Bach Sonatas and Partitas for Violin Solo with Violinist, Heather Broadbent

Copyright Heather Broadbent 2016 www.heatherbroadbent.com Module 6 Partita 3, BWV 1006 ● Preludio ● Loure E Major Partita ● Gavotte en Rondeau ● Menuet 1 and 2 ● Bouree ● Gigue

Copyright Heather Broadbent 2016 www.heatherbroadbent.com 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 Copyright Heather Broadbent 2016 www.heatherbroadbent.com 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.

Hahn, Perlman: 126

Milstein 132

Barati 112

Ehnes 104

Sarsate 160

● 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.

● 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.

● 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.

● E Major - highest open string on the instrument providing a bright sonority throughout the Partita. ● Symbolic of ascension into Heaven.

Pablo de Sarasate was one of the first violinists to record Bach’s E Major Partita on wax cylinders.

M. 1 -8 Introductory Fanfare

M. 9 - 28 Tonic Pedal M. 59 - 78 Sub Dominant

E A

20 measures Same exact 20 measures transposed to the Subdominant A

M. 29 - 37 Modulation M. 79 - 100 Modulation

Modulating to the sixth degree Modulating to the second degree of of the scale, C Sharp Minor in the scale, F Sharp Minor in measure measure 37 100

9 measures 9 measures have been recomposed a fifth below (again to the Subdominant A) and extended

M. 38 - 50 Dominant Pedal M. 101 - 108 Recomposed more (sustained tone typically in the Chromatic bass) and Cadence F Sharp Minor G Sharp - dominant for key of C Sharp Minor No Dominant Pedal - Transitions to new sequence with dominant pedal 13 measures

M. 51 - 58 Modulatory M. 109 - 138 To Dominant Pedal and Sequence to Key of A Major in Tonic Cadences measure 58 Dominant Pedal can be seen as the G Sharp - dominant for key of first note of Measures 120 - 122 C Sharp Minor Finalizes to Tonic - E Major Arpeggio 8 measures in the last measure

20 measures

3/4

Bach wrote an orchestral Schumann wrote piano accompaniment for the Preludio: accompaniment for the Preludio

sinfonia cantata no 29 by Bach This accompaniment turns the Prelude accompaniment movement into a 19th Century Moto Perpetuo

Rachmoninov transcribed his version for piano

● 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

● 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.

● Play through first note of every measure ● Play through first note of every beat

Intriguing study…..

● 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

● Doublestops ● Open Strings Only 36 Reps - sticky then smooth ● 1 measure play 1 measure rest 12 times

● Left Hand - know ● Know Shifts and Isolate position, fifth position ● M. 19 - 20 ● Doublestops and then ● M. 20 - 21 Singles ● M. 22 - 23 ● M. 24 - 25

● M. 26 - 27

● Doublestops for the bow ● Left Hand Triplestops ● Right Hand Open Strings (Stickies)

● Double check all measures with a metronome ● Keep track of challenging measures and isolate with TLC

● Rhythms and delayed rhythms (long, short and short long) ● Triples ● Delayed Triples ● Double Stop Study - Identify and Play ● Know Covered Fifths

● 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 - Play only opens BLEND

IMPORTANT! All string crossings stem from the elbow!

● Anticipate String Crossings and know bow direction on new string

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.

Copyright Heather Broadbent 2016 www.heatherbroadbent.com 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.

● Practice with rhythms ● Doublestop Study ● String Crossing Study ● Practice Big Sections we talked about first