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Bach Transcription for Marimba: Creating an Authentic Performance Edition of Johann Sebastian Bach's Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, Using Guitar and Lute Transcriptions as Models Item Type text; Electronic Dissertation Authors Bastian, Darren Bruce Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 22:36:15 Link to Item http://hdl.handle.net/10150/194020 BACH TRANSCRIPTION FOR MARIMBA: CREATING AN AUTHENTIC PERFORMANCE EDITION OF JOHANN SEBASTIAN BACH’S SONATA NO. 1 FOR VIOLIN SOLO, BWV 1001, AND SONATA NO. 2: GRAVE, BWV 1003, USING GUITAR AND LUTE TRANSCRIPTIONS AS MODELS by Darren Bruce Bastian ____________________ Copyright © Darren Bruce Bastian 2009 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2009 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Darren Bastian entitled Bach Transcription for Marimba: Creating an Authentic Performance Edition of Johann Sebastian Bach’s Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, Using Guitar and Lute Transcriptions as Models and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________________________ Date: May 26, 2009 Norman Weinberg _______________________________________________________________________ Date: May 26, 2009 Gary Cook _______________________________________________________________________ Date: May 26, 2009 Jeffrey Haskell _______________________________________________________________________ Date: May 26, 2009 Pamela Decker Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ________________________________________________ Date: May 26, 2009 Document Director: Norman Weinberg 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Darren Bruce Bastian 4 ACKNOWLEDGEMENTS I thank Dr. Norman Weinberg, Professor Gary Cook, Professor Jeffrey Haskell, Dr. Pamela Decker and Dr. Donald Traut, for your helpful mentoring and insight. I am grateful for your time, knowledge, experience, and encouragement. Your advice throughout the many drafts of this document has been most helpful. I am likewise grateful to the Graduate Committee, and to other professors instrumental in guiding my research. In particular, I thank Dr. John Brobeck for sharing your vast knowledge in early music, inspiring my own research, and helping me organize my ideas. To Professor Thomas Patterson, I acknowledge your help in finding excellent research materials in guitar studies. To guitarist Paul Galbraith, I thank you for taking the time to thoroughly answer my questions about your transcription process. Your insight and interpretation have truly inspired my musical development and enhanced my love for Bach’s music. I thank Sugarmusic S.p.A., G. Henle Verlag, Keyboard Publications, and Mel Bay Publications for kindly allowing me to use some of the figures in this document. To my parents, I give thanks for your unwavering support throughout my education. To my three wonderful children, Hyrum, Samantha, and Hugh, thank you for the joy and motivation you bring me each day. To my sweet wife, Lisa, who is my greatest strength and joy in life, thank you for your constant love and encouragement. 5 TABLE OF CONTENTS LIST OF FIGURES ............................................................................................................ 7 ABSTRACT........................................................................................................................ 9 CHAPTER 1: INTRODUCTION..................................................................................... 10 Transcription of Bach’s Music................................................................................ 10 Similarities Between the Marimba and the Guitar.................................................. 12 CHAPTER 2: RELATED LITERATURE ....................................................................... 15 CHAPTER 3: METHODOLOGY.................................................................................... 18 Background Sources................................................................................................ 18 Recorded Sources.................................................................................................... 19 Adapting for the Marimba....................................................................................... 22 Contemporary Editions ........................................................................................... 23 CHAPTER 4: BAROQUE PERFORMANCE PRACTICE............................................. 25 Basso Continuo ....................................................................................................... 25 Style Brisé and Arpeggiation Techniques ............................................................... 28 Ornamentation......................................................................................................... 31 CHAPTER 5: TRANSCRIPTION OF AUDIO RECORDINGS..................................... 34 Sonata no. 1: Adagio, BWV 1001........................................................................... 37 Sonata no. 1: Siciliano, BWV 1001 ........................................................................ 39 Sonata no. 1: Presto, BWV 1001............................................................................. 44 CHAPTER 6: COMPARING CONTEMPORARY EDITIONS...................................... 47 Sonata no. 1: Fugue, BWV 1001 and Fugue for Lute, BWV 1000 ........................ 47 Sonata no. 2: Grave, BWV 1003 and Suite for Clavichord: Adagio, BWV 964 .... 50 CHAPTER 7: CONCLUSION ......................................................................................... 54 6 TABLE OF CONTENTS - Continued APPENDIX A: SCORES.................................................................................................. 55 APPENDIX B: PERMISSIONS....................................................................................... 66 DISCOGRAPHY.............................................................................................................. 71 EDITIONS........................................................................................................................ 73 REFERENCES ................................................................................................................. 74 7 LIST OF FIGURES Figure 1 Adagio, Sonata no. 1, m. 1. Violin original and guitar renditions...................... 20 Figure 2 Adagio, Sonata no. 1, m. 1. Stevens marimba edition. [Excerpted from Bach, Stevens: Sonata in A Minor for Marimba Alone, page 2. © 1989 Keyboard Publications. Used by Permission.] .......................................................................... 22 Figure 3 Adagio, Sonata no. 1, m. 1. Bastian marimba edition influenced by Galbraith and Barrueco. ............................................................................................................ 23 Figure 4 a) Prelude, Cello Suite 3, mm. 37-39; b) Prelude, Cello Suite 2, mm. 30-32; c) Sarabande, Cello Suite 3, mm. 1-4. Melody, bass, and harmonic implications. [Excerpted from Yates: J.S. Bach: Six Unaccompanied Cello Suites, page 153. © 1998 Mel Bay Publications Inc. All Rights Reserved. Used by Permission.] .......... 27 Figure 5 Fugue, Sonata no. 1, mm. 66-67 and Fugue for Lute, BWV 1000 mm. 68-69. [*Reproduced from Bach, Cherici: Opere Complete per Liuto, page 73 - © 1980 Sugarmusic S.p.A. – Milano (Italy). Used by Permission.]...................................... 30 Figure 6 Rhythmic placement of bass and upper pitches in relation to the pulse............. 31 Figure 7 Bach’s Explication from Clavierbüchlein vor Wilhelm Friedman Bach. .......... 32 Figure 8 Adagio, Sonata no. 1, from mm. 1, 5, 8, 10. Galbraith’s arpeggiation examples. ................................................................................................................................... 38 Figure 9 Adagio, Sonata no. 1, from mm. 4, 15, 19. Galbraith’s contrapuntal accompaniment examples. ........................................................................................ 38 Figure 10 Adagio, Sonata no. 1, from mm. 1, 5, 9, 12. Galbraith, Barrueco, and Junghänel’s ornamentation examples. .....................................................................
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