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Alyssa Gallagher
Professor Bebe
MUS 202
21 January 2015
Invention No. 1: Developing a Theme
Invention No. 1 in C Major, by Johann Sebastian Bach (1685-1750), is a relatively short
keyboard piece which despite its brevity demonstrates important principles of counterpoint and
composition. It is part of the larger work Inventions and Sinfonias, a collection of exercises
written in 1723 between Leipzig and Kthen which are described in Bachs own introduction as
being straightforward instruction for beginning students (Tomita). Invention No. 1 is built
entirely on a single theme which is developed throughout the length of the piece both
harmonically and melodically. Bach is forthright and almost blunt in the lesson of this short
study: a single idea has the potential to be expanded into a composition which has both variety
and unity.
Invention No. 1 is broken up into three main sections separated by cadences at measures
7 and 15. The first section introduces the theme in m.1 in the right hand and can be observed in
Image 1. The theme consists of motive A, or the first seven notes, and sub-motives a, b, and c,
which are the first four, fifth through seventh, and eighth though eleventh notes respectively. The
left hand

Image 1

repeats motive

A starting on C3 on the second 16th note of the third beat, but the right hand continues to be
melodically dominant throughout the first section until it ends with a perfect authentic cadence in
G major at m.7. In the second section, the left hand becomes melodically dominant and begins

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the theme starting on G2. Similarly to the first section, motive A is repeated in the right hand.
However, the end of the second section is more texturally dense than the first section; whereas
the first section tends toward a 2:1 contrapuntal relationship, the second half of m.13 and the first
half of m.14 have a 1:1 relationship. The second section ends with a cadence in A minor in m.15.
The third section begins texturally sparser than the first two sections. In m.15-m.18, there is an
8:1 ratio of notes. Measure 19 returns to the original key of C major and a the initial tendency
toward 2:1 counterpoint and ends with a cadence in C major. The three sections are made unique
by their varied textures, range, and tonal centers, but they are linked by the theme stated in m.1.
Bach utilizes different tonal centers in order to develop the original theme. The piece
lends itself to sequential modulations since its one theme is easily repeated in different
transpositions. Invention No.1 begins in C major, but it modulates to G major in m.4. This is
made apparent through the F-sharps which begin to appear in m.4 and the perfect authentic
cadence in G major in m.7. Measure 8 continues in G major, but m.9 and m.10 transition into D
minor. Although this modulation is brief, it is unmistakable due to the C-sharps and B-flats
starting in m.10 and continuing into m.11. In m.12, F-sharps and G-sharps begin to appear. This
indicates a modulation to A minor and is confirmed by a perfect authentic cadence in the same
key at m.15. All the modulations up to this point follow the circle-of fifths and are thus a logical
way to harmonically develop the piece. Once the Invention arrives at A minor, the relative minor
of C major, it is easy to transition back to the original key. Bach does this through stepwise
motion in the right hand which emphasizes scale degrees 6, 5, 4, and 3 sequentially in C major
from m.15-m.18. In the left hand, scale degrees 2, 7, and 1 in C major are emphasized in the
same measures. Although it is difficult to conclusively define the chords in m.15-m.18, the
emphasized scale degrees outline the progression vi-ii-V6-I in C major. However, instead of

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immediately returning to the original key, the piece briefly tonicizes F major with the secondary
dominant V7/IV in C major in m.18-m.19. This is made apparent by the B-flats in those
measures and the resolution to the F major chord, or the IV, in C major on the second beat of
m.19. Finally, the piece resolves in m.22 with a perfect authentic cadence in C major. The
strength of the harmonic structure allows for a logical development of the melody.
The form and the harmonic structure of Invention No.1 are integral to the piece, but the
purpose of this particular exercise revolves around the melody. The entire composition evolves
from a single theme and its motives and demonstrates appropriate and diverse ways in which one
can alter a melody to create a diverse yet unified piece. It would be tedious and myopic to
discuss every micro-occurrence of the theme; motives of the theme appear in each measure.
However, it useful to observe the general ways in which the theme and motives are altered. For
example, transpositions of the theme are the first changes to occur. The theme is transposed in its
entirety in m.2. Motive A does not appear in its original key until m.19, but it occurs in every
measure transposed or inverted except for m.6 and m.14, which both precede cadences.
Augmented sub-motives a are used as a harmonic sequence in m.5-m.6 and facilitates the
modulation to G major. Transposed sub-motives b are used in m.6 and m.14 to build into the
cadences. Inverted and transposed motives A are used in m.15-m.18 to transition from A minor
back to C major. From these few examples alone, one can see how one theme was developed into
a full composition.
Bach accomplishes his goal of straightforward instruction in his Invention No. 1 in C
major. He clearly demonstrates that a single theme has the potential to be expanded through
form, harmony, and melody. The title of Invention is fitting; a single idea is nurtured until it
flourishes as an independent work. Although this particular piece is not incredibly complex or

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challenging, it illustrates the way in which a piece of music can be connected by a single theme
but can also be varied and engaging through the way that theme is approached.

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Works Cited
Tomita,Yo."TheInventionsandSinfonias."Queen'sUniversity.1999.Web.17
Jan.2015.