Bach Sonatas and Partitas for Violin Solo with Violinist, Heather Broadbent
Module 6 Partita 3, BWV 1006 E Major Partita Preludio Loure Gavotte en Rondeau Menuet 1 and 2 Bouree Gigue
Module 6 - Session 1 Outline 1. Prep Work Reminder and You tube Playlist 2. E Major Partita Overview Including Measure Analysis and Comparison 3. Scale and Effective Practice 4. Preludio Deconstructed 5. Practice Sections 6. Techie Walk Through 7. How to Practice and Practice Ideas 8. Action Takeaways
Prep Work... The following suggested prep work can be applied to every new movement and really to any new piece you begin in your violin journey.
Video Playlist...
Performers Tempi Hahn, Perlman: 126 Milstein 132 Barati 112 Ehnes 104 Sarsate 160
E Major Partita Overview Preludio replaces the more common opening of the Allemande with which Partita 1 and 2 started. Loure - The loure, also known as the gigue lente or slow gigue, is a slow French Baroque dance, probably originating in Normandy and named after the sound of the instrument of the same name (a type of musette). The loure is a dance of slow or moderate tempo, sometimes in simple triple meter, more often in compound duple meter.
E Major Partita Overview Gavotte en Rondeau - a gavotte with rondo like returns of the refrain Two Menuets - The word was adapted from Italian minuetto and French menuet, possibly from the French menu meaning slender, small, referring to the very small steps, or from the early 17th-century popular group dances called branle à mener or amener.
E Major Partita Overview Bouree - note the French spelling and not the Italian spelling used in the other Partitas. The bourrée is a dance of French origin common in the 17th century and is danced in quick double time, somewhat resembling the gavotte. Gigue - note the French spelling and not the Italian spelling used in the other Partitas. A Gigue is a lively piece of music in the style of a dance, typically of the Renaissance or baroque period, and usually in compound time.
Key Signature E Major - highest open string on the instrument providing a bright sonority throughout the Partita. Symbolic of ascension into Heaven.
One of the First Recordings Pablo de Sarasate was one of the first violinists to record Bach s E Major Partita on wax cylinders.
Measure Analysis and Comparison M. 1-8 Introductory Fanfare
Measure Analysis and Comparison M. 9-28 Tonic Pedal M. 59-78 Sub Dominant E A 20 measures Same exact 20 measures transposed to the Subdominant A
Measure Analysis and Comparison M. 29-37 Modulation M. 79-100 Modulation Modulating to the sixth degree of the scale, C Sharp Minor in measure 37 Modulating to the second degree of the scale, F Sharp Minor in measure 100 9 measures 9 measures have been recomposed a fifth below (again to the Subdominant A) and extended
Measure Analysis and Comparison M. 38-50 Dominant Pedal (sustained tone typically in the bass) and Cadence G Sharp - dominant for key of C Sharp Minor M. 101-108 Recomposed more Chromatic F Sharp Minor No Dominant Pedal - Transitions to new sequence with dominant pedal 13 measures
Measure Analysis and Comparison M. 51-58 Modulatory Sequence to Key of A Major in measure 58 G Sharp - dominant for key of C Sharp Minor 8 measures M. 109-138 To Dominant Pedal and Tonic Cadences Dominant Pedal can be seen as the first note of Measures 120-122 Finalizes to Tonic - E Major Arpeggio in the last measure 20 measures
Time Signature 3/4
Available Accompaniments Bach wrote an orchestral accompaniment for the Preludio: Schumann wrote piano accompaniment for the Preludio sinfonia cantata no 29 by Bach Prelude accompaniment This accompaniment turns the movement into a 19th Century Moto Perpetuo
Arrangements Rachmoninov transcribed his version for piano
How to Create a Scale Study for Preludio? Take an E Major scale and play across the instrument in first, second, third, fourth, fifth and sixth positions. Vary the scale with broken thirds, fourths, two, three, four note patterns and different rhythms and/or bowings
Create your most effective practice sessions... Use a Practice Journal Video included in website page Even if journalling is not your thing...always keep track somehow, somewhere the measures that need to be worked on so your practice sessions can be most effective. Always know the 3 things you are going to work on the next day.
Preludio Deconstructed... Play through first note of every measure Play through first note of every beat Intriguing study..
Preludio Practice Sections... M.1-6 M. 39-41 M. 7-12 M. 42-46 M.13-16 M. 47-50 M.17-28 M. 51-52 M.29-32 M. 53-54 M.33-35 M. 55-58 M. 36-38 M. 59-62
Disecting Measures 17-29 and 67-78 Doublestops Open Strings Only 36 Reps - sticky then smooth 1 measure play 1 measure rest 12 times
Disecting Measures 17-29 and 67-78 Left Hand - know position, fifth position Doublestops and then Singles Know Shifts and Isolate M. 19-20 M. 20-21 M. 22-23 M. 24-25 M. 26-27
Disecting Measures 43-51 Doublestops for the bow Left Hand Triplestops Right Hand Open Strings (Stickies)
Metronome Work in Sections Double check all measures with a metronome Keep track of challenging measures and isolate with TLC
Practice Tips... Rhythms and delayed rhythms (long, short and short long) Triples Delayed Triples Double Stop Study - Identify and Play Know Covered Fifths
String Crossing Tips Minimize Motion Use smallest muscle groups Practice with open strings Play on the Inside of the Strings Keep upper arm still Movement stems from the elbow then the wrist Know home string
String Crossings 2 String Crossings - Play only opens BLEND IMPORTANT! All string crossings stem from the elbow! Anticipate String Crossings and know bow direction on new string
Techie Walk Through, First Two Pages
Preludio First Play Through 1. Set beginning metronome marking at a slow tempo; for example, 60-80 2. Have a play through with separate bows 3. Immediately mark missed accidentals and where half steps occur if needed 4. Mark measures with challenges (if you have more than 3 for the first half, lower metronome marking) 5. Mark cautionary fingerings, if needed 6. Mark where to hold fingers down, if needed 7. Take note of covered fifths.
Preludio How to Practice 1. Practice with Rhythms, short long, long short, triplets (still separate bows) 2. Double, Triple Stop Exercise 3. Accents! Play through stressing first, second and third note (still separate bows) 4. Slur 2, 4, 8 notes to a bow and to challenge yourself, groups of 3 notes to a bow (improves smooth playing, string crossings and left hand accuracy) 5. Experiment with musicality, dynamics, note stress, bowings, etc.
Action Takeaways Practice with rhythms Doublestop Study String Crossing Study Practice Big Sections we talked about first