Abstract. Oboist Marcel Tabuteau ( ) is widely regarded as one of the most

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2 Abstract Oboist Marcel Tabuteau (887 9) is widely regarded as one of the most influential teachers and musicians of the twentieth-century. An especially important contribution made by Tabuteau was his thoughts on musical phrasing. Most often referred to as a number system or note grouping, Tabuteau used numbers to indicate scaling, motion, rhythmic grouping, and phrase groups as elements within a phrase. While many facets of Tabuteau s teaching were specific to the oboe or wind instruments, the number system has useful applications for all instruments. This study will provide instructions on the application of numbers to music for the purposes of scaling, motion, rhythmic grouping, and phrase grouping as Tabuteau taught them, while describing the techniques one may use to perform the numbers on a stringed instrument. A demonstration of the application of Tabuteau s number system to Suite No. for Cello (Transcribed for iola) in G Major, by J.S. Bach follows, presenting the number system as a means to create expressive phrasing in this piece and modeling the same possibility for all types of musical compositions. David McGill, Sound in Motion: A Performer s Guide to Greater Musical Expression (Bloomington, N: ndiana University Press, 007), 7-78.

3 00, Eliza E. Thomason iii

4 Acknowledgements wish to express my gratitude to my Committee Chair, Dr. Catharine Carroll. Her tireless dedication to teaching and enthusiasm for continuing her own education have provided me with endless encouragement and resulted in my interest in Marcel Tabuteau. Thanks also to committee members Masao Kawasaki and Lee Fiser for their inspirational teaching and support. Thank you to Dr. David Schneider who provided me with invaluable aid in the creation of my musical examples and the technical aspects of creating this document. Without the Cincinnati community that encouraged and surrounded me throughout my residence at the University of Cincinnati, my completion of this degree would have been impossible. Thank you to the College-Conservatory of Music Faculty, my student colleagues, administrators and fellow teachers at the Cincinnati Music Academy and The Center for the Arts in Wyoming, my students and parents, and members of the Central Church of Christ. Finally, a sincere and heartfelt thanks to all of my friends and family for your presence in my life, most importantly my parents. Mom and Dad, you have never wavered in your steadfast encouragement and support- you are my inspiration and love you! iv

5 Table of Contents Abstract...iii Acknowledgements...v List of Examples.....vii. ntroduction Literature Review. Background nformation Marcel Tabuteau..9 Phrasing. The Number System... Four Applications of the Number System and Technical Execution..8 Scaling Numbers 0 Motion Numbers Rhythmic Numbers Phrasing Numbers.. Harmonic mplications...9. Application of the Number System to Suite No. for Cello (Transcribed for iola) in G Major by J.S. Bach Suite No. for Cello (Transcribed for iola) in G Major by J.S. Bach Analysis of the Prelude.. Analysis of the Allemande. Analysis of the Courante 8 Analysis of the Sarabande.. Analysis of the Gavotte and. Analysis of the Gigue. Complete Number Analysis of the Suite.... Conclusion...8 Bibliography..87 v

6 List of Examples.a Scaling exercise over one held note....b Scaling exercise over several repeated notes..a J.S. Bach, Suite No., BW 0: Courante, mm. -, incorrect motion numbers...b J.S. Bach, Suite No., BW 0: Courante, mm. -, correct motion numbers..c J.S. Bach, Suite No., BW 0: Courante, mm. -, dancing numbers.a Application of rhythm numbers..b Application of down and up impulses...a J.S. Bach, Suite No., BW 0: Prelude, mm 78-8, phrasing numbers...7.b Scaling exercise over one held note, high to low intensity 8.a J.S. Bach, Suite No., BW 0: Allemande, mm.-, harmonic implications 0.b K. Penderecki, Cadenza for iola solo: page, line 7, application of numbers to an atonal piece...a J.S. Bach, Suite No., BW 0: Prelude, mm. -, analysis highlight....b J.S. Bach, Suite No., BW 0: Prelude, mm. -8, analysis highlight...8.c J.S. Bach, Suite No., BW 0: Prelude, mm. 70-7, analysis highlight...0.d J.S. Bach, Suite No., BW 0: Prelude, mm. 9-9, analysis highlight....e J.S. Bach, Suite No., BW 0: Prelude, mm , analysis highlight... vi

7 .a J.S. Bach, Suite No., BW 0: Allemande, mm. -, analysis highlight....b J.S. Bach, Suite No., BW 0: Allemande, mm. -, analysis highlight....c J.S. Bach, Suite No., BW 0: Allemande, mm. -, analysis highlight....d J.S. Bach, Suite No., BW 0: Allemande, mm. 8, analysis highlight...7.e J.S. Bach, Suite No., BW 0: Allemande, mm. 9-0, analysis highlight...7.a J.S. Bach, Suite No., BW 0: Courante, mm. -8, analysis highlight...9.b J.S. Bach, Suite No., BW 0: Courante, mm. -, analysis highlight....c J.S. Bach, Suite No., BW 0: Courante, mm. -, analysis highlight....a J.S. Bach, Suite No., BW 0: Sarabande, mm. -, analysis highlight....b J.S. Bach, Suite No., BW 0: Sarabande, mm. -, analysis highlight....c J.S. Bach, Suite No., BW 0: Sarabande, mm. 9-, analysis highlight....a J.S. Bach, Suite No., BW 0: Gavotte, mm. -, analysis highlight...7.b J.S. Bach, Suite No., BW 0: Gavotte, mm. -, analysis highlight...7.c J.S. Bach, Suite No., BW 0: Gavotte, mm. -, analysis highlight...9.d J.S. Bach, Suite No., BW 0: Gavotte, mm. -, analysis highlight...0 vii

8 .d J.S. Bach, Suite No., BW 0: Prelude, mm. 9-9, compare with.d..0.a J.S. Bach, Suite No., BW 0: Gigue, mm. -, analysis highlight....a J.S. Bach, Suite No., BW 0: Courante, mm. -8, compare with.a...b J.S. Bach, Suite No., BW 0: Gigue, mm. -, analysis highlight....a J.S. Bach, Suite No., BW 0: Prelude, mm. -, compare with.b..c J.S. Bach, Suite No., BW 0: Gigue, mm. -, analysis highlight... viii

9 . ntroduction Marcel Tabuteau, principal oboist of the Philadephia Orchestra from 9 9 and teacher at the Curtis nstitute of Music for 0 years is widely regarded as one of the most influential oboists, teachers, and musicians of the twentieth-century and beyond. Tabuteau s playing received praise for beauty of tone and depth of expression by conductors, colleagues, and countless reviews. At the Curtis nstitute he taught private lessons, conducted the wind ensemble, and even coached string groups, shaping musicians who would go on to perform in many major American orchestras and teach in the country s major conservatories. While many facets of Tabuteau s teaching were specific to the oboe or wind instruments, several of his ideas are applicable to any instrument, particularly his thoughts on musical phrasing. Phrasing is an essential element to recognize and carry out in performing music; as defined in the Oxford Music Online Dictionary, phrasing represents some of the chief ways in which performers, and consequently listeners, may make sense of a flux of otherwise undifferentiated sound. Marcel Tabuteau received immeasurable acclaim from critics, conductors, and fellow musicians for his expressive phrasing. Respected New York critic Olin Downes wrote that Tabuteau played with the phrasing of a most sensitive and admirable musician and Philadelphia critics wrote Mr. Tabuteau s performance was a masterpiece of interpretation... n an interview, John Minkser, student of Tabuteau and then colleague in the Philadelphia Orchestra for 8 years said Geoffrey Chew, Articulation and Phrasing, (accessed March 8, 00) Laila Storch, Marcel Tabuteau: How Do You Expect to Play the Oboe f You Can t Peel A Mushroom? (Bloomington, N: ndiana University Press, 008), 7 and 9.

10 Tabuteau had everything. He had the tone, he had the articulation, he had the conception of music- how thorough he was in that- in his analysis of the groupings. Clearly, Tabuteau was on to something, and knowing his methods for creating musical phrases would behoove any musician. Most often referred to as a number system or note grouping, Tabuteau used numbers to designate a variety of elements within a phrase and to instruct the way a phrase should be formed by a performer. All considerations of equal importance, the numbers could indicate dynamic changes, degrees of intensity moving towards the peak of a phrase, and note direction. Obviously, these aspects of phrasing can be taken into account in many different pieces of music, not just music for the oboe or wind instruments. n fact, John de Lancie, a former student of Tabuteau, attributes the numbering ideas to Tabuteau s musical beginnings on the violin and posits that his interest in a book about bowing was a source of inspiration; The Superior Bow Technique, by Lucien Capet, which contains a similar numbering system with relation to bow distribution. This document will demonstrate the application of Marcel Tabuteau s number system and its creation of expressive musical phrasing to Bach s Unaccompanied Suite for Cello No. (transcribed for iola.) While it would be useful to apply the number system to any piece for viola, this particular piece has been chosen for several reasons. Originally for cello, the solo Bach Suites have become standard repertoire for the viola Laila Storch, Marcel Tabuteau, Liner Notes, Marcel Tabuteau s Lessons, Duxbury, MA: Boston Records. BR07CD, 99. Melissa Stevens, Follow-Up to the nterview with John de Lancie, The Double Reed / (00):. Stevens, Follow-Up to the nterview with John de Lancie,.

11 over the years; a typical requirement for any audition or competition, and customarily taught by all knowledgeable teachers. Thus, in choosing this piece to demonstrate the system, the analysis will be universally useful to violists and even cellists. n addition, for a first attempt at this type of analysis, it will be advantageous to use a solo piece with a single melodic line for simplicity (there will be plenty of opportunity to connect the number system to functional harmonic progressions with Bach s contrapuntal/harmonic style of writing.) t is necessary to acknowledge that there are many performers and pedagogues who have written about and teach with different methods of note grouping. For the purposes of this document, only the ideas of Marcel Tabuteau will be incorporated. The primary method of musical analysis will be Tabuteau s number system, however, it will be necessary to utilize roman numeral analysis of the functional harmony throughout in order to highlight certain attributes of the note groupings. Though the functional harmony and formal structure will be discussed, the intent of this paper is not to provide a complete study of the harmony and form in the Suite; these will only be presented as they apply to the number analysis. Nor is this document meant to be a study on the history of Bach, the Baroque Suite, or period performance practice, though some background information will be introduced to give context to the discussion of the analysis. t is the opinion of this writer that Tabuteau s note grouping can be usefully applied to music of all types, regardless of instrumentation, and whether it is considered to be in tonal harmony, a chromatic piece of the late 9 th century, an atonal 0 th century work, or anything in between. Aside from a brief discussion about the harmonic implications of Tabuteau s number system in Chapter, the scope of this document will

12 not be expansive enough explore these possibilities. However, it is the author s hope that the methods of analysis presented will provide sufficient instruction and examples of application to those who wish to try applying the Tabuteau s number system to other musical works. Certainly, the phrasing of music is a necessary element to be dealt with in almost any type of music and Tabuteau s number system provides a vehicle to thoughtfully apply motion to each note in a piece of music, proving his system s value to musicians and the value of exploring it further. David McGill, in his book Sound in Motion, sums up the significance of Tabuteau s note grouping system; Understanding note grouping unleashes the forward motion, the expression, the music within each note. Changing pitches alone is not enough to create motion in music. The power to communicate resides in forward motion thoughtfully applied to the notes. 7 7 David McGill, Sound in Motion: A Performer s Guide to Greater Musical Expression (Bloomington, N: ndiana University Press, 007), 9.

13 . Literature Review n creating my number system analysis will look to several sources for direction. Of course it is imperative to go to the primary source, and Art of the Oboe, a recording of Tabuteau speaking and playing just before his death in 9 is one of only a few primary sources available. On the recording Tabuteau explains and demonstrates some details of his number system especially in the lesson titled Number System with Tone Color. 8 The Art of the Oboe recording was re-released on compact disc under a new title of Marcel Tabuteau s Lessons in 99, and contains additional commentary in the liner notes by John DeLancie, Wayne Rapier and Laila Storch. 9 Another recording of Tabuteau speaking and playing exists as a compact disc accompanying Laila Storch s biography, Marcel Tabuteau: How Do You expect to Play the Oboe f You Can t Peel A Mushroom? 0 The book itself serves as the definitive biography of Tabuteau, while the recording preserves bits of conversations between Tabuteau and his friend Martin Wolsing and includes a short discussion of the number system. Unfortunately the only written record left by Tabuteau is his article Marcel Tabuteau of the Philadelphia 8 Marcel Tabuteau, Art of the Oboe (Columbus, Ohio: Coronet Recording Company, LPS 77) Marcel Tabuteau, Marcel Tabuteau s Lessons (Duxbury, MA: Boston Records, BR07CD) Marcel Tabuteau, How Do You Expect to Play the Oboe f you Can t Peel a Mushroom?; Marcel Tabuteau- Waldemar Wolsing Tapes (CD Compiled by Gary Louie, Bloomington, N: ndiana University Press) 008. Storch, How Do You Expect to Play the Oboe f You Can t Peel A Mushroom?.

14 Orchestra Summarizes Training, published in Musical America, which provides contextual insight but does not go into the details of the number system. Secondary sources are books, articles, and papers that contain descriptions of Tabuteau s number system by those who spent time studying with him, or a compilation of research on the subject. The books that serve as the most significant source for information on the number system are Sound in Motion by David McGill, and Kincaidiana: A Flute Players Notebook by John Krell. Sound in Motion is perhaps the most comprehensive and detailed in its description of note grouping, and is a source that will be heavily relied upon. McGill gives specific instructions for different types of grouping, on how the numbers are to be applied to each type of note, and how that should be interpreted in playing, all with musical examples drawn from a variety of repertoire. Though Kincaidiana primarily documents the teaching principles of William Kincaid (a flutist and colleague of Tabuteau in the Philadelphia Orchestra and at Curtis), it also makes several mentions of Tabuteau, especially with reference to phrasing and the applications of his numbering system. A few key articles also provide discussion on Tabuteau s number system. Bassoonist Terry Ewell provides a categorized description of what each number can signify with respect to dynamics, timbre, vibrato, and other elements of intensity in The Double Reed. n The Flutist Quarterly Lois Herbine Marcel Tabuteau, Marcel Tabuteau of the Philadelphia Orchestra Summarizes Training, Musical America (November 9). McGill, Sound in Motion. John Krell, Kincaidiana: A Flute Player s Notebook (Santa Clarita, CA: The National Flute Association, nc., 997). Terry Ewell, A Bassoonist s Expansions Upon Marcel Tabuteau s Drive, The Double Reed 0/0 (99): 7 0.

15 describes the number system as it was used in collaborations between Tabuteau and flutist William Kincaid. Additional examples and explanations from articles by Dominique-Rene de Lerma, 7 Andrea Loewy, 8 and Joseph Robinson 9 give supplemental details. Finally, a few dissertations have been written on various topics relating to Marcel Tabuteau. Though none have been solely devoted Tabuteau s number system, some provide insight to the system, most notably Marcel Tabuteau s nfluence on String Playing at the Curtis nstitute of Music: A Philosophy of Twentieth-Century Performance Practice 0 by Sarah Weatherbee and The Tradition of the Paris Conservatory School of Oboe Playing With Special Attention to the nfluence of Marcel Tabuteau by Donald Hefner. At this point it is necessary to acknowledge that many other authors have written about similar number systems and note groupings, but for the purposes of this study, will only be focusing on those writings directly related to the ideas of Marcel Tabuteau. Additionally, it is important to note that each secondary source is created through the Lois Herbine, William Kincaid and Marcel Tabuteau: A Legendary Collaboration, The Flutist Quarterly (Winter 00):. 7 Dominique-René de Lerma, Toward a Concept of Tabuteau s Phrasing, nstrumentalist 8/8 (97):. 8 Andrea Loewy, Musical Concepts of Marcel Tabuteau, National Association of College Wind and Percussion nstructors Journal 7/ (988-89):. 9 Joseph Robinson, Oboists Exhale Before Playing, The Double Reed 0/ (987): Sarah Weatherbee, Marcel Tabuteau s nfluence on String Playing at the Curtis nstitute of Music: A Philosophy of Twentieth-Century Performance Practice, DMA Doc., Peabody Conservatory of Music, 00. Donald L. Hefner, The Tradition of the Paris Conservatory School of Oboe Playing With Special Attention to the nfluence of Marcel Tabuteau, Ph.D. diss., Catholic University of America, 98. 7

16 author s recollections of their time with Tabuteau or a compilation of their research. Thus, rather than being uniform and always in agreement, each description of the number system instead reflects an understanding individual to each person and is therefore subject to some variation. Some other sources have been consulted, mainly providing general background on Tabuteau without reference to his number system, historical background, or contextual information. An additional consideration that will be necessary to a number analysis of the Bach Suite in particular will be an understanding of the harmonic structure. A comprehensive harmonic reduction and functional harmonic analysis is provided in Allen Winold s Bach s Cello Suites: Analyses & Explorations, and will serve as a key source of reference with regards to the harmonic structure of the piece. Surprisingly, Winold is seemingly alone in sources providing a complete harmonic analysis of the whole Sixth Suite. Thus, aside from a Master s Thesis by Margery Ann Enix entitled The Application of Theoretical Analysis to nterpretation and Performance of the Bach Solo Cello Suites, the Winold volumes will serve as the principal reference on the harmonic structure of the work. The primary edition of the Suite that has been consulted for the creation of the number analysis is by violist Simon Rowland-Jones, published by Peters. n the preface, Rowland-Jones relates that he consulted several eighteenth-century sources in creating his edition including Anna Magdalena Bach s copy (c. 70), three other copies- two anonymous and one by Johann Peter Kellner (c.7), and also Bach s Allen Winold, Bach s Cello Suites: Analyses & Explorations, vols. (Bloomington, N: ndiana University Press, 007). Margery Ann Enix, The Application of Theoretical Analysis to nterpretation and Performance of the Bach Solo Cello Suites, MM thesis, ndiana University, 9. 8

17 autograph transcription for lute (77- BW 99.) Rowland-Jones provides detailed critical commentary on his decisions for all technical, musical, and ornamental aspects, citing his research and historical evidence for each choice. Johann Sebastian Bach, Six Suites for Solo ioloncello: Edition for Solo iola BW 007-0, ed. Simon Rowland-Jones (London: Peters Edition Ltd, 998). 9

18 . Background nformation Marcel Tabuteau Marcel Tabuteau was born in Compeiegne, France in 887, the son of a clockmaker. As a young boy Tabuteau studied violin with his much older brother-inlaw, but in 89 he was recruited to play oboe in the Enfants de Compiegne, a local musical group of youngsters needing wind players. After unsuccessful auditions at ages thirteen and fourteen, Tabuteau was admitted to the Paris Conservatory in 90 at age fifteen to study the oboe with Georges Gillet, a well-respected performer and pedagogue. 7 By the summer of 90 at age seventeen, Tabuteau won the Premier Prix at the Paris Conservatory, the equivalent of graduation from the institution. 8 With his formal education complete, Tabuteau spent a year in Paris freelancing and playing in various orchestras. However, in 90, still shy of his eighteenth birthday, Tabuteau accepted an English Horn position with the New York Symphony offered by its director, Walter Damrosch- having been offered the job the year previous upon his winning the Premier Prix. 9 Thus, Tabuteau traveled to the United States where his career would flourish. Beginning in 908 he moved to the Metropolitan Opera, performing as first oboist under Toscanini, Alfred Hertz, and Mahler. n 9 Tabuteau would take his post as principal oboist of the Philadelphia Orchestra, where he remained Storch, How Do You Expect to Play the Oboe f You Can t Peel A Mushroom?, 7. bid., 8. 7 bid., 7. 8 bid.,. 9 bid., 0. 0

19 until 9. 0 Now widely regarded as one of the most influential oboists, teachers, and musicians of the twentieth century, Tabuteau s playing received praise for beauty of tone and depth of expression by conductors, colleagues, and countless reviews. n 9 the Curtis nstitute of Music was founded and Leopold Stokowski (also then conducting the Philadelphia Orchestra) asked Tabuteau to provide specialized instrumental training on the oboe. Throughout his tenure at Curtis he would teach private lessons, conduct the wind ensemble, and even coach string groups, shaping musicians who would go on to perform in many major American orchestras and teach in the country s major conservatories. All of Tabuteau s classes were attended not only by students, but by visitors and others who wanted to learn from his insight. Donald Hefner wrote about the coachings, separate classes were held for beginning and advanced woodwind ensembles and for orchestral string and wind sections. t was customary for visitors and students from other classes to attend The primary source of interest was Tabuteau s richly imaginative teaching of phrasing and interpretation, but there was an undeniable element of entertainment in his trenchant comments and the frequent discomfiture of the players, especially among the woodwinds. After his retirement in 9, Tabuteau returned to France where he would continue to play, teach informally, and contemplate music. He died suddenly of a heart attack in January of 9 in Nice, France. 0 Laila Storch, Marcel Tabuteau, (accessed April 0, 00). Laila Storch, Marcel Tabuteau, Liner Notes, Marcel Tabuteau s Lessons (Duxbury, MA: Boston Records. BR07CD) 99. Hefner, The Tradition of the Paris Conservatory School of Oboe Playing,. Storch, How Do You Expect to Play the Oboe f You Can t Peel A Mushroom?, 0.

20 Phrasing While many facets of Tabuteau s teaching were specific to the oboe or wind instruments, several of his ideas are applicable to any instrument, particularly his thoughts on musical phrasing. Phrasing is an essential element to recognize and carry out in performing music; as defined in the Oxford Music Online Dictionary, phrasing represents some of the chief ways in which performers, and consequently listeners, may make sense of a flux of otherwise undifferentiated sound. Most often referred to as a number system or note grouping, Tabuteau used numbers to designate a variety of elements within a phrase, assigning a number to each note. Through the numbers, a performer or teacher may carry out a phrase or instruct the way a phrase should be formed, respectively. All considerations of equal importance, the numbers could indicate dynamic changes, degrees of intensity moving towards the peak of a phrase, and note direction. Tabuteau states the essence of the number system best himself; remember the progression of numbers is not exactly a crescendo or a diminuendo. t is rather a scaling of color. Obviously, these aspects of phrasing can be taken into account in any piece of music, not just music for the oboe or wind instruments. n fact, Tabuteau often references string technique to describe the application of phrasing numbers, making it impossible to forget that he studied the violin. The Curtis nstitute clearly saw the relevance that Tabuteau s ideas had to string playing, and as Sarah Geoffrey Chew, Articulation and Phrasing, (accessed March 8, 00). Stevens, Follow-Up to the nterview with John de Lancie,. Marcel Tabuteau, Lesson ; Number System with Tone Color, in Marcel Tabuteau s Lessons (Duxbury, MA: Boston Records, BR07CD) 99.

21 Weatherbee notes, since his detailed approach to musical style and phrasing could be applied to solo and chamber music playing as well as orchestral performance, the string classes became an important part of the musical education of violinists, violists, violoncellists, and contrabassists at the Curtis nstitute of Music. 7 As the system is explored in more detail Tabuteau s references to string technique will certainly add to the discussion. The Number System The origins of Tabuteau s number system are not clearly documented and it is difficult to discern what spark started his pursuit of note grouping. John de Lancie, a former student of Tabuteau, does note that Tabuteau s time teaching at Curtis was a time when his concepts were crystallized and his brilliant ability to communicate with young musicians of that period captivated and radically transformed the music of all those who came under his influence. 8 de Lancie further attributes the numbering ideas to Tabuteau s musical beginnings on the violin and posits that his interest in a book about bowing was a source of inspiration; The Superior Bow Technique, by Lucien Capet, which contains a similar numbering system with relation to bow distribution. 9 While this is only a theory and is not confirmed by other sources, Tabuteau does often use string technique as a point of reference or as an analogy in explaining note grouping. One example occurs in a recorded lesson on the number system, Tabuteau states first, 7 Weatherbee, Marcel Tabuteau s nfluence on String Playing, 7. 8 John de Lancie, About the Man, Liner Notes, Marcel Tabuteau s Lessons (Duxbury, MA: Boston Records. BR07CD) Stevens, Follow-Up to the nterview with John de Lancie,.

22 remember the progressions of numbers is not exactly a crescendo or a diminuendo. t is rather a scaling of color. To understand this point, think of the bowing distribution on the violin- in the space between the finger board and the bridge. 0 (The space between the finger board and the bridge refers to the different sounding points where the bow can be placed and the different sound colors they produce.) One can be sure that in addition to being related to string technique, Tabuteau s number system is based in music theory. Dominique-Rene de Lerma, another former student, notes one numbered exercise assigned by Tabuteau called the drive that was particularly rooted in music theory and the association between consonance and dissonance. n practicing the drive one would begin on the tonic of a scale, playing each successive note with increasing intensity, peaking on the fifth note of the scale (the dominant) and then begin descending with the scale and descending intensity on each note. n his notes accompanying Tabuteau s Lessons recording, Wayne Rapier refers to the way a note group would propel itself according to the underlying harmonic progressions until reaching a resolution. Additionally, Tabuteau would describe the combination of phrases into a larger musical structure or form using imagery from his teacher George Gillet. Laila Storch recalls: the one remember Tabuteau speaking of the most frequently was the comparison of a musical phrase to each phalange, each joint of the finger being linked to the hand, in turn to the wrist and then the arm- that the 0 Marcel Tabuteau, Lesson ; Number System with Tone Color, in Marcel Tabuteau s Lessons (Duxbury, MA: Boston Records, BR07CD) 99. Weatherbee, Marcel Tabuteau s nfluence on String Playing, 7. Wayne Rapier, My Explanation of Ups and Downs, Liner Notes, Marcel Tabuteau s Lessons (Duxbury, MA: Boston Records. BR07CD) 99.

23 whole made one unit but that within that unit each individual section had its own importance, and this he continued to liken to the inner sections of a musical phrase. As previously mentioned, Tabuteau unfortunately never wrote down a method or instructions for his number system, though we are lucky to have the recordings made by Wayne Rapier in the 90s. However, even these recordings do not offer Tabuteau s ideas in their entirety and were not planned to function as comprehensive instructions in note grouping. Among those who studied with Tabuteau, though their accounts of his ideas are consistent, each person interprets the number system in a way that best suits their individual style or teaching needs. Donald Hefner notes that even Tabuteau acknowledged the system was applied inconsistently. Still, the literal numbers are not necessarily the point- Tabuteau was most interested in the musical outcome. Wayne Rapier recalls, He [Tabuteau] would push you in the right direction until you furnished your OWN solution for producing the required results. Each of his students would furnish different accounts of his System. 7 Some may wonder how the ideas of an oboist can have much relevance to string playing. Though some applications of Tabuteau s number system do correlate most immediately with the use of wind and breathing in oboe playing, a musical phrase is universal to the music of all instruments, in addition to the necessity of coloring notes Laila Storch, quoted in Hefner, The Tradition of the Paris Conservatory,. Weatherbee, Marcel Tabuteau s nfluence on String Playing, 7. bid., 0. Hefner, The Tradition of the Paris Conservatory,. 7 Wayne Rapier, Marcel Tabuteau Tape History, Liner Notes, Marcel Tabuteau s Lessons (Duxbury, MA: Boston Records. BR07CD) 99.

24 differently in different situations. The Curtis nstitute of Music clearly had no problem allowing Tabuteau to teach the String Ensemble Class where there are accounts of his spending an entire class on a few notes or just one phrase, teaching through his number system. 8 iolist Karen Tuttle first experienced Tabuteau s ideas as a student at Curtis and then integrated note grouping into her coordination philosophy noting that physical releases would most effectively be accomplished- that is they would enhance and not disturb the musical line- if they were integrated with the musical phrase. 9 Marc Mostovoy, an American violinist and conductor traveled to Nice in the 90s to study with Tabuteau, Mostovoy having heard about him through his teacher, Ward Fern, at Temple University. n addition to learning about the phrasing system, Mostovoy and Tabuteau discussed many concepts related to string playing, including changing positions, string crossings, vibrato, and bow distribution and sounding point. 0 Tabuteau wrote; always tell my students that if they think beautifully they will play beautifully. For it is what you have to say in music which determines the quality of your performance. The instrument is like the artists s pencil merely a means of expression and not an end in itself. Tabuteau s number system is also a means to expression rather than an end, and its ability to provide emotion in a piece of music establishes the significance of the system and worth of studying it in detail. 8 Weatherbee, Marcel Tabuteau s nfluence on String Playing, 7. 9 bid.,. 0 bid., 7. Tabuteau, Marcel Tabuteau of the Philadelphia Orchestra Summarizes Training,.

25 . Four Applications of the Number System and Technical Execution With students of Tabuteau (wind and string players alike) adapting his number system to best suit their own needs, it is difficult to arrive at a concrete rubric for applying the system. n his notes that accompany Tabuteau s recording, Wayne Rapier designates three distinct uses of the numbers; he [Tabuteau] used three sets of numbers whenever appropriate for dynamics, intensity and tone color variations. Laila Storch listed the different applications as being ranges of intensity, continuity of rhythm and patterns of phrasing. The applications are expressed by Sarah Weatherbee in three settings; n Tabuteau s system each note of the phrase was assigned a number that reflected its relative intensity within a group of notes. The number system was elaborate and could also be applied to rhythm and dynamics. n the recording of Marcel Tabuteau s Lessons, Tabuteau himself refers to three different applications of numbers (they are described here generally, and will be explained with detail and examples in the sections that follow.) n the first two lessons, Wind Control and Breath Taking, he applies numbers to practice using graded amounts of wind on one note- both on separately articulated notes and one long note. He also associates this lesson to string technique saying, wind control is the equivalent of the bowing distribution on the string instrument. The third lesson is entitled Number System ntro even though he has already mentioned the use of numbers in the previous Wayne Rapier, My Explanation of Ups and Downs, Liner Notes, Marcel Tabuteau s Lessons (Duxbury, MA: Boston Records. BR07CD) 99. Laila Storch, quoted in Hefner, The Tradition of the Paris Conservatory,. Weatherbee, Marcel Tabuteau s nfluence on String Playing, 79. 7

26 lessons. n this lesson Tabuteau discusses the use of numbers to indicate the distribution of tone color lending direction to a phrase (the example he plays is from Scheherazade Second Movement) and again equates string technique; am in favor of a mobile, flexible embouchure which will give you the possibility to scale tone color as on the violin! Tone color is unfortunately a somewhat ambiguous term, but Tabuteau is careful to note in the same lesson that it is not to be confused with dynamics, and does his best to describe it- Be sure to understand me! By tone color, mean the physical life of the notes. Lesson number four, Dancing Numbers again shows the direction of a phrase, this time through the repetition of numbers on successive notes. Before demonstrating Tabuteau explains, in the little grouping that am going to play for you in a short while, if would say, - which might be all right in some occasion, but on this particular little thing am going to play, would make my distribution this way: nstead of, which is rather placid, would select ;! You will notice there is repetition of number, which is the equivalent of changing steps; - and it makes the presentation dancing. Rhythmic numbers are one more application of numbers that Tabuteau used, though he himself does not specifically mention it by name in the sources available. n his recording of Lessons, Tabuteau occasionally refers to specific notes as down or up in lieu of assigning a number. Donald Hefner provides a clear explanation of what Tabuteau intended with the ups and downs; Nearly every beginning music student is taught that duple time consists of a strong beat followed by a weak beat, while triple time involves that same strong beat followed by two weak ones. This describes metric groupings in terms of weight or accent. Tabuteau would describe them instead in terms of the urgent movement of the upbeat to the downbeat. Marcel Tabuteau, Marcel Tabuteau s Lessons (Duxbury, MA: Boston Records, BR07CD) 99. Hefner, The Tradition of the Paris Conservatory School, 0. 8

27 n his notes accompanying Tabuteau s recording, Wayne Rapier explains in another fashion; the ups would follow harmonic progressions with increasing intensity to the resolution. The beginning of the downs at the resolution should contain the most intense motion 7 John Krell goes even further in Kincaidiana, showing that the down impulses on strong beats are what gives the preceding up impulses rhythmic context, and gives examples of how numbers may be applied to show rhythmic direction in the way Tabuteau would have intended. 8 These four applications of Tabuteau s number system (as described above) are perhaps most clearly illustrated by David McGill who provides names for each type as scaling numbers, motion numbers, rhythmic numbers, and phrasing numbers in the book, Sound in Motion. 9 For the purpose of clarity in this paper, these are the names that will be referred to heretofore. Scaling Numbers Scaling corresponds to Tabuteau s discussion of wind control and breath taking and refers to the intensity of a note which could be raised or lowered over the course of one long note, or rise and descend note by note. Though intensity could be used to describe a dynamic level, in Tabuteau s terms it is more accurate to say that it suggests an array of tone colors (the higher the number, the higher the intensity.) 0 On a stringed 7 Wayne Rapier, My Explanation of Ups and Downs, Liner Notes, Marcel Tabuteau s Lessons (Duxbury, MA: Boston Records. BR07CD) Krell, Kincaidiana: A Flute Player s Notebook, -. 9 McGill, Sound in Motion, bid., 7. 9

28 instrument, different levels of intensity and tone color in any of its forms can be created through variance of bow pressure, bow speed, sounding point, and vibrato. The following examples (.a and.b) show one way to grade a note for practice, though there are many possible variations. n addition to using a single pitch, Tabuteau used scales in various forms and was not limited to five levels of gradation. After a student had mastered five levels of intensity, he would have them go up to 9 or even as high as (these exercises are described in detail and called The Drive by Dominique-René de Lerma in her article, Toward a Concept of Tabuteau s Phrasing. ) Example.a Example.b t would be advantageous to practice scaling with the separate techniques of bow pressure, bow speed, sounding point, and vibrato, as well as all possible combinations. For instance, with Example.a, one could play it first grading the intensity by starting the bow with light pressure, adding weight until it reaches the level intensity in the middle of the bow and then lightening the pressure towards the tip. Then, for bow speed one would begin with a slow bow speed to make the level intensity, gaining momentum and intensity towards the middle, while slowing again as the bow reaches the tip and a level. The example could be practiced using the sounding point by beginning over or de Lerma, Toward a Concept of Tabuteau s Phrasing,. 0

29 near the fingerboard, moving the bow towards the bridge creating greater and greater intensity, then moving it again gradually towards the fingerboard. To practice with vibrato, the bow speed, pressure, and sounding point would remain the same, while the vibrato started out wide and slow, becoming faster and narrower towards the middle of the bow and then slowing down again. Upon mastering these techniques, two or more may be combined for even more possible ways to create the desired effect. An essential note for string players is that the numbers assigned in a number analysis may or may not correspond with any bowing markings, including slurred, stopped, or separate bows. When the numbers do not seem to match the bowings, one must consider that the intensity of a note is what creates the phrase direction, not the bow direction itself. f it is necessary to change intensity from note to note, this can be done with the aforementioned bow pressure, bow speed, sounding point, and vibrato, regardless of bow markings. This is not to say that if a bowing change will enhance the phrase that it should not be done. t is also important to realize that these numbers do not have a specific intensity, dynamic, or direction assigned to them; rather, the numbers indicate the aforementioned factors relative to what has come before, what is coming after, and what the music requires. Motion Numbers Motion numbers are used to show direction or forward motion in a passage of small note values such as fast eighth-notes, triplets, or sixteenth notes, and are closely related to Tabuteau s Dancing Numbers. The following examples provide illustrations McGill, Sound in Motion, 7.

30 of how motion numbers may be applied to music. The first two examples show an incorrect application of motion numbers (Example.a) and a correct grouping (Example.b)- one will notice that these examples do not have repeated numbers as Tabuteau would have applied them as dancing numbers. This has been done to begin with the simplest demonstration of motion numbers, but Example.c shows the repeated numbers in a likely application that Tabuteau would have created. The commas in these and all following examples indicate where one grouping of notes ends and the next grouping begins. Example.a Example.b Notice in the first example (incorrect grouping,) the number indicates a greater intensity placed on the eighth notes that fall on the off-beats. f the off-beat eighth notes are played with greater intensity, however, the passage feels syncopated and plodding without forward motion. The grouping in the second example is correct because it creates motion toward the stronger beats with a higher intensity on those notes, thus generating a feeling of forward motion.

31 Example.c Example.c shows how the notes in this passage create a complete group of notes, building from the low G and finishing on the E at the beginning of the third measure. As one moves from the notes labeled to to (etc.) the sense of moving from a weaker eighth note to the stronger eighth note remains as the intensity grows towards the strongest eighth note on the downbeat of measure three (labeled with the number 7.) As Tabuteau explained, the repeated numbers are the equivalent to changing steps which gives the passage a dancing quality; particularly relevant to all the movements of the Bach Suite, which are meant to be dance movements. There are many ways a string player may go about executing this passage on the instrument. Using bow pressure, one may begin with a lighter amount for the notes labeled and gradually increase pressure as the numbers rise with the greatest amount of bow pressure on the. Bow speed would be applied similarly with the slowest bow speed (and therefore the smallest bow strokes) on the notes labeled and the bow moving faster (with longer and longer bow strokes) on each successive number. For sounding point, the bow would create the least intensity nearest the fingerboard and would move further and further away from the fingerboard, towards the bridge, with each rising number. t would be difficult to vary the vibrato in this particular passage as the notes Marcel Tabuteau, Lesson ; Dancing Numbers, in Marcel Tabuteau s Lessons (Duxbury, MA: Boston Records, BR07CD) 99.

32 move quickly, but it may be possible for some to begin with a slower vibrato on the lowest numbered notes and gradually increase the speed as the notes call for higher intensity. Naturally, a combination of a few or all of these technical options might be appropriate to best perform the grouping, and it is up to the performer to decide how they will accomplish the desired effect. Rhythmic Numbers Rhythmic numbers are extremely useful not only to show the direction of a phrase, but also to establish rhythmic accuracy. Passages containing odd subdivisions of the beat such as or 7, or passages moving between different subdivisions of the beat can be played more precisely through the use of rhythmic numbers. Rhythmic grouping works because one is only able to recognize the rhythmic value of a group of notes when they are put in context by the length of the notes that follow. n this example (Example.a,) it only becomes clear that the note values have changed from eighth notes to triplets when the second note of the triplet occurs (A), showing that the previous note (G) is shorter than an eighth note. Example.a McGill, Sound in Motion, 8.

33 Additionally, these numbers indicate the movement of the upbeat (or upbeats) to the downbeat, as Donald Hefner cites Tabuteau intended. Example.b shows how Tabuteau himself may have interpreted such a passage with his beloved ups and downs. Example.b t is very important that string players do not confuse these up and down markings with the intended bow direction. Being an oboist, Tabuteau did not use the markings in that context. Rather, the ups and downs indicate each note s function in its rhythmic context as mentioned previously. Naturally, depending on the musical context, the ups and downs may also be a logical suggestion for bow direction, but this would certainly not always be the case. As Sarah Weatherbee emphasizes, Of course, there are many times when it works out that an up impulse is made on a down bow and vice versa. As far as technical execution, the discussion that is part of the previous section, Motion Numbers, also applies to the examples provided in this section. Phrasing Numbers t is probably safe to say that beautiful musical expression is at the heart of Tabuteau s number system, and the application of phrasing numbers is what he used to lead his students toward that end. Phrasing numbers are more a synthesis of scaling, motion, and rhythmic numbers than their own entity, showing musical direction through a Hefner, The Tradition of the Paris Conservatory, 0. Weatherbee, Marcel Tabuteau s nfluence on String Playing, 7.

34 combination of all three. 7 The following example, measures 78-8 from the Prelude of Bach s Suite No., is able to show examples of scaling, rhythmic, and phrasing numbers, giving a point of comparison. Example.a f this section were to be played with only scaling numbers in mind (A.) it would be played with graded intensity, the strength growing gradually from lowest to highest number and then descending with the numbers. The rhythmic and phrasing numbers would occur exactly the same, indicated in the B line. Functioning as rhythm numbers, the separation between the first two notes (both labeled ) indicates the stronger value of the downbeat being isolated from the scalar notes that follow. The following eighth note is included in this grouping because the landing on the longer valued note gives context to the thirty-second notes and shows their shorter value in addition to being the culmination of the up beat thirty-second notes. Continuing with the last two eighth notes in the first measure, the next group extends across the bar line to the downbeat. n the rhythmic sense, this grouping shows that the two eighth notes before the bar line are weaker rhythmically than the last, as it is the first beat of the measure and thus a strong beat. The phrasing numbers are the same as the rhythmic groupings because they show 7 McGill, Sound in Motion, 7-7.

35 the musical direction. The first note shown is actually a part of what has come before, thus it cannot be phrased in with the following scalar figure. The scale leads to its peak on the C, while the following two eighth notes fall to the next strong beat (D) then the next figure directs itself to land on the C and so on. f one follows this phrasing and rhythmic number pattern an even larger structure emerges () showing the harmonic structure of a descending scale, D-C-B-A-G. n the larger harmonic structure of the movement, this scale is less significant, being simply a part of a dominant prolongation extending from mm Again, in terms of technical execution on a stringed instrument, the previous discussions of bow pressure, bow speed, sounding point, and vibrato apply similarly to phrasing numbers. This particular example does provide one more point to explore, that being the implementation of the numbers under slur markings. To those inexperienced with string playing it may seem nearly impossible to go from a note with a high intensity level to one with the lowest intensity without changing the bow direction. However, this is only a matter of lightening bow pressure, the slowing of bow speed, moving the sounding point towards the fingerboard, and/or slowing vibrato while continuing the bow direction. This type of operation becomes easy with practice, and may also be practiced in the manner of Tabuteau s scaling exercises (see Example.b- one possible practice exercise). Example.b 8 Winold, Bach s Cello Suites: Analyses & Explorations, :. 7

36 Of course, since it is the expressive phrasing of music that we (and Tabuteau) are most interested in, it is the phrasing numbers that will be focused on in analyzing a piece of music. Through the synthesis of scaling, motion, and rhythmic numbers it will be possible to understand the way the phrasing numbers should be applied and thus create expressive musical phrases. n the chapter that follows, while mainly phrasing numbers will be mentioned, they come with the understanding that scaling, motion, and rhythmic numbers are fused into their creation. Harmonic mplications The harmonic implications of Tabuteau s number system are best described by David McGill; note grouping links chords together, emphasizes their functions, and creates forward motion. 9 n the words of Wayne Rapier, the ups would follow harmonic progressions with increasing intensity to the resolution. 70 As one analyzes the note groups, how the groups join together into phrases, and how the phrases then link to form the musical fabric, one will notice how the numbers highlight the formal harmonic structure of the notes. t is simplest to illustrate this point by going straight to the music and looking at an example. 9 McGill, Sound in Motion,. 70 Wayne Rapier, My Explanation of Ups and Downs, Liner Notes, Marcel Tabuteau s Lessons (Duxbury, MA: Boston Records. BR07CD) 99. 8

37 Example.a As seen in the first measure of the Allemande, though there are many notes, but there are really only three main note groups. The decision to number every note or only a few key notes will be discussed in detail with the full analysis of the Suite; for the purposes of discussing the harmonic structure of this example, however, it is not necessary to include such minute detail. After the pick-up note, B, leads to the first chord, the following thirty-second and sixty-fourth notes can be reduced to two main notes, A then G, surrounded by neighbor notes and leading to the A-G double stop. The next group consists of the main notes, F-sharp G E F-sharp again surrounded by neighbor notes and leading to the B-G double stop. Taking the landing points of each group previously pointed out, one will recognize a tonic-dominant-tonic movement in G-major, forming a complete phrase (indicated by T-D-T in line ) 7 n this instance, Tabuteau s number analysis has not only provided the performer and the listener a vehicle to make sense out of dense collections of notes, but it has also illuminated the larger harmonic structure present in the piece. Upon examining the number analysis of any of the Bach movements (to follow in Chapter ), one will find that the harmonic structure is always supported and filtered out for the ear by the note groups. 7 Winold, Bach s Cello Suites: Analyses & Explorations, :. 9

38 Though Tabuteau s number system is easily applied to this harmonically tonal Bach Suite with functional progressions, one may wonder if it is applicable to music outside of tonal harmony. While it is important to consider the harmonic structure of a piece when possible, phrases certainly exist in music that is not a part of tonal harmony. n fact, phrasing often becomes vital in pieces that lack functional harmonic progressions to give the ear form and structure. The following example shows how the number system can be applied to an atonal piece, and this application can translate to other types of music outside of functional tonal harmony. Krzysztof Penderecki s Cadenza for iola Solo is an atonal piece for unaccompanied viola lacking key signature, time signature, and even bar lines. Example.b Since the first chord is the culmination of what has come before, it is not part of the first note grouping. The following two notes, B-flat and A lead to the A-flat, while the remaining notes of the second triplet move towards the G-flat. n both cases these are indicated by the -- numbering, the highest number indicating the highest intensity. Following the G-flat, the F, E, and triple stop direct themselves towards the four note chord which is the culmination of the phrase and the point of highest intensity, indicated by the number. Clearly, though a piece may lack the conventional organization of tonal harmony, the structure and phases are brought out through Tabuteau s number system. 0

39 . Application of the Number System to Suite No. for Cello (Transcribed for iola in G Major by J.S. Bach) Bach most likely wrote his six suites for solo cello around 70-, during his residency as Kapellmeister at Cöthen (77-) serving Prince Leopold. 7 n Cöthen there were many excellent court musicians at Bach s disposal, and though it is not documented, it is thought that a court viola da gamba player, cellist, and Bach s good friend, Christian Ferdinand Abel, might have been the first to perform the suites. 7 The set of suites were finished soon after the solo violin sonatas and partitas, and are a classic example of the Baroque dance suite. As Allen Winold states, according to the textbook definition, the Baroque suite consists of four principal dance movements, the principal movements being the Allemande, Courante, Sarabande, and Gigue. t was also common to add a Prelude movement at the beginning and optional movements between the Sarabande and the Gigue, such as the Minuet, Bourée, or Gavotte. 7 Suite No. is no exception to this formula, consisting of a Prelude, Allemande, Courante, Sarabande, Gavottes and, and a Gigue. The specific characteristics of each movement will be discussed and considered with the analysis of each movement. The sixth and last Suite does differ slightly from its predecessors in that it was originally written for a five-stringed instrument, 7 the viola pomposa, described by Allen 7 Winold, Bach s Cello Suites: Analyses & Explorations, :. 7 Simon Rowland-Jones, preface to his edition of Six Suites for Solo ioloncello: Edition for Solo iola BW 007-0, by Johann Sebastian Bach (London: Peters Edition Ltd, 998),. 7 Winold, Bach s Cello Suites: Analyses & Explorations, :8. 7 Rowland-Jones, preface to his edition of Six Suites for Solo ioloncello,.

40 Winold as a five-string instrument with an added E string above the top A string of the four-string cello. 7 Since five-string cellos or violas are extremely rare in the current time period, it is standard that the suite be performed on conventional four-stringed instruments. All of the Suites have been transcribed for viola and published in several editions, and with the exception of the Fifth and Sixth Suites, the only necessary change is to transpose the notes up one octave to fit in the viola range. The Sixth Suite in its original key of D major, however, raises so many technical difficulties for performance on the viola that it is customarily performed in the transposed key of G major. This chapter will demonstrate the application of Marcel Tabuteau s number system and its creation of expressive musical phrasing to Bach s Unaccompanied Suite for Cello No. (transcribed for iola) in G major. Since the change of key is simply a transposition, the number analysis is easily transferred to the piece in its original key of D major, and as a violist, using the G major version will lend itself most directly to performance on the instrument. As mentioned in the literature review, the primary edition that has been consulted for the creation of the number analysis is by violist Simon Rowland-Jones, published by Peters. n the preface, Jones reports that he consulted several eighteenth-century sources in creating his edition including Anna Magdalena Bach s copy (c. 70), three other copies- two anonymous and one by Johann Peter Kellner (c.7), and also Bach s autograph transcription for lute (77- BW 99.) Rowland-Jones also provides detailed critical commentary on his decisions for all 7 Winold, Bach s Cello Suites: Analyses & Explorations, :.

41 technical, musical, and ornamental aspects, citing his research and historical evidence for each choice. 77 Now turning to the analysis of the music, a brief note about the organization of these sections and the analytical interpretation is necessary. Each movement of the Suite will be discussed in detail, with the most interesting and salient features of the number analysis being highlighted. n consideration of length and redundancy, the whole movement may not be discussed, but each example will be chosen with purpose in order to show the distinctive and interesting features of each movement, enabling the reader to understand the full analysis without a discussion of every note. f there are any particular concerns having to do with the technical execution reflecting the analysis, these will be discussed as well, though in most instances the ideas presented in Chapter will suffice. The text of the discussion will include examples extracted from the complete analysis, and the complete analysis of the suite will appear at the end of the chapter. The analysis of some of the movements may include several layers of numbers, which will be explained in the individual sections. Lastly, the word interpretation brings up an important point that oftentimes the application of Tabuteau s number system is in the eye of the beholder. Just as each performer may play Bach differently, each number analysis may yield slightly different results and it is up to the individual to figure out what sounds right to them. The results of my analysis are what make sense to me, but it is possible that another person might come up with something different. As Wayne Rapier recalled, He [Tabuteau] would push you in the right direction until you furnished your OWN solution for producing the required results. Each of his students would furnish different 77 Rowland-Jones, preface to his edition of Six Suites for Solo ioloncello,.

42 accounts of his System. 78 The literal numbers are not necessarily the point- Tabuteau was most interested in the musical outcome, which is always individualized. Prelude The word prelude is somewhat simply defined as preliminary or introductory to something else. f one explores older meanings of the word as Simon Rowland-Jones has done, one finds additional meanings; Prélude is from the Latin praeludium ( play before ); the French préluder and the German präludieren have an archaic meaning to improvise. 79 The Prelude movement to Bach s Sixth Cello Suite adheres faithfully to both of these definitions, coming before the traditional dance movements of the Baroque Suite, and also sounding improvisatory in nature. Composed almost entirely of fast moving even-note rhythmic gestures, the movement is virtuosic and can be described as jaunty and exuberant in the way many improvised pieces sound. 80 Formally, the Prelude is organized through clear statements of thematic material, found throughout the movement in various forms and moves between the thematic sections with transitional passages. The full analysis will be labeled with statement and passage for each section as they are labeled by Allen Winold. He uses such labels not because this movement is in fugal form, but because it manifests the same clear alternation between thematic sections and transitional sections. According to Winold, 78 Wayne Rapier, Marcel Tabuteau Tape History, Liner Notes, Marcel Tabuteau s Lessons (Duxbury, MA: Boston Records. BR07CD) Rowland-Jones, preface to his edition of Six Suites for Solo ioloncello,. 80 Winold, Bach s Cello Suites: Analyses & Explorations, :-.

43 it would be possible to analyze the movement in two large parts of roughly equal length. The first part, bars -, is devoted to sounding the main thematic statements with passages between them. The second part, bars -0, begins by moving gradually from the low range of the cello to a climax in the extreme high range in bar 7. This is followed by a return descent to the low range, sixteenth note passage work, and the six three note chords that lead to the concluding coda. 8 One will find these sections marked in the complete analysis provided at the end of this chapter. The first statement of the theme (Statement ) is four measures long and is representative of the texture that will continue throughout the Prelude. The small sections that make up this musical phrase are what provide the interest when applying Tabuteau s number system to this segment. The first two measures are somewhat puzzling at first glance because they contain so many repeated notes; it is difficult to ascertain which notes are most important and where each one is leading. However, if one considers the way rhythmic numbers would function and applies that concept to the phrasing, the note groups become clear. Example.a 8 Winold, Bach s Cello Suites: Analyses & Explorations, :.

44 As seen in Example.a, nine out of the first twelve notes are all Gs. With such repetition, it would be impossible to create interest without playing each one slightly differently, and leading to the peak of the first small note group, the higher G on the last note of the first measure (indicated with the number 8 in line A.) The numbers in the B line show how each smaller section culminates, to, to, to 7 and 7 to 8, creating the larger motion. nterestingly, this first measure already breaks one of the strong tendencies of note grouping; groups lead to and peak on a strong beat. f the first measure were to follow this tendency, the highest number should be on the first note of the second measure, peaking on the downbeat. nstead the gesture restarts as an exact repetition on the downbeat, necessitating a peak the eighth-note before the downbeat. The second measure occurs as a small segment that mirrors the first with one exception. This group does follow the tendency to end on a strong beat, rising to another G on the last eighth-note (again indicated with the number 8 in line A,) but this time the G continues and leads to the E on the downbeat of the third measure (indicated by the number 9 in line A.) This development propels the music forward into the remaining part of the first statement of Theme, culminating on the downbeat of measure on the An additional result of the second measure s continuance to the beginning of the third is to highlight the harmonic movement, which is from tonic harmonies to an unexpected sub-dominant (weakened, being in an inverted configuration- see line ) When the segment finally reaches its peak on the downbeat of measure, it is again on the subdominant, but in the much stronger root position. 8 8 Winold, Bach s Cello Suites: Analyses & Explorations, :.

45 As previously mentioned, the entire movement is in constant motion, only deviating from continuous eighth notes with a few sets of sixteenth notes in the latter parts of the movement. So, the question becomes, is it truly necessary to number every single note? While it is informative to number each note on a micro level, applying the number system on a macro level may be more useful in creating the direction necessary for phrasing. The first few measures of Passage, seen in Example.b, provide interesting material with which to explore this idea. Example.b The numbering in the line labeled A gives each individual note direction and creates small note groups. f one performs with only these small groups in mind, however, the result will be static. Now examine the numbering in the B line. The numbers have been assigned to give direction to the strongest notes as revealed by the micro-numbering in line A. n line B starting with measure, the A and B labeled with the number lead to the C labeled with the number, the G and B that follow lead to the C labeled with the number and so on. These numbers show much larger phrase groups, which in turn reveal a sequence. f performed with these groups in mind the notes will take form and show their direction towards the culmination of the sequence ending on the F-sharp. (The sequence is most clearly indicated by the numbering in line C, the culmination of each sequence group indicated by the number.) Again, the harmonic movement is highlighted by this note grouping; as seen in line D, the sequence moves from 7

46 subdominant to dominant to tonic in measure five, the note group naturally peaking on the tonic at the downbeat of measure six. After this measure the harmonic movement slows slightly, the note group in measure culminating on the dominant at the downbeat of measure 7, and measure 7 finally leading again to the tonic on the downbeat of measure 8. 8 Thus, the seemingly endless eighth-notes will turn into an expressive phrase that the listener can understand. The following four measures behave similarly to measures -7, and lead into another statement of theme (Statement,) this time transposed a fifth higher than at the beginning of the Prelude. From measures -, the Statement and Passage material mirror measures - with some variation, the note grouping also behaving similarly. At measure the theme is restated again, identified as Statement. Appearing after this third restatement of the theme and transitional material in Passages -, the theme is again reiterated with a following passage that mirror the first Statement and Passage in measures - (see Statement and Passage.) The beginning of Statement is where Allen Winold delineates the second formal section of the Prelude, beginning from the lowest range of the instrument. 8 This is not changed with the viola transposition, Statement beginning on the lowest note offered by the instrument, the open C string. Beginning in Passage 7 new material is introduced, and new number system possibilities are introduced. 8 Winold, Bach s Cello Suites: Analyses & Explorations, :. 8 bid., :. 8

47 Example.c The first four measures of Passage 7, measures 70-7 are organized as a sequence with a pedal note, D, thus each of the measures are numbered the same. The D pedal has the highest intensity in each group, which is appropriate since the memory of that note must last for the whole measure, and has harmonic significance- to be discussed shortly. The grouping of the sequential notes stray from other groupings that have been seen previously. Refer to the first measure of the passage, measure 70. The B and G, labeled and, lead to the first note of the second beat, another The next two notes, G and A, both labeled, give rise to the downbeat of the third beat, again a The remaining notes in this measure are labeled with a, giving them a static intensity until they arrive on the downbeat of measure 7, D (as noted before, giving the pedal note the highest intensity.) This repetition of intensity for the last two beats of the measure seems to make sense as the notes are repeated twice, thus keeping the harmonic motion static until their arrival on the D. What is most interesting about this passage is the harmonic structure, identified by Allen Winold as fauxbourdon. 8 With the changes in harmony in each measure, it moves from the tonic G major in measure 70, to ii-iii- and finally 8 Winold, Bach s Cello Suites: Analyses & Explorations, :. 9

48 landing on the dominant in measure 7. This growth in harmonic intensity is indicated by the numbers in line B, showing the direction of the first measure growing through until the downbeat of measure 7. This passage is particularly beautiful to listen to with its unexpected harmonic movements. Passage 8, beginning on the third beat of measure 78, has already been highlighted in the discussion of Phrasing Numbers in Chapter. Both Passage 8 and 9 are particularly striking however, since the rhythmic motion speeds up to sixteenth notes in much of the passages, lending virtuosity to these sections. After Passage 9 comes a final statement of the theme, Statement, which again mirrors previous statements, until it comes to Passage 0. Passage 0 again breaks into sixteenth notes for the first two measures, and is another good place to examine micro verses macro numbering. Example.d As seen in Example.d, not every note is numbered, even in the micro numbering line (line A.) n these two measures, while many of the notes are significant, the As seen in beats two, three, and four of each measure do not hold much significance as they are repeated so many times. Though they are a part of the dominant harmony, 8 the oscillation between G and F-sharp in measure 9 and between F-sharp and E in measure 9 are certainly more interesting to the ear. n fact, the technical execution of this section, involving bariolage (a quick oscillation between strings with the bow) informs 8 Winold, Bach s Cello Suites: Analyses & Explorations, :. 0

49 the numbers more than the other way around. Since the changing notes are more important, it is essential that the string player lightens the bow pressure as it plays the open string so that it does not over power with dynamic volume the fingered notes. One more interesting section of writing that has not previously occurred in the Prelude is in measures 98 and 99. n the middle of measure 98, the constant moving notes break off into blocked three note chords. n performing these chords, it would be impossible to provide the technical execution to label each note in the chord with the proper intensity, so it is important to identify the most important note and bring it out. Example.e While the first chord is certainly the peak of the previous note group (indicated by the number,) it is also the beginning of the next. f one follows the middle notes of each chord, a chromatic scale will emerge, descending from the C-sharp in the first chord to C natural-b natural-b flat-a natural- (skipping G-sharp) and culminating with G on the downbeat of measure 00. n this instance, the numbers assigned apply to the notes of the chromatic scale, while the surrounding notes in the chords are simply providing the harmonic context of the dominant moving to the tonic. 87 n order to make this audible to the listener, the performer must play with less bow pressure on the bottom note of the chord, add pressure and bow speed as the middle note is played, and then lighten the pressure and slow the bow speed on the top note of the chord. Following these two 87 Winold, Bach s Cello Suites: Analyses & Explorations, :.

50 measures, a short coda ensues, the note groups behaving similarly to those in the previous passage sections, and the piece finishes with a flourish on a high G. Allemande The word allemande in French means German, which is appropriate since the musical Allemande developed its most recognized features in Germany. French composers writing Allemandes wrote them in two different styles; the dance Allemande being fairly straightforward in rhythmic, melodic, and formal elements, and a concert Allemande being somewhat slower and more ornate. 88 Upon examining the Allemande movement of the Sixth Suite it will be obvious that this Allemande is of the concert variety. The elaborate texture of the melodic writing shows the ornate nature of the movement, and with so many notes assigned to each beat, it is necessarily in a slow tempo. There are a few other salient features typical to both types of Allemande, and the Allemande of this Suite adheres to all of them. t is in a slow quadruple meter with a single upbeat note at the beginning leading to a full chord on the downbeat of the first measure and it is constructed in a binary form. 89 The elaborate ornamentation of this concert style Allemande provides another opportunity to consider macro verses micro numbering with respect to Tabuteau s number system. One need not look further than the first measure to find an example of the highly wrought ornaments constructed with th, nd, th, and on occasion, even 88 Winold, Bach s Cello Suites: Analyses & Explorations, :. 89 bid., :.

51 8 th notes (see measure.) t would certainly be tedious to label each note in this movement with a number and laborious to consider each one so minutely when preparing a performance. Luckily, upon analyzing the phrase and harmonic structure of the movement it becomes apparent that most of the faster moving notes are part of the ornamentation, and the macro structure emerges. Example.a n Example.a, line A shows how numbers could be applied on a micro level, but if the results are reduced, one will find that there are really only three main note groups (see line ) After the pick-up note, B, leads to the first chord, the following thirty-second and sixty-fourth notes can be reduced to two main notes, A then G, surrounded by neighbor notes and leading to the A-G double stop. The next group consists of the main notes, F-sharp G E F-sharp again surrounded by neighbor notes and leading to the B-G double stop. nterestingly, if one takes an even larger step back, another macro and larger phrase structure emerges. Taking the landing points of each group previously pointed out, one will recognize a tonic-dominant-tonic movement in G- major, forming a complete phrase (indicated by numbers in line C and the roman numeral analysis in line D.) 90 n this instance, Tabuteau s number analysis has not only provided the performer and the listener a vehicle to make sense out of dense collections of notes, but it has also illuminated the larger harmonic structure present in the piece. For the 90 Winold, Bach s Cello Suites: Analyses & Explorations, :.

52 remainder of the Allemande analysis, the numbers will be presented in their macro structure, showing the phrase direction and structure more succinctly than the smallest note groups. Oftentimes, the interesting points in a piece of music are derived from unexpected harmonic progressions, and the second measure of the Allemande presents an opportunity to highlight this through note grouping. Example.b As one will recall from Example.a, the first double stop on the downbeat of the measure was the peak of the previous phrase, thus it is labeled with the number. The next group begins with the sixteenth note upbeat to the second beat of the measure, and functions as a vi7 chord in the tonic key of G major- labeled number. All of the notes contained in the second beat provide motion towards the third beat, the A-E-C triple stop, which forms a ii7 chord (indicated by the number.) The next landing point is a 7 harmony on the last beat of the measure, lightly ornamented with a trill and turn towards the final notes of this group, the tonic G-D-B chord on the first beat of measure (labeled as the peak of the phrase with the number.) The interesting aspect of this progression is that it forms a circle of fifths progression, departing from other more traditional progressions towards a tonic harmony. 9 9 Winold, Bach s Cello Suites: Analyses & Explorations, :.

53 Other harmonic progressions that depart from the tonic are highlighted through note grouping such as modulations and quick departures into secondary dominants. Consider Example.c. Example.c Example.c begins in the middle of measure on the second half of the third beat of the measure. An arrival at the end of a note group has just been made on the B (labeled with the number.) This B is marked with a i as a tonic because at this point the movement has modulated to b minor (see measure ), and this is an arrival point in that key, the highest intensity indicated by the number. mmediately after the B, however, the harmonies begin changing in a journey back to G major. As seen in Example.c, the peak of this particular phrase occurs on the third beat of measure, an A-E-C chord, which is a ii chord in G major (labeled with the number.) Thus, the previous harmonies that seem out of place in either b minor or G major are elucidated as secondary harmonies to the ii chord. The notes that follow the first group in the third beat of measure (labeled with the ) lead to the iv/ii chord on beat four. The rest of the notes in this beat move towards the /ii on the downbeat of measure, which is ornately ornamented and finally arrives at the ii chord on the third beat of the measure, the intensity of the arrival indicated by the number. 9 This harmonic movement is supported through the number analysis, which creates a phrase that matches the harmonies. The weaker harmonies of 9 Winold, Bach s Cello Suites: Analyses & Explorations, :.

54 iv/ii and /ii have a lower intensity, indicated by the numbers,, and respectively, and grow towards the ii chord with the highest intensity,. Being in binary form, the last measures of each section in the Allemande are formed similarly, and provide an arching type of phrase to examine. As seen in Example.d and e, the D and G major tonics have already been arrived at on the downbeat of the measures as part of the previous phrase (labeled with the number in both cases,) but the music continues with a decoration of the tonic being employed to extend the ending of the section in keeping with the elaborate nature of the movement. Example.d Example.e n Example.d, the first beat of the measure continues after the arrival on D with a scale rising towards the B on the second beat, which then descends and finally arrives at a D an octave higher than the first, labeled with the number. Since this D on the third beat of the measure is the highest, it seems to hold the weight of being the peak of the phrase, while the notes that follow it descend to a low D at the bottom of the viola register. Thus the low D is labeled with the number, indicating that it is to be played with a lower intensity than the D at the peak of the phrase, creating the sense of an arch within this measure. Example.e shows an almost identical movement, though it spans over two

55 measures (perhaps adding more weight to the end of the movement.) The first three arrival points of the group rise in a scalar motion (B-, C-, D-) then the ornaments rise as they did in Example.d towards a high G on the third beat of measure 0. Again this note is assigned the highest intensity for the phrase () and the following notes descend to a low G with the intensity falling, indicated by the number on the low G and creating an arched phrase. n performing arched phrases such as these, the performer would employ the same techniques used when raising the intensity of a note, as listed previously; bow pressure, bow speed, sounding point, and vibrato. n this case, as the intensity falls, these techniques would be used in the opposite manner- lessening pressure, slowing the bow speed, moving the sounding point towards the fingerboard, or widening the vibrato as necessary. Courante A Courante is quite different from an Allemande, the French definition again lending a clue to the essence of this dance. n French courante means running or flowing 9 and listening to the Courante from Suite No. will certainly reveal what this means. Typically written in a triple meter and in binary form, the Courante is fast moving and usually constructed with quickly running notes such as sixteenth or eighth notes. 9 One may conclude that, since a Courante contains so many fast moving notes, assigning numbers in a number analysis would be similar to the process in the 9 Simon Rowland-Jones, preface to his edition of Six Suites for Solo ioloncello,. 9 Winold, Bach s Cello Suites: Analyses & Explorations, :. 7

56 Allemande; it is not necessary to number each little note. While this is true when considering the larger phrase structure of the movement, the texture of a Courante is quite different from that of the Allemande, with fewer notes functioning as ornaments and more of them holding importance for showing the phrase direction. Thus, in the following examples and in the full analysis, the micro numbers will be shown and discussed, reflecting the contrasting nature of the Courante. Though the first few measures of the Courante have already been highlighted in the previous chapter s explanation of motion numbers, there are still a few more interesting features of the number analysis of this section (somewhat extended from Chapter ) to notice. Example.a The example in Chapter (.c) highlights measures and plus the downbeat of measure, and shows how the intensity grows from note to note, finally culminating on the downbeat of measure. The example shown here, Example.a, goes through to measure 8, showing several note groups that are similar to the one occurring in measures -. After the downbeat of measure, a group that is shorter but that contains the same rhythmic gesture begins and leads to the F-sharp on the downbeat of measure. Following is the same group transposed down a fifth and leading to the B on the 8

57 downbeat of measure, the same group follows again transposed and leading to the E on the downbeat of measure. After the downbeat of measure, the next group keeps the same rhythmic gesture at the beginning but the eighth notes that follow are not in the same intervallic configuration as the previous groups. n spite of the differing intervals in the eighth notes, though, it is clear that this group belongs in the same larger phrase as the previous groups because of the rhythmic similarity. Each of these smaller note groups are numbered similarly (shown in line A,) with the notes on the weaker portion of each beat leading to those on the beginning or stronger portion of the beat. None of these small note groups form a complete musical phrase alone, but when they are combined the phrase is complete. The numbering in line B shows how each group should build in intensity towards measure 8 to create the phrase. There are two more features found in Example.a that are necessary to notice. Moving back to the very beginning of the example, there are two notes that have been somewhat overlooked; the upbeat and downbeat (both Gs.) Since these two notes are not particularly a part of the note group that follows, it is somewhat perplexing to figure out where they belong in the number analysis. Luckily, a possible function is provided by Donald Hefner, as he remembers Tabuteau s methods; He compared syllables which do not contribute to the essential flow of the line to such offhand expressions in spoken language as, see, or and how, which communicate nothing but function instead as a trivial response to that which is being expressed. Since these figures do not contribute to the increasing intensity of the line, the numbers assigned to them simply repeat the level of the previous syllable. 9 9 Hefner, The Tradition of the Paris Conservatory,

58 n Example.a, the first two notes do not have a previous number assigned to them, being the very beginning of the piece, thus it is natural that they begin with. t is clear that the upbeat should lead to the downbeat, thus the number on the downbeat. f one were to assign words to these to notes as Tabuteau might have done, they could be Hey now! or Come on! Lastly, one of the groups decreases in intensity at the end, as indicated by the numbers going from 7 to on the first and second beats of measure 8. n most of the examples presented thus far, the culmination of the groups or phrases occurs on a note with the highest intensity and with that the group is finished. n the group from Example.a, the intensity grows to the downbeat of measure 8 but then decreases on the lower octave G on beat for several reasons; it is a repeat of the same pitch and thus less interesting, it is in the lower register which sometimes indicates a decrease of volume or intensity, and because it falls on a beat that is much weaker than the previous one being the second beat of a triple metered bar rather than the downbeat. There are several other places in the Courante where a note group grows to a peak and then includes a note or few notes that decrease in intensity for similar reasons, such as the groups shown in Examples.b and.c. Example.b 0