. Modulation though, occurs very early in the first bar and that continues to happen through out the part. From the third beat the piece seems to modulate to the key of F major. It is hard to be sure of the exact chord progression but we certainly have a Vb and a ii7 (in the key of F) in the end of the first bar. They lead to an arpeggiation of a C major chord in the beginning of bar 2. This is followed by a first and second inversion of the same chord (V7b-V7c) in the same bar that resolves to a Ib (in F), in bar 3. Here the E flat prepares us for another modulation, this time in the key of B flat major. In the second beat of the bar we have a IV chord in the key of F or a I in the key of B. We have a sequence with quavers in the lower part which leads to an arpeggiation of the V chord in bar 4. The chord progression is Vb-Vb-ii-V (in the key of B). We can see that harmonic language is more complicated in the second part and for this reason the mood is rather neutral. In bar 5 though we start to approach G minor again. The bar begins with chord I in the key of B flat, followed by a ii chord while the bass sequence climbs gradually to D. In the last beat of the bar we find an F sharp which warns us of a new modulation. Bar 6 begins with an arpeggiation of the V chord in the key of G minor (D major) and continues with a progression that leads to chord i ( V7d-III-V7) . We reach chord i in bar 7 and that is probably early since the two parts must be equal. Instead of a cadence, though, Bach gives as a series of very fast passing modulations in the next three bars. Bar 7 continues interestingly with a v and we have a descending sequence of semiquavers in the left hand against quavers in the right. The A flat prepares us for the modulation while the sequence ends to an E flat in the beginning of bar 8. The key is now probably that of E flat major and Bach develops a short right hand melody on it. The left hand takes over as we go to chord II of the same key. We continue in the next bar with yet another modulation, this time in to the key of C minor. The bar begins with chord V of that key (G major) and continues in the second beat with chord i. In this point we are starting to reach to a climax after all those modulations. In the end of bar 9 we have a first inversion of chord V in the key of G minor ( IIb in the key of C minor). The quavers in the left hand set the V chord which c

Some common words found in the essay are:
I7 GTexture, Jacob Froberger, English Suites, key minor, left hand, arpeggiation chord, chord key, beginning bar, beat bar, chord bar, bar 7, bar 3, bar 9, modulation bar 6, chord key minor, bar 3 harmony, sequence semiquavers left, semiquavers left hand,
Approximate Word count = 1742
Approximate Pages = 7 (250 words per page double spaced)