Bach's Three Sonatas for Solo Violin (BWV 1001, 1003, and 1005; 1720) have a movement scheme of slow-fast-slow-fast in which the movements are organized in a united sense. Centering the intensive second fugal movement, the first serves as a prelude, the third as a tension-relieving movement, and the fourth as a brilliant finale. Most of the slow (first and third) movements suggest an analytical interest with their through-composed nature, while the fast ones are structurally more explicit. Furthermore, another distinction can be made between the first and third movements according to function and correspondingly different characters: the prelude movements are improvisatory and free, and the third movements are melodious and relaxing. These characterizations are supported through figural and formal aspects, thus on both surface and structural levels. This thesis is primarily concerned with the formal attributes of the slow movements for their functions. A closer observation reveals the structural frame of seemingly through-composed forms. The prelude movements show more ambiguity and complexity, yielding appropriate tension for the free virtuosity. On the contrary, the third movements exhibit more regularity with a binary concept for a comfortable and easy atmosphere. Each group of movements not only pursues its function, but also offers a contrast to the neighboring fugue movement that is strict and intensive. The contrast is achieved in opposite ways, however, resulting in considerable differences between the first and third movements. The content of this thesis is based on a detailed analysis of each slow movement, focusing on the functional contributions, organized by the first- and third-movement groups. Its chapter arrangement is: I. Introduction, II. First Movements, III. Third Movements, and IV. Summary and Conclusion.

J.S. Bach's Three Sonatas for Solo Violin exhibits formal coherence on three levels: first, through every movement; second, through the four movements in every Sonata; and third, through the three Sonatas in the set. The first issue has been treated in my previous thesis concerning the first statement and its development throughout the movement; this thesis will discuss the latter two subjects. The Fuga in each Sonata becomes the central movement due to its exceptional musical weight. The other movements surround the Fuga functionally: the first movement as a prelude, the third as a tension-reliever, and the fourth as a brilliant finale. Not only do the general figures on the surface support the function, the formal activities in each movement do as well. At the same time, the formal congruity between the four movements is observed in the choice of tonality, sectionalization, uses of motives, etc. After an analysis of each Sonata's formal character based on the coherent compositional scheme, a meta-analysis is possible to determine the characteristics that shape the Three Sonatas as a whole. This thesis provides analyses of each movement, each sonata, and the entire set of Three Sonatas, concentrating on how the set is bound closely together through formal correspondences. Its chapter arrangements are: I. Introduction, II. Position and Function of Each Movement, III. Coherence and Individuality of Each Sonata, IV. Musical Characteristics of the Set of Three Sonatas as a Whole, and V. Summary and Conclusion.

J.S. Bach's sonatas and partitas for solo violin have been central to the violin repertoire since the mid-18th century. This engaging introduction to these works is the first comprehensive exploration of their place within Bach's music, focusing on their structural and stylistic features as they have been perceived since their creation. Combining an analytical study, a historical guide, and an insightful introduction to Bach's style, this book will help violinists, scholars, and other listeners develop a deeper personal involvement with many aspects of these wonderful pieces.

Transcription for Viola solo by Simon Rowland-Jones Edited by Rowland-Jones and David Ledbetter The aim of this edition is to make Bach's landmark works for solo violin accessible to viola players by presenting a musical text that remains close to the original but also has a distinctly practical focus. Additionally, it provides interpretative guidance on Baroque performance practices and how they can be applied to the viola. In this transcription, all pieces have been transposed down by a fifth, but no further changes were made.

All these works date from the period 1718-1723 when Bach uses the term "Sonata." This does not mean the modern sonata form. Usually the first and third movements — when there are 4 — are in slow time, and the second and fourth are in fast time.