A Practical and Historical Guide to Johann Sebastian Bach's Solo in A

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Spring 2017 A Practical and Historical Guide to Johann Sebastian Bach’s Solo in A Minor BWV 1013 Douglas Worthen [email protected]

Follow this and additional works at: http://opensiuc.lib.siu.edu/music_articles Today's flute publications often limit texts which analyze our repertoire in depth. This online publication offers a more thorough treatment of one of the flute's most iconic works.

Recommended Citation Worthen, Douglas. "A Practical and Historical Guide to Johann Sebastian Bach’s Solo in A Minor BWV 1013." (Spring 2017).

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A Historical and Practical Guide to Johann Sebastian Bach’s

Solo in A Minor BWV 1013

By Dr. Douglas E. Worthen, Associate Professor, Southern Illinois University Carbondale

1 All of us probably began our time. Yet his interest in solving exposure to the works of Johann musical puzzles was not limited to his Sebastian Bach by playing some of his brilliant canons, fugues, and Menuets, Bourées or other dances in methodical investigation of our elementary method books. Even temperament. Bach’s works for flute from these first experiences, most of challenge the flute’s accepted range, us responded to the beauty, integrity, agility in distant key modulations, and energy of Bach’s compositions. articulation, and even dynamics and The structure and organization of balance. Each work seems books for beginners is usually experimental in some parameter, and developmental, with laudably clear an interesting and effective and defined goals of note reading, interpretation will take advantage of facility, range, dynamics, and rhythm. Bach’s interest in probing perceived To augment this instruction, students limitations of the instrument. can turn to resources such as Trevor Thanks to Christoph Wolff’s Wye’s excellent books on tone, scales, Chronology of Bach’s works included and other specific technical issues. in Grove’s1, the flute repertoire has These books contain technical goals come into clearer focus, and at least with explanation, something three rather distinct periods of conspicuously lacking in many other activity have emerged. The first, 1723 texts. However, the connection that to 1724, includes his Partita for flute must be made between these abstract alone, BWV 1013, and the Sonata in E exercises and the actual repertoire is minor, BWV 1034. The second, his not always clear. The following Sonata in A, BWV 1032 and the great articles present Bach’s works Sonata in B minor, BWV 1030, both didactically, offering a methodical written c. 1735-1736. Finally, the approach that attempts to bridge Sonata in E major, BWV 1035, c. 1741 theory and practice. as well as the Musical Offering, BWV Johann Sebastian Bach’s works 1079, c. 1747, are clearly in their own have unparalleled significance in the more Gallant style. flute repertoire. No other primary Though they are not confirmed common practice composer left works to be from Bach’s hand, The Eb Major of such quality and quantity for this Sonata, BWV 1031 and the G Minor instrument. The scope of the proposed Sonata BWV 1020 have remarkable upcoming series of commentaries will similarities and are certainly include historical, theoretical, and wonderful music. Christoph Wolff’s practical information by which chronology in Grove’s lists the Eb musicians, be they baroque or Major as c.1730-1734, and suggests modern, amateur or professional, will that the G minor sonata was written be inspired to create new and by C. P. E. Bach, though there is no informed interpretations woven from evidence as to the date of its origin. the warp of artifact and history and The C Major Sonata, dated c.1736, the weft of present performance seems radically different than the B convention and taste. Minor or the A major, and was not Bach was not seen as being particularly innovative in his own

2 included in the Neue Bach-Ausgabe, autograph survives from either this or indicating that it too may be spurious. the E minor, however both have been It nonetheless bears a closer look, and authenticated. adds to a progressive approach when There is evidence that the Solo was learning the sonatas based on written as early as 1717 in Cöthen, chronology. The two G Major Trio however its style suggests that it could Sonatas, BWV 1038 for fl. Vln. and B.C. have been written as late as 1723-24, in the early part of the fourth decade after he arrived in Leipzig. This would of the Eighteenth Century, and make it contemporary to the E minor BWV1039 for two fl. and B.C., written Sonata, and during a period when later in the decade, make for an Bach composed cantatas in which the interesting comparison and fall within flute played a prominent role. Later, the second period, during which we Bach chose more unusual keys (E have other works in a three-voice Major and even modulating to B texture. major!) for his flute sonatas, exploring Introducing and studying this the varied affects of these tonalities. repertoire in the aforementioned Some musicologists assert that Bach chronology has the advantage of new little of the flute’s limitations, beginning with one and then moving citing phrases which offer no obvious to two and then three voices, as well breathing points. Yet similar as moving from High Baroque to compositions by flutists Blockwitz and Gallant style. Each period of activity Blavet have very similar perpetual has two principal authenticated motion, suggesting that such works. Once the reader has a clearer breathing demands were common. picture of Bach’s compositional styles Bach must have known to avoid the based on a chronology, attributed third register high F even in a logical works can be more accurately arpeggiation (see Partita Allemande, appraised. M. 5 and 6), and knew that a high A would in fact be possible, providing a The Partita for flute alone, spectacular end to the Allemande BWV 1013 movement of the Solo. Unlike the modern instrument, many of the Baroque traverso’s Historical Context pitches must be produced by weaker,

fork fingerings. For this reason, scale The Partita was likely Bach’s first solo collections have radically different piece for flute1. Although this work is properties and are associated with usually referenced by its Baroque specific emotional Affects. The Partita Partita form, its original title was Solo and E Minor Sonata favor a “strong” p[our une] flûte traversière par J. S. tonality, meaning that most of the Bach, and the four movements, notes, and specifically the tonic and Allemande, Corrente, Sarabande, and 5th, are not forked fingerings. In the Bourèe angloise, are French spellings case of the A minor Partita, the tonic A of these dance movements. The is strong, and the 5th (E) makes a Partita’s first movement is in the hand strong lower dominant. The Low D of two different copyists. No extant works well for a strong subdominant,

3 however the third (C), is a bit veiled. track of the number of voices implied by the texture. Like many suggestions below, this process is intended to set STRUCTURES in motion a methodology by which all repertoire might be studied. An important advantage of looking at Bach’s works chronologically is that Allemande: he wrote first for one, then two and finally three voice textures. The A superficial scan of the structure harmonies implied in the Partita are shows a piece in binary form: A:||B:|| presented monophonically, and the with a coda beginning half way rhythm of those changing harmonies through M. 34. The Allemande topic is is a primary topic of the discourse. suggested by the typical upbeat Although the basic harmonic (anacrusis) of three or seven movement will be discussed later, it is sixteenths. The last note in the first Score Bachadvisable ScoreA minor for the Excerpts student Bach to A go minorexample Excerpts falls on a strong beat (thesis), through the piece and make his or her and should feel like an arrival. (see own harmonic analysis first, keeping [Subtitle] [Subtitle]below)[Composer] [Composer] [Arranger] [Arranger] œ œ œ œ Flute Fluteœ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œœ + œ œ r œ œ œ r & c œ #œ œ ! & c œ #œ œ ! œ ! ‰ Œ œÓ œ ! ‰ Œ Ó

4 This first unit establishes the tonality 4 being a repeat of measure two, is of A Minor, and is repeated, propelling heard as an echo only œ when Fl. rFl. œ r 3 œ œ#œœœ œ œ#œ & œ #œ œ œ œ#œ œ !the ‰ Ó& piece œ #43œ forward œœœ œ #œœœ to œ#œ œ the !Œ second ‰ Ó c œ4œ œ œ performedœ #œ œj‰ softer Œ c œ butœ with j the ‰ œ œ measure. Already œ in measure ˙œ two, identical œ ˙ inflections as measure œ two. Bach presents five-notes that So far, we have a first measure 9 fore9shadow the opening of the third composed of 2 identical halves, and a Fl. " " Fl."movement, "" as well "" as important " "" second "" measure" repeated " in " its & material & to follow.Solo2 Measure pour three, une Fluteentirety :Traversiere . Johann Sebastian Bach 17 17 A B B Fl. Fl.Allemande & " " " & "" "" " "" "" " " " œ œ " œœ#œœ œœ œœœœ œœ œœ œœ œ#œœ œœ œœ œ#œœ 25 254 ! œ œœ œœœ œ œœ œœœ œ œ œ œœ & 4 œ œ #œ œ #œ œ #œœœ œœ œœ œ Fl. Fl. œ œ œ œ " " " " " " " " " " " " " " & Instead & of practicing the movement note allemande anacrusis. This gesture 5 from the œ beginning œ to the end, œœ as is " will help propel the phrases forward, œ œ traditionally done, I propose studying œ#œœ œ œœœ œœ œœbœœœ and create œ more œ subtle œœœ connectioœœœns œ œœœ œ segments œ of similar œœœ œ length. œœ Later, œbœfrom œ œ one œœœ phrase œœ œœ to the œ œ next. œœ The œœœ & #œœwheœ n deciding where to breathe in performer may choose whether or not œ œ œ performance, some phrases will be to breathe before the anacrusis based

9 prepended with the three or seven " œ œœœ œ œœœ œ œ œ œœ œ œ œ œ œ œbœœœ œœ œœœœ œœ œbœœœ œœ œœ "œœœœœœ œ œ œ œ #œ œ œœ œœ œœ œœœ & 4 œœœ œ #œ

13 œ " œ œ œ œœ#œœ œ#œ œ œnœœ œ#œœœ œœ œœ œ œ œ œ œ#œœ " œœ œœ #œœœ œœœ & œ #œœœ œ œ œœ œœ #œœœœ œœœ œ œ#œ œœ #œ © © #œ #œ

17 1. 2. œ œ œ#œ œ#œ nœ nœ "œœ#œ œ#œ œ œ. œ"#œ œ œ. #œ nœ#œ nœœ œbœœ #œœ œœœ œœ œœœ œ œ˙. œ œœœœœœ œœ & œ #œ œ#œœ œ

21 " œ œ œœ#œ œ" œ#œ œ œ œœ#œœ œœ œœœœ œœ œœ œœ œ#œœœ œœ œœ œ#œœœ œ #œœ nœœœ #œœ œnœ & œ #œ œœ #œ œœ œœ#œ œœ #œ œœ #œ

25 bœœœ œ" œ œ #œ œ #œ œœ œœ#œ œ œ œœ œœ#œœ œœ œœœœ œœ œœœœ œœ œœœœ œœ œ œœœœœ œœœ œœœ & #œ nœ œ #œ œ œ œ œ œ #œ

29 " œ#œœœœ œœœœœ œœœœœ œœœœœ œœ œœœœ œœœ œœœ œœ"œ œœœœ & œœ œœœ œ œœ œœœ œ œ œœ œ œbœœœœœnœ#œœ Flute on his or her individual intention and Flute BachBach A A minor minor encouraged Excerpts Excerpts to practice the passage taste. faster, thereby becoming comfortable [Composer] To begin, we will start with [Subtitle]with the phrase length, and [Composer] then [Subtitle] [Arranger] phrases of three measures, and then gradually slow the tempo to [Arranger] the move to two measures and less. In the desired speed. Bar 9 to the first above example, the phrase œis #œ three œ œ œ œsixteenth œ œ œ œ of bar 12 are similarly in œ œ œ #œ œ œ œ œ œ œ œ œœœ r r œ measures long& c œ . # œ œ œ !! œ œœ œthree measures, œ ! ‰ !Œ with ‰ ÓŒ Ó a œ breath #œ after œœ &Those œ who #œ are œ accustomed to œ final low “D”. œ œ #œ œ breathing after only two measures are 5 5 Score œ #œ œ œ r ! ‰ Ó 3Moreœ œ œ Bachœ PartitaŒ c œ œ œ œ #œ jœ‰ & œœ œ #œ œ œr ! ‰ Ó 43œ œ œ œ #œ œ œ˙ Œ œc œ œ œ j ‰ & #œ œ 4 #1œ ˙ œ AScore More [Subtitle] ABach Partita [Composer] 9 [Arranger] 9 47 œ œ œ œ œ œ œ œ œ œ [Composer] œ œ œœq =œ 120œ œ œ œ œœœ œ œ œœ [Subtitle]œ bœ bœ œ œ œœ œœ œ œ œœœ œœ œœ œ œ œ œ œ œ œ œ œ œœ œ œ œ[Arranger] & ! 47 œ œ œ œ œ œ œ Flute& ! œ œ œ œ œ #œ œ nœ c q = 120œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ!‰ Œ Ó C & œ œ œ œ œ œ œ œ œ R Flute11 œ œ œ œ œ #œ œ nœ 11 œ œ œ œ œ œ œ œ œ &bœ cœ œœœ œ œ œ œ œ œ œ œ œ œ R!‰ Œ Ó œbœ œ œ œœ œ œ 4 #œœ œœ œ œœ r " " " " " && #œ œ œœœœœœœ œ r " " " " " 4 œœ Fl. œ Fl. Sequences that transport the tonality by half bars are two measures18 " " long, for " &18 example ba& rs 7 and 8. The double stems indicate a two voice texture." " " & " "" "" " " " " " " " " " " " " 7 & r r r r 7 r rr œ r œ r Fl. œ r œ œ r œ r œ œ œ 27 œ œ r œ œ œ œ œ œ #œ œ nœ œ Fl. 27 œ œ œ œ œ œ œ œ œ œ œ œ #œ œ nœ &2 ! ! œ œ œ œ œ œ œ œ œ œ Moreœ œ Bachœ Partitaœ œœ œ œ R !œ‰!‰Œ ŒÓ Ó & œ œ œ œ œ R then 12 and 13:" " " " " 26&& " " " " " 10 10 r Fl. r r r œ œ r r œ œ Fl.Fl. œ œ œ œ œœ œ œ" œ œ œ œ #œœ#œ" œ œ #œœ#œ œ œ œ nœœnœœ œ"œ œ &&! ! œ œ œ#œ œ œ œ œ œ œœ œ #œ#œ œ œ R R & #œ

29 Note that in bars 32 and 3313 , as in bars 7 and 8 above, the half bar harmonic rhythm 13 Fl.Fl. is emphasized by the leading tone (half step) immediately preceding the strong beat, Fl. indicated by the double stem. && "" ! " " " " & " ! " " Bars 32 and 33: 17 32 17 r r r r Fl. © © r Fl. œ " r œ œ œ œ œ " r #œ#œ œ œ #"œ Fl. & œ œ #œ œ œ œ œ œ œ #œ#œ œ & ! bœ œ"œ œ œ nœ " œ œ œ " R! ‰ Œ Ó & R 20 35 Fl. 20 " 5 " " Fl. & Fl. & "" " " " " &23

Fl. 38 23 & " " " Fl.Fl. " " " && " " " ©

Fl. © & " " "

Fl. & " " "

Fl. & " " " SoloSolo pour pourune Flute une TraversiereFlute Traversiere Johann SebastianJohann Bach Sebastian Bach ed. Douglas Worthened. Douglas Worthen AllemandeAllemande œ œ 4 œ œ#œ œ œœ#œœ œœœœœœ œ œœœœ œ œœœ œœœ œ#œ œ œ #œœœœ œœœ œ#œ œ œ #œ œ & 4 ! 4 œ œ œ œ œœ #œ œœœœ œœœœœœœœ #œ œ œ œœœ œœœœœœ œœ & 4 ! œ œ #œ œ œ œ œ #œœ œ œ p 4 p 4" œ œ œ " " #œ œ œ œ œ œ œ œ- œ- bœ œ œ " œœ œ œ œ Soloœ œ œpourœ œ uneœ œ Flute Traversiereœœœœœ œœ œœœ œœ œœ œœbœœ- - bœ & #œ œœ œ œœ œ œ œ #œœœ œ œ#œ œ œœ œœ œ œœ œœœ œœ œ & œ #œ œœ œœ œœ œ œ #œ œœ Johannœ œSebastian Bach bœœ œ œ œ œ ed. Douglas Worthen 7 Solo pour une Flute Traversiere Allemande œ œ œ œ œ œ " œ œ œ œ œ œ œ œ œ œ 7 œœ - - œœœ œ œœ œœ œ#œœ nœ œœ Johannœ œ Sebastian Bachœ œ œœ œœ œœ œœœœ œ œ ed.œ Douglas œWorthen œ & œ 4 œ œ#œ œœœœ œ œ œ œ œ œ œ œ œœ œœœœ œœ#œ œ œ œ œ œœ œœ"œœ œœ#œœ œ œ œ œ œ œ œ œ œ œ &Allemande4 ! œœœ œ- -œ œœ œ œœœ œ#œœœ œ œœ œ#œœœ œœ n#œœ œ œ œœ œ & œœœ œœœ œ œœ œ 10 œ œ œ œ œ œ œ œ œ œ œœ #œ As the harmony changes more and more rapidly, and the phrases and breaths move œ œœ œ œ œœœ œœ œ#œ p œœ œœ œ#œ 4 œbœ 4œ œ! œ œ œ œ œ œ œ œ œbœ œ œ œ œœœœ œœœ"œœ œ œœ œœœ " & 4 from three to two measures in length, theœ œ #œ œ sense of urgency and intensity grows. œœœœœ#œ"œœ œœœ œ10 œ #œ œ œ œ œ œ œœ œ œ œ - - bœœ œ œ œœ & œ œMoving to measures where the harmony changes on every beat, a falliœœ#œ œ œœ œ œ œœœ œœ œ œ œ#œœ ng fifth œœ œ bœ œœœ œ progressionœœœ œ œ œfollowsœœ œin bars 13 throughbœ œ œœ 15:œ œœœ œ p " œbœœœ &4 #œ œ œœ œ œ œ#œ œ œ œ œ œ œœ œ œœ " œ œ œ œ œ #œ œ œœ œ " œ œœ œœœœœœ 13 & œ œ œ œ œœœœœ - - bœ #œ œœ " œ#œ œ œœ œ œ œœ œœ œœ 7 & œœ#œœ#œ œ œœœ#œœœœ œœœ œœ n#œœœ œ#œœ œ œ œ œ œ œœ œœ œ #œ œ " œbœœ œ œœ œ œ #œœœœ œ œœ œ œœœœ œ " œœœ œœœœ œœ œ#œœœœ œ œœœ & 13 œ œ œ œ œ œ œ #œ œ œ œ œ œ œœ - - œœ œ œœ œœ œ#œ nœ œ #œ & œ œœ œœœœ œœœ œ œ 7 œ œ œ œ œ " œ œ œ œ œ #œ #œ œ nœ œ œ#œ œ œœ œ œ œœ œ œ œ 16 œ œ œ #œ œœ œœ œ œ " œ œ œ œ œ œ œ œ œ œ & œœ - - œœœ œ œœ œœ œ#œœ nœ œœ œœ œ œ œ 10 œ œœ œ "œ œ œœ#œ œ œ nœ œ "œ œ & œœœœœœ œœœœ #œ œ œœœ #œœ nœ#œ œ#œnœ œ nœ#œ œœ œ œ #œ bœ œ œ œ œ œ End of bar 15 and bar 16:œ#œœ œ bœ œ œ œ œ bœœ œ" œœ œ œ œ &œœ #œ œ œ œ œ œ œœ œœœœœ #œœœ œ#œœœœœ & œ 15 œ #œ œ œœœ œ#œœ œœ 10 œœ œ 1. œ " œ2. œ " œ " 19 bœ œ œ œ#œœ œ œ œ œ œ bœœ œ#œœœ œ œœ #œ" œ"#œ nœœ nœ œœ#œ œ œœœœœ Ÿœ œ #œœœœ œœ œ œœ œœœ œœ œ œ œœ#œ nœ#œ œœnœœœ œbœœœ #œ œœœœœ œ œœ 13 & œ&#œ œ #œœ. œ ˙œ "œ œ#œœ œœ #œ#œœŸ. œœœ #œ œ œœœ œ œ œ œ œœ#œœœœœœœ œœœ#œœ œœ œœ œ " œ#. œ œœ œ œ œ œ œœ œœœ #œœ œ " œ œ œ #œ &œ œ #œ œ œ #œ#œ œ œ œ nœœ œ#œœœ œœ œœœœ œœœ œœœ œ œ#œ œ ##œœ œ œ The last bars before the first ending and again at the codœ - œ a slow down the harmonic œœœ œœœ &13 19 1. 2. œ #œ rhythm and utilize the three sixteenth allemande prefix. " #œ 22 œ œ " œ œ œ œ œ œ œ#œ#œ œ #œ ŸœBars 18 and 19:. œ œ n"œœ œœ##œœ œœ œœœ œŸœ. œ œ œ œ œ œ#œ œ " œ œ 16 œ œ #œ œ ˙ œ œœœœ œ " œœ œ œ#œ#œœ œœ œœ œ œ œ œ & & #œœ . œ #œœ œœ#œœ œœœœ#œœœœ œ##œœnœœœ #œœœœ œœœnœœ œ œ & œœœ œœœœœ " œœœ#œ œ œœœ œœœœœœ œ œ œ "œ##œœ #œ œœœœ œ#œœ #œœœ œœœ #œ œ#œnœ##œœ #œnœ nœœ nœ#œ œœ œ- œ œ#œ & œ #œ œ #œ © 2014 Douglasœ Worthenbœœ œ œ œ œ œ œ 16 p #œ œ#œœ 22 " œ œ œ œ œ The section is brought to a close with an authentic cadence of three consecutive #œ œ œ œ œ œ #œ œ #œ nœ œ nœ 19 1. œ œ 2. #œ nœ œ " œ #œ œ & œ #œ quarters as indicated below:œ œ #œ #œ " œ nœ œœ#œ œœbœ œœ #œ œœ œ œœ œ œ œ #œ œ œ œ #œ #œ nœ œ #œ nœ œ#œ&œ œŸœœ. œ"œœœœ#œ œœœœ#œŸœ. œœ œœœœ œ œ œ #œ œ œ œ#œ˙ . œ œœœ œ œ #œœ œ œ œ#œ œ œ œ œ œ œ œ œ œ & . 1. ©2œ .2014œ Douglasœ Worthen 18 p œ- " #œ "œ œ œ Ÿ " œ œŸ œ œ#œ œ#œœ œ.œ ˙ œ#œœ œ.œœ œ#œœœœ œœœœœ 22 œœ œœ œœœ . œœœœ œœ œ œ œ œ & œ #œ œ#œœ œ œ #œ œ œ#œ "œ œ #œ- œ œ œœ œœœ œ#œœœ œ œœ œœœ œ#œœœ œ #œœ nœœœ #œœ œnœ &22 œœ #œ œ œ#œ œœ #œ œ #œ p © 2014 Douglas Worthen œ œ#œ "œ œ #œ œ œ œœ œœœ œ#œœœœ œœ œœœ œ#œœœ œ #œœ nœœœ #œœ œnœ & œœ #œ œ œ #œ œœ #œ œ #œ © 2014 Douglas Worthen p

6 Flute Bach A minor Excerpts [Subtitle] [Composer] [Arranger]

œ œ œ œ œ œ œ œ Flute c œ ! œ #œ œ œ œ œ r! ‰ Œ Ó œ & œ #œ œ Bach A minorœ Excerptsœ œ #œ œ [Composer] 5 [Subtitle] [Arranger] Flute œ œ r Bach3 A minorœ œ Excerpts œ œ œ #œ j & œ #œ œ ! ‰ Ó 4 œ œ œ #œ œ œ Œ c œ ‰ œ œ #[Subtitle]œ œ œ œ œ˙œ œ [Composer] œ œ œ œ œ œ r œ & c œ #œ œ ! œ œ ! ‰ Œ [Arranger]Ó œ #œ œ 9 œ œ œ œ œ œ œ œ œœ#œ œœ œœœ œ œ œ œ œ œ bœ rœ œ œ œ œ œ œ 5 œ c œ œ ! œ œ œ œ œœ ! ‰ Œ Ó œ œœ œ & ! &Opening the second half of tœ #œ œ œ œhe movement, Measures 20œ œ œ -#23 follow the same œœ œ r œ œ œ #œ œ model& œ œ as the opening#œ œ ! ‰ Ó transposed down a fifth, in E Minor. 43 œ œ œ #œ œ Œ c œ œ j ‰ 5 œ ˙ œ 11 œ #œ œ œ œ œ rœ! ‰ Ó 3 œ œ œ œ œ Œ c œ œ œ j ‰ 9&œbœ# œœ œœ œ œ œ 4 #œ ˙ œ #œ œ œ œ œœ œ œ œ œ œ œ œ œ & œ œ œ œœœ œ œ r œ œ bœ" œ œ œ" œ œ œ" œ œ œ" œ 9 œ œ œ œ œ & ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ A œ B œ œ B 17 & ! 11 œ œ œ œ œ#œ 11 œ#œ œbœœœ œ œœ œ œ œ #œ œ #œ œ & ! œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & #œœbœ œ œ #œœ œ œ œ œœœœ r#œ " #"œ œ "#œ " " #œ œ œœ œrœ œ " " " " " & œœ œœ œ 20 Measures 9 to 11 are found transposed to D minor (M.26) modulating to G major in 18 bar 29, and from there arriving in C major in bar 32. 18œ œ œ œ œ œ œ œ œ #œ œ & R !‰ Œ" Ó " " ! œ" #œ "œ œ œ " œ œ"œ œ œ œ œ" œ œ œ œ" œ œ & " " " " œ" " œ " " œ A A1 C 24 26 œ œ œ œ #œœ#œœ œ œ œœ œ œ œ œ œ œœ œ œ#œœœœœ #œœœ œ œ œœ œ œœœ#œœœ œ œ #œœœœœ œ œœœ œ œ œ œœ œ &œ!!œœ œ#œœœœ œœœœœ œœœœœœ œœ œœœœœ œœœœ œ œœœ œ œœœœ œœ œ œ œ œ œœ œœœ œ œœ#œœœ œœ œ œ œ œ œœ & œ& œ œœ #œ œ œ œ œœ œ œœ œœ #œ

29 27 29 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œœ œ œ œ œ œ œœ œ œœœ œ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œœ œœœ œ œ œœ œ œ œ œ œ œ œ œ œ œ & œ& œ œ œ R!‰œŒ Ó œ " œ œ " 32

32 œ & R!‰ Œ Ó " " " © œ!‰ Œ Ó " " " & R © Segments that are a single bar in eighth-note beats, as was seen in bar length have a number of harmonic 4. The same structure appears again © designs. Some occur after a high in bar 39. degree of harmonic activity, and serve The asymmetry of five iterations of 2 to slow down Bach the A harmonic minor Excerpts rhythm. the figure in bar 36 into 37 entirely Though the harmony in measures 24 obliterates the common time meter, 31 to 25 moves by the half bar, accents creating a sense of cadenza-like œ#œ œ œ œ œ œare created by halfœ œ œ -step appoggiaturas #œ œ freedom: #œ œ ! œ œ œ on the œ second, œ œ œ fourth, œ œ œ œ and œ sixth œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ #œ œ œ #œ œ M. 36-37 34 r r r œ #œ œ œ ! ‰ Œ Ó ! œ#œ œ #œ œ œ œ œnœ œ œ œ œ#œœR !‰ Ó & œ #œ

37 7 #œ #œ œ œ œ & " Œ ! œ œ œ#œ œ ! " 22 BachBach A A minor minor Excerpts Excerpts

31 31 œ œ œ#œ œœ œœœ œœœœœœ œœœ œ œ #œ#œœ œ œ œ #œ#œœ œ ! œ œœœ œœ œœ œ œœœœ œ œœœœœœœœœ œ œ œœ œ œ œœ œ œ œœœœœœœœ œ œ œœœœ && ! œ œ #œ#œ œ œ œ œ #œ#œ œ œ œ

3434 r r r œ r œœ#œ #œ nœ œœœ œ œœ The !scales œ #œœ and œœ arpeggios, #œ œœ œœ œ beginning #œœœnœ œœœœœ #œ#œThe œR!R‰ most Ó complex and " &&on the second beat of bar 37 continue ! œ sometimes #œ#œ ! controversial ‰ Ó measures of " the quasi-cadenza, using common the piece are bars 17 and 42. At this conventions borrowed from Italian point the listener perceives two 37 37string writing of the period. (A breath voices, the upper voice in falling thirds after the first note (G#) reinforces the ##œœ##œœœ œ and the lower voice in seconds. The &Allemande Œ gesture !! and preserves œ œœœœœœœ# theœ !! pitch of the third to last sixteenth has "" " " &intriguing ambiguity created œœ# by œœœ been often questioned, however the overlapping phrases). Bar 40 is an choice of allowing the diminished 40example in this style, utilizing a third to stand is clearly more 40dominant E pedal point. interesting in performance. " " " & " " " &M. 17

43 43 œ #œ œ #œ nœ œ #œ nœ œ nœ #œ r & #œ #œ nœ #œ œ #œ nœ œ nœ œbœ œ nœ #œ œ œ !r ‰ Œ Ó & #œ nœ œ bœ œ œ R œ ! ‰ Œ Ó M.42 R 45 45 œ œ #œ œ #œ nœ #œ œ nœ nœ œ bœ #œ #œ #œ nœ œ œ œ nœ œbœ œ bœ #œœ œ !‰ Œ Ó " & #œ nœ œ bœ œ œ Rœ & ! ‰ Œ Ó " R 48As the movement draws to a close each, we can begin to compare the 48with a coda beginning half way function, key, and gesture that might through bar 44, " the allemande seven " be associated with " them. It is " ¬e figure returns, and the intervals advisable to go through the segments &become suddenly " more extreme. The " slurring all the notes and playing th" em " leaps of a tenth naturally bring back in precise rhythm, focusing on an even 52 the tempo, and the added half bar of and consistent air pressure and 52the coda is never returned, allowing minimum finger motion. &the performer to play the highest A for " " First, practice " all of the three " two full beats. " " measure segments. " The measures " & marked A arpeggiate the tonality by 56Further Practice of the Allemande repetition, whereas the measures marked B use the cadential chord 56 Whether using a Baroque progression i - V7 6/3 - i 6/3 – V &traverso or a modern " instrument, the reinforc"ing the tonality. Their " &following suggestions " should be declamatory " nature allows the " equally valuable. By first grouping the performer to play without haste. Not phrases by the number of measures of all the three measure segments are

8 transpositions of the same material, expressing and differentiating each and so vary in their respective phrase unit, no matter what the gestural meanings. Some are indeed articulation or loudness. Working with modulatory, for instance bars 9-11 a metronome, but taking as much time (which has a different gesture and as is necessary for each breath, make meaning when the unexpected C# is sure the finger movements are relaxed introduced), 26 -28, and 29-31. The and close to the keys or holes. Fingers two bar segments should be should be comfortable and move subsequently evaluated and practiced. evenly whether on traverso or the They often move sequentially on modern instrument. Other variants every beat, and imply direction and can include changing the rhythm to drive. Their intervals are often dotted sixteenths or an eighth with a unexpected, and include augmented sixteenth triplet. Practicing each fourths. Since the range is not as large segment in retrograde reveals how in these measures, singing them will often Bach uses a reverse order of help the performer direct the sound of pitches in his writing. each note to its center. The one bar Now that a substantial amount segments have yet more variants, and of technical work has been done, turn include chromatic and rhythmic off the metronome and play the piece energy. As you play through these using as much rubato and dynamic segments, notice their individual change as you can possibly muster. characteristics. Exaggerating the gesture is always the In order to create a smooth and test of fire. If the gesture does not fit consistent air stream, practice slurring the text, it will seem completely wrong the entire piece, observing the new when exaggerated, but will still be breath marks in the text below, which tolerable if the gesture matches the incorporate the prepended anacruses. text. Now, bringing the gestures back In order to focus the tone, try flutter- to scale, record a performance of the tonguing (with the tip of the tongue) movement. You will notice that if you the entire movement, again always are making a point by tenuto, only half observing the breaths and phrases. as much gesture is needed to make the Repeat, this time playing the same effect in analogous moments. movement up an octave. Now repeat Suggested breath marks added the entire process, pianissimo, to to the score may be seen below: develop control over the loudness. As the piece is stitched together, continue to consider various ways of

9 Solo pour une Flute Traversiere Johann Sebastian Bach

Allemande œ#œ œ œ œ œ œ œ œ œ #œ œ #œ œ 4 œ œ œ œ œœœ œœœœœ œœ œœœ œœœœœ œœ & 4 ! œ œ #œ œ œ œ #œ œ œ p 4 " œ œ œ " #œ œ œ œ œ œ œ œ- œ- bœ œ œœ œ œ œ œ œ œœ œ œ œ œ œœ œ œœ œœ œ œbœœ & #œ œ œ œ œ œ #œœ œ œ

7 œ œ œ œ œ œ " œ œ œ œ œ œ œ œ œ œ œ œ œ œ- - œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ

10 œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ "œœ œ œ œ œ œ #œ œ œœ œ œœ œœœœœœ & œœœœ œ #œ

13 œ œ œ #œ œ œ #œ " œ œ œ nœœ œ#œ œ œ œ œ œ œ #œ œ " œœ #œœœ œ œœ œœ œ œœœœ œ #œœœœ œœœ & œ #œ #œ

16 œ œ #œœ œœ œ#œ œ#œ nœ nœ "œ œ#œ œ œ œœ œ œ #œ nœ#œ nœœ œbœ #œ œœ œ œœ & œ #œ œ #œ œ œ œ œ#œ œœ#œœœ

19 1. 2. " œ œ œ " œ œ œ œ œ #œ œ œ. œ ˙ . #œ œ œ. œ œ œ œ#œ œ œ œ œ œ œ & . œ œ œ œ œ œ œ œ œ#œ œ œ

2 [Title]

25 ! bœ œ œ œ œ œ #œ œ œ œ#œ œ œ œ#œœ œ œ œ œ œ œ œœ œ œ œ œ œ & œ #œ œ nœ œ œ #œ œ œ œ œœ œ œ œ œ œ œ œ

28 ! œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ #œ œ œ œ

31 ! œ œ œ œœœ œœœ œ œœ œ œ œ œœœœ œ œ œœ œ#œ#œ œ œ & œ œœ œ œbœœœœœnœ#œœ œœœœœ#œ#œ

34 ! #œ œ œ œ œ œ ! œ #œ œ œœœœ œœ œœœ œœœ œœ #œ#œ œœ œœ#œœ #œnœœ œœ œ#œœ & œ #œ œ œ bœœœ œ œ

37 U! œ œ œ œ œ œ œ œ œ œ œ œ œ !œ œ œ œ#œœ #œ#œœœnœ œ œœ œœœ#œ#œ œ #œ#œ œ#œ œ & #œ œœœ#œœ œ œœ œ

40 ! œ œ œ œ œ #œ œ œ nœ bœ #œœœœ œ œœœ œœœœœœœ œ œ œœœœ œ œœ œ #œ nœ#œ nœœ œbœœ #œœ & œœœ

43 ! ! U ! ! œ œ œ œ œ œ œ #œ œ œ nœ œ bœ œ #œ œ œœ œœ œœ œœœœ œœ œœœ œ œ#œœ nœ œœœœ œ & #œ œ œœœ œ œ 46 œ œ ˙ œ œ œ œ #œ œ ! œ œ œ œ œ œ œ œ œ œ œ œ & œ œ. œ œ

11 Corrente tonguing one in a set of four sixteenths. Sometimes the figure may The Corrente is the Italian be reversed, tonguing the first version of the French Courant, and sixteenth followed by the three Bach wrote many such movements in slurred notes. There is a great deal of his suites for solo strings and for evidence that Bach preferred keyboard. Some courants were danced asymmetrical groupings, as evidenced even slower than the Sarabande, by the slurs that he included in his however the technical demands of this manuscripts. In the execution of this fast Corrente are formidable. Of the figure, there is a tendency to clip the four movements of this suite, this is last note of a slur before an articulated clearly the most virtuosic, imitating pitch, so that one has more time to set Italian string writing in brilliant up the articulation, but this stops the bariolage style. It is therefore otherwise continuous flow of air. After surprising that this fiery and brilliant marking the phrases and breaths work is not heard more often as an following the model of the first encore piece. The texture quickly movement, proceed to slurring each moves to two voices in measure two, phrase in its entirety. Then continue and then three voices in measure 13. by practicing one phrase at a time, It is fruitful work to go through the slurring either one and three entire movement and mark the voices sixteenths or three and one. Of using double stems, as has been course, there are some moments indicated in the previous examples. where this cannot be done due to the Like the first movement, the Corrente eighth note motion, but these gives prominence to the interval of a moments are few and far between. 10th, and the performer is well advised The treatises of the eighteenth to scan the text for these intervals. century devote most of their text to Sometimes the interval is used to articulation and ornamentation, while define the compass or range of the very little material is presented about phrase, as seen in the first two tone production. Might this be measures. Later in the piece, on the because the acoustical spaces of the first beats of measures 52, 53, and 54 period were so reverberant that clear for example, the 10th defines the diction was imperative? Did the harmonic space of the three-part acoustics generally favor the sound of texture. When seen so often as well as the traverso, similar to today’s pop seen in the context of the first musician having the advantage of movement, the interval becomes amplification and artificial topical. In Measure 41, the cadenza is reverberation? Seen as “flute speech”, announced by the D# diminished 7th we can well imagine that the words harmony. that were spoken into the flute relied heavily on a variety of consonants of One of the hardest things to do tonguing as well as vowels of tone. on a flute is to keep the airstream at a constant velocity and pressure while tonguing. This movement is an ideal vehicle to practice slurring three and

12 call for a weaker appoggiatura before Sarabande: the beat, making the figure smoother and less accentuated. Baroque dance style is in large part determined by the appropriate Bourée Angloise succession of strong and weak beats of each measure. In this movement, the This Bourée contrasts a “low” Sarabande emphasizes the second style, or folk-like character with the beat in the first measure, followed by former “high” style movements. emphasis on the downbeat of the Examples of the Bourée and English second measure. Still, moments style are common in the early where Bach foils such expectations Eighteenth century, and generally account for much of the interest and have a quarter anacrusis followed by a variety in this movement. strongly accented downbeat. It is Assuming that the movement’s unusual to end a suite with such a first two measures fit the above model movement; a concluding Gigue is most of a strong second beat in the first typical. Hence, performers often find measure followed by a strong first this more rustic movement beat in the second, and that this anticlimactic, and tend to either rush pattern is repeated in measures three the tempo or exaggerate features of and four, the four bar phrase structure the work. I suggest using the baroque is clear. Still a major question does ti-ri-ti articulation in most of the remain. Does the E natural in the iterations of two sixteenths followed second bar feel like a resolution of the by an eighth. It sounds well on both half note F? If so, a breath after the F baroque and modern instruments, and would break the suspension, and can help with the natural stress of the should be avoided. If the F is heard as dance movement. the last note of the motif, then it would at least soften, even if a breath is not needed. The latter solution is probably more in keeping with the style of Bach’s early works, however both solutions can make sense. Although the Sarabande was considered a slow dance at this point in time, the work still moves quickly 1 Although the Brandenburg enough that a four bar phrase is easily Concertos predate these works, the attainable. flute was acting in a subordinate role Measures five through eight all to the violin or keyboard. clearly have a strong first beat. The 2 These five notes, transposed to C short trill marked on the second beats Minor, are the first notes of the of both measures six and eight are Musical Offering theme as well. It is often played from the note above on remarkable that Bach both began and the beat, however Frederick ended his writing for flute with this Neumann’s interpretation is also famous motif. worthy of consideration. This would