The D and the D7 chord dominates the whole 2nd Part, from the start of Prt 2 throughout to the second last bar. Why is it that no one will use this method? We assume Bach's manuscript had the first three 1/16 slurred, as all early copies and prints show the same bowing (except manuscript D and Janet de Cotelle). The manuscript by Anna Magdalena Bach. This shift to D major as a temorary Tonic is prepared from the change of function of 2 following the G major chords: Prelude 1 - Helpful hints for the Left Hand getting tired of hearing the D throughout the second part. This thinking is ingrained and is the result of learning and playing. In Baroque interpreation the dynamic line is much more complex as to simply write an overall average dynamic in (which might be a reason that composers didn't become convinced it might be advisable to write "a dynamic" in). Like in some of the Preludes, he returns to the chacater of the beginning, rising scales followed by descending arpeggios. Part 1 are arpeggios, in the first section the pattern is set in bar 1 and repeated in the following bar. See Prelude Suite 1 G major with Saint-Saens "The Swan" as a Duo ! On the other hand the copy is on one hand clear - she had a very good handwriting, similar to Johann Sebastian - but she obviously did not understand the bowings and often they don't make sense. Very rarely I write specific dynamics in. The Six Cello Suites by J.S. This has an interesting effect: even without intending to play dynamic differences, this bowing emphasizes bar 4, makes it sound fuller, quasi forte. Although we might see these elements as 'just' structural, they implement Bowing has a lot to do with comfort, a personal taste and also the response of our particular instrument. From bar 37 on the structures get larger: EVENTS - Short Bio, Georg's Little Music Library The Prelude is an introduction to the following dance movements of the Suite. D: - D major triad-arpeggio / scale Overview of the harmonic structure of the dance-movements. (Another way of identification also used would be to identify the chord as steps of the scale, like I and II according to the key of the piece. etc. Description: In the print below key and function are handwritten in. - more to come! Another group of 6 bars follows (27 - 32), this time arpeggios with detached bowings, again a new texture. 3:35 . The Preludes in the minor keys display a much more melodious character. The difference to the strictness of the following dances should remain noticeable. Gigue ||: Dm (T) - A (D) :||: F (Rmaj) - Dm (T) :||, Suite No 3 - C major (Bourree II in C minor) Looking at the harmonic structure it makes sense: Main feature of Part 1 are arpeggios. And this is probably the reason her copy is not taken serious enough. So I can only imagine that Bach himself contributed to this new and unusual bowing. Why did Bach didn't write the figure like that? (or parts of it indicating the key) Bar 26, 27 - the circled notes indicate a diminuendo. Descending scales from bar 29 to 31 lead to a large section with the pedal point D, extending to the end except the last chord. I assume this bowing The dance movements should vary in the repeats. Today most players use his edition and the sound of slurs is for most players today the predominant sound character of the Prelude of Suite No 1. In my analysis I firstly state the key of the harmony and the specifics of the chord / triad. Contact: Bar 29 starts with a convincing "C", followed by a diminuendo to bar 31, where a new line starts from the D. From bar 7 to 13/14 Although most historians believe that Anna Magdalena is the most reliable source as she must have copied straight from the original of her husband The pattern as introduced in the first 8/16 in bar 1 is the most common pattern. A combination of manuscript "C" and her new ideas might come closest to the original and includes Bach's "revised edition" of bowings. The pedal point takes an interesting place adding colour by participating and not participating in the chords. At several places Bach introduces a chord with a Dominant function not relating or only little to the bar before, yet leading to a solution in the following bar. Defined dynamics lead to play just what is written without understanding and having a sensitivity to the situation. The Harmonies of Part 2 As strange as it sounds, the knowledge of harmony effects interpretation as much as the kind of paper we write the information on! Very rarely I write specific dynamics in. I will give here an overview of the harmonic structure, which is - as with all Baroque composers - fairly uniform, but in fact not always. It is also very accurate written, with a precision as if being very aware of every slur drawn. Anna Magdalena's bowing is different than all the others, but it is musically so convincing, that we can't discard it as a mistake or one of her misunderstandings of the bowing technique of string players. Although harmonically this notation is correct, Bach wouldn't have been able to determine the bowing and the exact execution of the rhythm he had in mind.] I would analyse Debussy differently. Teapots / Jugs / Lights / Kitchenware, - Japanese - Chinese - Korean - Hindi - i - Russian - i - Turkish - Greek - Espanol - Allemande ||: Dm (T) - A (D) :||: A (D) - Dm (T) :|| {upbeats in Dominant character}
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