The Little Harmonic Labyrinth - BWV 591 Harmony and Counterpoint Analysis

A labyrinth is distinct from a maze in that a maze has different paths to choose from with the intent of causing confusion. A labyrinth has only a single path with many convolutions that eventually arrives to a center. Bach metaphorically directs us through a tour of the keys in this harmonic labyrinth. Beginning in the key of C, we traverse to distant keys until we eventually arrive at the center of the labyrinth. We see him use tools such as diminished seventh chords to pivot into different tonal landscapes throughout the three movements. We encounter a fugue in the center of the labyrinth which features the rectus and inversus of the fugue superimposed upon each other, as well as the signature of his name implied musically at the end of the fugue. In the final movement, we traverse similarly back into the labyrinth until reaching a restatement of the entrance of the labyrinth. The harmonic guide is intended to follow typically the bass line, or whatever note is doubled at a particular instance in the work. Following the harmonic guide, we can attempt to see the logic in the way Bach chooses to pivot into different chords and tonal centers. We can see that oftentimes the harmonic guide dictates a kind of planetary center from which neighboring notes are chosen for melodies and chords. Performed by Wolfgang Stockmeier.