Then, they orchestrated it for an expanded ensemble. First, the arrangers changed the time signature. So, Bach's famous Minuet in G got a makeover in several stages. The song finally ends in D-sharp major, with the modulation from D major happening around 2:29 in the clip above. Then at 2:12, it moves from C-sharp major to D major. At 1:24, 'A Lover's Concerto' moves from C major to C-sharp major. Then, the piece has three half-step modulations, which have the effect of literally kicking the piece up a notch, and of intensifying the emotional quality. The modulation to C major happens at 0:51 in the YouTube clip above.

In pop music and jazz, music often modulates around the 'circle of fourths,' rather than the circle of fifths, which is the same as the circle of fifths in reverse order. In 'A Lover's Concerto,' the piece first modulates not up a fifth, as Bach might do, but instead, up a fourth, to C major. Though typically, the composer will modulate to keys around the ' circle of fifths.' So, in the Minuet in G, if Bach were to add a modulation, the piece would probably move from G major to D major, the key five notes away (G-A-B-C-D), though one key away on the 'circle of fifths.'

In compositions from Bach's time, if a composer is working in a major key, they'd likely modulate to new keys somewhere throughout the piece.

It wouldn't be a pop song unless there were one half-step key change at least. What holds everything together is the simple harmonic structure, which allows the composer or arranger to add an infinite number of parts, and the melody.īut the changes don't stop there. Bach could've easily expanded the piece for a chamber ensemble and voices himself. Of course, in addition to changing the rhythms and meter of the original Minuet, the arrangers have scored 'A Lover's Concerto' for a band and three voices. The opening measures of the vocal line of 'A Lover's Concerto'

Bach minuet in g major