Solstice, Castor/Pollux, Combinatorics

I’ve been talking to a robot all day: Google’s Gemini 2.0. It has struggled mightily to add double-digit integers, but it has apologized, and I’ve not choice but to accept, as I need it to generate Python code for simulations, which to this untrained eye it has done quite well. Google’s Colab has been running millions of simulations off these scripts without yet requiring me to shovel coal into a furnace to power it.

Conversations at this year’s Bach Network Dialogue Meeting showed me that people are still quite skeptical about any kind of numerical design in Bach. So, I am tackling one of the most essential and unassailable numerical traits of WTC1, the set of component measure quantities (MQs), meaning how many measures to which each piece in the collection totals. Points about the set:

WTC I Component MQs.
Sorted by size, repeat values colored.

  1. There are 33 unique values: 10 are repeated at least once; and 25—over half of the set—belong to this “repeated” category. If choosing at random [from the range 18-115], one would expect around 38 unique values; a simulation returned 33 (or less) ~2% of the time.

  2. The majority of the repeats occur in the lower MQs: 17 out of 25 (68%) are below the median of 36. This occurs in a simulation ~6% of the time.

  3. Two MQs repeat 4x, one repeats 3x, and seven repeat 2x. MQs repeat [at least] as often in a simulation ~.1% of the time.

  4. There are three noticeable “gaps” in the MQ range: there are no values from 59-69, 75-85, or 88-103. Three gaps of [at least] this size (not limited to the exact ranges) occur ~.02% of the time in random simulation.

We might thus conclude that Bach did not merely “arrive” at these MQs in a process of random free composition, which should surprise no one, as Bach was no robot. The question is to what degree Bach was choosing the numbers, as opposed to them being some kind of emergent property of his compositional process and style. For instance, the MQ of 24 repeats 4x, and only in preludes. This could easily be explained as a structure of 2x12, 4x6, etc; preludes being perhaps more likely than fugues to have such an arithmetic structure. Conversely, easily subdivided MQs like 32 and 36 (which are very near the median of the set) are not used at all.

The above points all deal with the set of MQs in isolation. To assess whether or not Bach was choosing MQs, we might consider how they are actually arranged in the work:

WTC I Component MQs
Repeats colored.

  1. The MQ of 35 repeats 4x—twice in prelude and twice in fugue—but only in major; the odds of an MQ occurring 4x but only in a single mode are ~1%.

  2. There are 7 repeated MQs in a row at 31-37 (among a larger cluster of 11 out of 12). There are also voids at 3-8 and 20-25. These occur together about .2% of the time in simulation. As the distribution of repeated MQs across Mode and Prelude/Fugue is essentially equal in both cases—12:13—there is no clear reason why groups of repeated MQs would cluster.

  3. Combinations of 35/27, 19/34, and 29/41 all repeat. Only one of these is not in a P/F pair. Disregarding the P/F tendency, picking at random, this occurs .03% of the time; shuffling the actual WTC1 set improves the odds to .35%.

  4. The MQs that repeat 4x—24 and 35—each have equidistant instances. The first three instances of 24 are nine components apart, and the first-second and third-fourth instances of 35 are each seven components apart.

I cannot imagine a reasonable explanation for all of these that does not surreptitiously accept that Bach was aware of the numbers as an abstraction apart from the consequence of composing more or less measures; at which point Bach chose and arranged MQs as a structural device is a short and convenient stumble away.

I will attach the code for all simulations referenced at some point in the near future; and will likely continue to edit and revise this post if I find errors in the script or my assumptions.

-jtr