Introduction

The question of whether numerous Dorian and Aeolian scales appear in the passages of Johann Sebastian Bach's Passacaglia in C minor (BWV 582) is intriguing. As a music scholar and a SEO expert, this inquiry provides a fascinating lens through which to explore the complexities of this piece and the compositional practices of the Baroque era.

Dorian and Aeolian Modes in Bach's Passacaglia

Bach's Passacaglia in C minor (BWV 582) is a technically challenging and profoundly moving piece. It is characterized by its unrelenting bassline and a variety of modulations and alterations within the key of C minor. However, upon a superficial glance or a casual listen, it may seem that the piece adheres strictly to a tonal framework, with the correct three-flat key signature. Yet, the question remains: do Dorian and Aeolian scales subtly weave through the piece?

Analysis of Modulations and Accidentals

A thorough examination of the piece reveals that any apparent fragments of 'Aeolian scales' are more likely the 'ascending form' of the melodic minor scale played descending. For example, in variation 17, the scale fragments could be accounted for as a passing modulation to G major. Similarly, the Passacaglia theme itself is based on the harmonic minor scale.

The Role of the Dorian Mode

It is important to note that the Dorian mode was not in general used in Bach's time for a specific reason. The Dorian mode would only serve to facilitate modulation to a related key. The directly related keys to C minor (Cm) are Eb, Fm, Gm, and Ab. None of these keys contain an A natural, which is a characteristic of the Dorian mode. Therefore, the presence of Dorian-scale passages in Bach's piece would have been highly unlikely due to the compositional conventions of the time.

Historical Context and Theories on Modalism

The modalism in Baroque music, particularly in Bach's works, was often a result of the natural modes, such as Dorian and Aeolian, being the basis for the scales and melodies. However, by the mid-Baroque period, the modal system had largely been abandoned in favor of the tonal system, making the use of these modes in a strict modal sense, without tonal context, less common.

Revival of Modes in Later Works

By the early 20th century, the church modes, including the Dorian and Aeolian modes, saw a revival, albeit in a deliberately archaic context. Composers such as Claude Debussy and Ralph Vaughan Williams utilized these modes for their unique and evocative qualities. Wagner, another pioneer in this revival, incorporated modal harmonies and structures in works like Siegfried.

Conclusion

In conclusion, while Bach's Passacaglia in C minor (BWV 582) does not prominently feature Dorian or Aeolian modes, it is a testament to the complexity and richness of Baroque composition. The piece, with its unending bassline and complex modulations, showcases Bach's mastery of tonal music and his adherence to the conventions of his time. However, for those seeking deliberately archaic and modalistic effects, composers from the 20th century offer a perfect example of how these modes can be brought back to life in modern contexts.