English Suite No. 4 in F major, II
Partita No. 1 in Bb major, II
Partita No. 4 in D major
Brandenburg Concerto No. 1, II
Suite in Eb major for keyboard, BWV 819, I
Orchestral Suite No. 1 in C major, I
Orchestral Suite No. 1 in C major, II
Orchestral Suite No. 4 in D major, I
Cello Suite No. 1 in G major, I
Cello Suite No. 2 in D minor, I
English Suite No. 4 in F major, II. This doesn't make for a "textbook" period (for that, see the two examples from the keyboard Partitas below), in that the melodic shape of bar 2 is altered in bar 6, but the rhythms are the same (if one ignores the ornaments. . .) and the underlying bass is largely the same, as D3-E3-F3 | G3-F3 in both cases.
Partita No. 1 in Bb major, II. Strikingly similar to those French menuets that are identical in bars 4 and 8, but that a small flourish is added in bar 4, whereas the music stops dead in bar 8.
Partita No. 4 in D major. The PAC in bar 4 is not unknown in earlier French menuets, but it is by no means common. Where it does appear, the strategy often is as in this instance: to make a pleasing contrast with a simple I-V HC in bars 7-8.
Brandenburg Concerto No. 1, II. A transposed consequent. Note that bar 6 would be equivalent to bar 2 if the eighth notes were removed -- then C#5 as a half note goes to the quarter note D5.
Suite in Eb major for keyboard, BWV 819, I. A less "obvious" period than most of the preceding. The consequent is again transposed, but not exactly; still, we can easily hear the shape of bars 5-6 as that of bars 1-2. What complicates the consequent is its invention-like motivic play: in bars 5-6 we hear the basic idea against the contrasting idea simultaneously, then in bar 7 the contrasting idea's motive is used in the right hand to approach the cadence.
Orchestral Suite No. 1 in C major, I. From a somewhat overdone piano arrangement of the suite. I hear bar 5 as referencing bar 1 through the melody, but the bass is different, so that a reading of this theme as antecedent + continuation would perhaps be equally plausible.
Orchestral Suite No. 1 in C major, II. (Once again I apologize for the heterogeneous sources for the various Bach examples.) This trio is another instance of the PAC to end the antecedent, and this time I note that a PAC in bar 4 of an 8-bar theme remains highly unusual in music for social dance and more stylized music for concert alike throughout the remainder of the eighteenth century. I observe, btw, that the obvious galant solution for bar 4—a 6/4 5/3 over V—is even less likely than the PAC: in the 56 cadences (or phrase endings) of the 28 Bach menuets, first strain, only once does the HC embellished by 6/4 appear (that's in the keyboard Partita in G major).
The fragmentation in bars 5-7 beat 1 might lead to a different reading except that it is already present in the basic idea.
Orchestral Suite No. 4 in D major, I. A simpler example than many of the recent ones above.
Cello Suite No. 1 in G major, I. Similar to the preceding in the limited transposition to begin the consequent.
Cello Suite No. 2 in D minor, I. Another unproblematic period form. Bach does manage to reverse the bass line while maintaining the basic idea: in the antecedent D3-C3-Bb2-A2, in the consequent D3-E3-F3 (Bb) G- A.
