I began studying Bach's Partita no. 2 and I was curious how one is to analyze (and consequently memorize) the harmonic progressions of polyphonic textures. The chords are somewhat hidden in this music and there is a lot of sequencing.

Some issues with performance:

Are the use of staccato notes up to the discretion of the performer? Is the performer expected to add further ornamentation for the repeat of a section? I heard Igor Kipnis adding his own ornamentation for the repeated sections and I really enjoyed the concept.

Glenn Gould could apparently learn and practice entire pieces without actually playing them on the instrument. I had a very respectable pianist back up this view as an excellent way to learn repertoire.

I intend to study the entire Partita. It seems to me that a mature study of this work (and all others, I suppose) entails an analysis of the harmonic progressions and counterpoint. I am beginning by writing out what seems to be a good fingering for both hands, and I will work on the left hand first as it is not my dominant hand. But, as I said, knowing the notes is not enough. If I wish to do competent improvisation and ornamentation I need to understand the theoretical workings of the piece.

Suggestions would be appreciated.

-Colin