I decided to add this section, because I finally figured out what to do with all of these arias I’ve got parked here. I’ve added solfa syllables to the melodies, so that you can follow my analysis of the tonality, and also see how the movable-do solfa method is applied to modulating and often quite complex music written in the major-minor key system. In certain spots, there may be room for more than one correct solmization, but small differences won’t compromise the overall analysis. Maybe I’ll get into the recits as well – bar for bar, in terms of their tonal complexity, recitatives contain some of the most challenging music Bach devised. And let me know if you have any particular “requests.” What’s the all-time weirdest piece of vocal music Bach wrote, do you figure?

Also, if you want me to send you a midi file of any of these pieces, in case you want to try singing them accompanied by your microprocessor, just send me a email. Always comforting to imagine that people are out there, torturing themselves for the sake of music.

And just for fun: if you happen to be studying with someone who uses either fixed-do or the movable-do method in which the tonic is always called do, just ask them to sing any of these pieces, and watch them break out, as James Brown once said, in a cold sweat. Better do this when the course is over, though.