Bach: Mass in B Minor, BWV 232, "Crucifixus" due Monday, Feb. 5


1. This piece consists of a 4-measure ground bass, followed by twelve variations constructed above it. Compare Variation 2 (mm. 9-19) to Variation 1 (mm. 5-8), and explain how they are related.

2. In view of the harmonic content of m. 11, should the first chord of m. 7 be labeled with an independent Roman numeral? If so, which one?

3. Variation 3 is quite different from Variations 1 and 9, but the organization of its voice part bears a definite resemblance to that of the voice part in the preceding variations. Describe this similarity.

4. Each variation has some kind of dominant-preparation chord at the end of its third measure. E.g., the chord in m. 3 is iv6. What are the corresponding dominant preparations in mm. 7, 11, 15, and 31?

5. What is remarkable about the harmony in mm. 40 and 44? What is notable about m. 48?

6. Discuss the way Bach overlaps the end of certain variations with the beginning of the following variations. Where does this happen most strikingly?

7. What is special about the final variation? Name the chord that occurs at the third beat of m. 51.

8."Bach's 'Crucifixus' is essentially a binary form, with the first part preceded by an instrumental introduction, and the second part followed by a coda." Defend or attack this view of the form of the piece. If you believe that the work is binary, where does the second part begin? In making your decision, you may want to refer to the organization of the text throughout the piece.

9. Aside from its spiritual qualities, the most remarkable feature of this piece is its harmony. Some of the chords are overwhelmingly beautiful. Pick out and discuss the chords you find most fascinating. Account for many of the ravishing vertical sounds in terms of mixtures of chord-tones and non-chord suspensions, appoggiaturas, chromatic passing tones, and the like.