J. S. Bach’s Cello Suites: Composing an Idiomatic Equivalent for the Trombone
Alexander van Duuren College of Fine Arts, University of Florida
ABSTRACT
Around the year 1720, J. S. Bach composed a series of six suites for solo violoncello. These suites are a very popular component of Bach’s extensive repertoire and consequently have been transcribed for various instruments, including the trombone. However, since the performance capabilities of the cello differ greatly from those of the trombone, it is difficult or nearly impossible to play the suites in their original form. The purpose of this research was to compose an original, unaccompanied suite for the trombone that en- capsulates both the essence of Bach’s cello suites as well as idiomatic writing for the trombone. The product is a set of six movements (Prelude, Allemande, Courante, Sarabande, Bourrée I/II, and Gigue) in the Baroque style. The combination of technical exercises for the trombone with the popular and established style of Bach results in a musical etude that is interesting and effective.
INTRODUCTION however, Bach was most concerned with capturing the character of the dance, as opposed to the rigidly confining Johann Sebastian Bach was about as prolific a composer steps and structure that these movements would imply if as has ever lived. The sheer volume of his work is as- they were to actually be danced. Nonetheless, the most de- tounding, yet perhaps more striking is the quality of nearly fining characteristics of each dance, such as meter, tempo, every composition. Living from 1685 to 1750 in Germany, and rhythm, were generally preserved. Bach was a master teacher of organ and keyboard, and well Although they are performed and recorded quite often, as the leading artisan of tonal counter-point. Many of these suites are some of the most important pedagogical Bach’s compositions were written for the purpose of repertoire for the cello. In fact, they are so widely popular teaching, not for performance, per se. Although these types that various other instruments have adapted Bach’s music of works are often performed in concert halls and auditori- to be included in their own repertoire. Virtually every in- ums, Bach never intended many of them to reach outside strument has seen a transcription or two of these suites, and the walls of a practice studio. among the most common is the trombone. Even without Around 1720, Bach composed a series of six suites for any transcription at all, a trombonist could play most of solo violoncello. A suite is generally defined as a set of this music and still have a productive practice and gain instrumental movements, often in the same key, that are ability on the instrument. performed at a single sitting. The Baroque definition of the Music written specifically for a string instrument does term (which applies specifically to the composition style of not simply translate, either aurally or in performance, to a Bach’s time) suggests that the movements are based on the brass instrument. It is simply a matter of the nature of the form and style of different dances (“Suite” New Grove two instruments: a cellist has no breathing restrictions, can Online). In his suites, Bach used a specific format of Ba- play polyphonically, and relies mainly on dexterity of fin- roque dances. Each suite included six movements, each one gers and bow technique. Conversely, the trombone player being a different dance, with the exception of the first must breathe every few bars or so, plays only mono- movement (Prelude, Allemande, Courante, Sarabande, phonically, and requires a complex muscle development in Minuet I/II or Bourrée I/II, or Gavotte I/II, Gigue). Bach the areas around the cheek, lips, and jaw. This by no means was consistent throughout each suite with the types of signifies any disparity in the degree of difficulty for either dances and their ordering, although the fifth movement of instrument, but rather that the pronounced variations in each suite requires some explanation: this movement was technique result in different performances of the music. comprised of two short dances of varying characters. Of Because they are such effective and beautiful exercises, the six suites for solo violon-cello, the fifth movement of it is important that the affectivity of Bach's "Cello Suites" the first two suites used the Minuet, the second two the be available to all instruments. The purpose of my research Bourrée, and the final two the Gavotte. was to bring an original unaccompanied suite, following The various dances exhibit different core characteristics Bach’s general style and compositional practice, to the and some of them are quite specific. In the cello suites, trombone. Through a careful and measured combination of
University of Florida | Journal of Undergraduate Research | Volume 9, Issue 4 | Summer 2008 1 ALEXANDER VAN DUUREN both baroque and contemporary writing, my goal is to fa- cordings were electronic images of the original manuscript cilitate a successful merger between the pedagogical effec- copies of the Cello Suites, the so-called “Anna Magdalena tiveness of the baroque dance suite and idiomatic writing Manuscripts.” These were invaluable in understanding for a wind instrument. Bach’s compositional intentions, free of editorial markings (wimmercello.com/bachms.html). Although rather difficult METHODOLOGIES to read, Figure 2 shows an example from the manuscript of Bach’s Second Suite in D minor. In composing an original suite of baroque dances, a spe- cific research process was applied: 1) Research the baroque dances in their original forms. 2) Study the dance movements in J. S. Bach's "Cello Suites." 3) Use the Finale 2004 musical notation software, a synthesizer, and an Edirol R-09 to test and record musical ideas as part of the composition process. Sources for the objective and historical aspect of this re- search included Meredith Little and Natalie Jenne’s Dance and the Music of J. S. Bach as well as the New Grove Dic- tionary of Music and Musicians, widely regarded as one of Figure 2: Example from D minor Prelude the most comprehensive sources of music history. Al- Source: Wimmercello.com though the plan for this composition was to capture the The final part of the research process was the use of the essence of a particular dance style, it was vital that I, as the Finale 2004 musical notation software by Coda Music composer, understood the very specific structures of these Technologies and a synthesizer keyboard. Finale is one of dances in their most conservative form. Dance and the Mu- the most widely used notation programs, and includes sic of J. S. Bach includes many diagrams and tables deline- nearly every tool for composers to notate their music. The ating the “skeleton” of these dances. In studying these “Speedy Edit” feature of Finale was used for input, which diagrams and learning about each identifying factor of the assigns certain shortcut keys to musical values or mark- baroque dances, I was able to learn the styles, so that I ings. could scale down the specificity of my actual composition. While Finale does include a bank of sounds used for To build knowledge of Bach’s works, two CD re- playback, it was essential to me that my composing come cordings were used for listening and score study. The first from actual performance. For that reason, I used a Casio is an album by János Starker, Distinguished Professor of synthesizer keyboard as an aid in the compositional proc- Cello at Indiana University, and a leader in cello perform- ess. This keyboard includes hundreds of various sounds, ance and musical interpretation. For the purpose of con- however, the sound that I used for the purposes of com- trast, the second recording selected was an album by Edgar posing and recording was the “Tuba” sound, number 180 in Meyer, a double bassist who is most notable as having the main bank. I chose this sound over the Casio’s trom- been a member of the popular ensemble Béla Fleck and the bone sound because it produced the most resonant sound Flecktones. Meyer’s interpretation of the cello suites is applicable to the music I was writing. Finally, when making recordings of the finished compo- sition, I used an Edirol R-09 personal recorder. The Edirol is a digital recorder with built-in stereo microphones. It has a simple and easy-to-use interface and records directly to Secure Digital Memory. I was able to perform the works on the keyboard as a “live” recording of the music, for my own immediate and future purposes. Each movement was played on the trombone during the compositional process and adjustments to the composition were made. The suites will be recorded in full in the future. Upon finishing the movements, I received professional advice from two sources: Dr. Arthur C. Jennings, Professor of Trombone at Figure 1: Example of typical rhythmic patterns found in the Sarabande the University of Florida, and Mr. John Stevens, tubist and composer at the University of Wisconsin-Madison. considerably more contemporary, not to mention that it is performed on double bass, which naturally incorporates a different color to the recording. Supplementing these re-
2 J. S. BACH CELLO SUITES RESULTS mony; while the music is wholly tonal and does not exceed boundaries per se, there are a few aggressively modern It should be noted that for this project, the Bourrée was moments. While baroque music rarely alternated time sig- chosen as the fifth movement of the suite. Upon research- natures within a phrase (called mixed meter), Figure 5 ing the three dances Bach used as a fifth movement, I de- shows a point in my Prelude where this technique is used. cided that the Bourrée provided a desirable contrast to the In addition to meter fluctuations, the harmonic surrounding movements. Below is a brief and introduction to the conventional characteristics of the six types of movements found in my suite. Although there are several other ways to “define” these dances, Table 1 delineates the Figure 3: Accented Melodic Line Typical of Trombone Repertoire most rudimentary aspects of musical content: the meter, Source: Measures 13-17 of Suite No. 1 - Prelude tempo, and style.
Movement 1 – Prelude. The Prelude of each cello suite is governed by the least amount of structure and form. Es- sentially, this movement is the composer’s chance to ex- periment and use material that may be the most unlike an actual dance. Harmonic rhythm and melodic contour are freely varied and altered. While Bach could not completely Figure 4: Range from A1-Bb4 leave behind the baroque style, in all other ways this is a Source: Measures 35-40 of Suite No. 1 - Prelude movement of absolute music; the music is not cohering to any type of program or form whatsoever. For this reason, the prelude in my composition contains the most material specifically related to trombone peda- gogy and not at all related to any baroque dance style. The Figure 5: Atypical Mixed Meter Style descending melodic line in Figure 3, specifically in refer- Source: Measures 7-9 of Suite No. 1 – Prelude ence to the articulation markings used (tenuto accents), is representative of a common gesture found in trombone mu- sic, particularly in the orchestral repertoire. Writing a suite for trombone also extends the pitch range. Figure 4 shows an excerpt from the music that a cellist simply would not be able to play due to the extended range; indeed, the range of the trombone is extended even beyond this point (cello range does not extend below C2). Figure 6: “Romantic” Harmony Along with the freedom of the Prelude, this movement Source: Measure 22-25 of Suite No. 1 – Prelude has the most liberal use of conventional 18th century har- motion highlighted in Figure 6 is distinctly not Baroque. Table 1. Comparison of Rudimentary Characteristics in Baroque Suite Measures 24 and 25 of this excerpt are arguably in the th Source: New Grove Online and Dance and the Music of J. S. Bach Romantic (19 century) harmonic style, however this is Meter/Tim Defining Movement Tempo the liberty enjoyed in this particular movement, the e Signature Style/Mood Prelude. No No Con- Prelude No Convention Convention vention Movement 2 – Allemande. Although certainly more Free, Usually 4/4 contained than the Prelude, the Allemande is another Allemande Moderate Flowing, or 2/2 Rubato movement that allows the composer a generous amount of Noble, freedom. Generally these dances are in a duple meter and Courante 3/2 Slow ( = 60) Solemn, are set at a moderate pace. However, the practice of rubato h Grand (meaning “robbed time”) is prevalent throughout the Grave, movement, as it takes on a more improvisatory or cadenza- Sarabande 3/4 or 3/2 Slow ( = 69) Majestic, like style than perhaps any of the other movements q Serious (“Rubato” New Grove Online). The use of an extended run Fast ( = 88- Joyful, of faster notes makes it all but necessary to play in the Bourrée 2/2 h Content, rubato style to facilitate breathing (Figure 7). 100) Pleasant Also, in the Allemande I chose to use an altered quote Triple: Upbeat, from Gioachino Rossini’s Overture to La Gazza Ladra, Gigue commonly Fast ( = 88) Driving, q. one of the most notable orchestral excerpts in the trom- 6/8 Finale bone literature. The quote begins in measure 22 and ex-
3 ALEXANDER VAN DUUREN tends into measure 29, at which point free composition and has been described as “always melancholy, a delicate resumes. As Figure 8 shows, the harmonic and melodic yet serious tenderness” (Little 94). Phrases are often four to content of the original excerpt is not preserved, however eight measures, and harmonic change is primarily on the the general melodic contour and rhythmic content are very level of the beat. There is a syncopation that is typical to similar. The result is a musical moment that is recognizable the Sarabande (specifically the French Sarabande): a to the player while still remaining within the character of weighted second beat that is dotted and tied to the upbeat the Allemande. count of the third beat ( in 3/2 time or in 3/4 time). h h. q q q. e I used this rhythm in the opening of the work (Figure 12) to establish the dance style and then pervasively throughout the movement. Another typical feature of the Sarabande is the use of doubles, which are essentially ornamented repeats of the main theme (Little 102). Figures 13A and Figure 7: Consistent Sixteenth Notes Source: Measures 29-34 of Suite No. 1 - Allemande 13B show the opening and central theme of my Sarabande, as well as its double, occurring a little later in the music.
Figure 9: Fast Moving Notes in Courante
Figure 8: Corresponding Excerpt in Imitation of La Gazza Ladra Source: Measures 16-18 of Suite No. 1 in D Minor – Courante Source: Measures 22-28 of Suite No. 1 in D Minor – Allemande
Movement 3 – Courante. The Courante is labeled as the slowest of Baroque dances in the Suite. Although the Courante routinely trades this characteristic with the Sara- bande (at least in the practice of their actual performance), Figure 10: Opening “Gesture” in Courante Source: Measures 1-3 of Suite No. 1 in D Minor – Courante it is technically the dance with the lowest beat to minute ratio. However, the Courante is often aurally heard as be- ing a “fast moving” dance, due to the shorter note values that are often used (Stevens, e-mail correspondence). For example, the Courante is in a meter that counts the half- note (3/2), and while the half-note may be moving at only 60 beats per minute, there is a permeating use of eighth and sixteenth notes (see Figure 9). This keeps the music Figure 11: Quote from Mozart’s Requiem (Measure 40) and David’s “flowing” and arguably deceives the listener into hearing a Concertino (42-46) quicker tempo. Source: Measures 40-46 of Suite No. 1 in D Minor – Courante In addition to the tempo and note values, there are a few other identifying characteristics of this dance. Often a Cou- rante will open with a “gesture” that clearly defines the beginning of the dance and may recur throughout the dance Figure 12: French Sarabande Typical Syncopation (Figure 10). Harmonic phrasing is defined by the strains; Source: Measures 18-21 of Suite No. 1 in D Minor – Sarabande however, there is usually a clear beginning to every meas- ure, as well as definitive cadences every few measures (Little 114-128). In this dance, I again imitate music from the already es- tablished trombone repertoire (Figure 11). I used a directly quoted motive from Mozart’s Requiem, as well as a se- quenced motive from Ferdinand David’s Concertino for Figure 13A: Opening Theme Trombone. Both of these are very familiar to advanced- Source: Measures 1-8 of Suite No. 1 in D Minor – Sarabande level trombone players, and practicing the excerpted mate- rial outside of its original context is both entertaining and effective.
Movement 4 – Sarabande. The Sarabande is a baroque dance that has been well preserved in the modern literature compared to the other dances. It is in a 3/2 or 3/4 meter, Figure 13B: Double of Opening Theme Source: Measures 29-35 of Suite No. 1 in D Minor – Sarabande
4 J. S. BACH CELLO SUITES
Movement 5 - Bourrée I and II. In the cello suites of J. 6/8 time, the pulse is a dotted quarter-note). However, if S. Bach, the second to last movement of the cello suite is there is one characteristic that truly makes a Gigue in the either a pair of minuets, bourrées, or gavottes. In select French style, it is the use of the sautillant figure. The sau- suites, Bach chooses to use the parallel key signature for tillant figure is the rhythm in 6/8 meter (Figure 19) the second dance (in the case of D Minor, a key with one e. x e flat, the parallel key signature is D Major, containing two (Little 145-146). A single one of these figures would last sharps). In Bach’s first "Cello Suite," the second minuet in for half of one measure, or one pulse in 6/8. In the fifth the fifth movement moves from G major to G minor. While Cello Suite, Bach uses a French Gigue, and this rhythmic the two dances are separate movements, they are played figure is persistently used throughout the entire movement. without much pause in between, and so are combined to While the original rhythm of the sautillant is the most form one larger movement. This is the historical precursor widely used, there are other ways of stating the figure, al- to the Minuet and Trio, but without a verbatim repeat of the beit in a less recognizable form. The sautillant may be first section (Little 35-47). augmented or diminished, meaning that the group of three An attitude of nonchalance defines the Bourrée. This notes have the same respective values to each other, but are dance is quick and lighthearted, in cut time, and almost literally played over a different period of time. For exam- always preserves an upbeat quality. It became apparent ple, a sautillant that is doubled in time (augmented) would when doing my research that the Bourrée presented a par- take on the rhythm of and last an entire measure ticular challenge to me: presenting a dance that was light- q. e q hearted and joyful in the key of D minor. I was able to (Figure 20). By the same reasoning, a tripled sautillant capture the style by using light articulation and the relative would last one and a half measures (Figure 21) and a key of F major (Figure 14) (Little 41). halved sautillant was last only a quarter of a measure. In Stepwise melodic movements in the rhythm of my Gigue, I have incorporated several different uses of this q e e q motive. and are “trademarks” of the Bourrée (Figure 17). eeee q Syncopation is also often used in the Bourrée, usually where one might expect a change of harmony, as a way of intensifying the forward movement of the phrase (Figure 16) (Little 37). Finally, I chose the ending of Bourrée II to exercise an extended technique in brass playing: multiphonics (Figure Figure 14: Light-style Articulations and Highlighting of F Major Key 17). Multiphonics is the sounding of more than one note Center simultaneously, and it is accomplished by singing into the Source: Measures 1-10 of Suite No. 1 in D Minor – Bourrée I horn while still buzzing into the mouthpiece. The intervals that are the best sounding and easiest to execute are fifths, octaves, and major thirds. I therefore chose the second Bourrée to utilize this technique due to the key that it is in:
Bourrée II is the only movement in the entire suite that is Figure 15: Characteristic Rhythms of Bourrée in a major key, and therefore contains the most major Source: Measures 50-54 of Suite No. 1 in D Minor – Bourrée I thirds. The use of multiphonics in this suite is homage to Bach’s "Cello Suites," which use the double- and triple- stop capabilities of the cello (sounding two or three simul- taneously).
Figure 16: Syncopation in Measures 56-57 Movement 6 – Gigue. The final movement of each Source: Measures 55-59 of Suite No. 1 in D Minor – Bourrée I Cello Suite is the most lively and energetic of all, and has a distinctive “finale” sound to it. The Gigue is in a com- pound meter (primarily 6/8) that is relatively moderate in tempo. This dance is both etymologically and literally similar to the Irish Jig. Of several possible styles of the Gigue, the one I use is distinctively in the French style (Little 143). Some characteristics of the French Gigue include a Figure 17: Multiphonics in Measures 107-end moderate tempo, ornamentation of the original theme (Fig- Source: Measures 104-end of Suite No. 1 in D Minor – Bourrée II ure 20), and a triple feel on the level of the pulse (in
5 ALEXANDER VAN DUUREN CONCLUSION Although each movement is modeled after the move- ments in the "Cello Suites," there is a certain contemporary This research into J. S. Bach’s Suites of Solo Cello re- quality to the work. The approach to the study of the trom- sulted in a full score of six baroque-styled dances, as well bone is decidedly not Baroque. After studying the essential as audio recordings of each movement. While these are and identifying characteristics of each movement, I was written specifically for the tenor trombone, they could be able to compose dances that were formulaically imitative adapted for the bass trombone, euphonium, or tuba. of the baroque dances, while remaining relative to the trombone in content. It is my intention that this suite will encourage all who play or study it to apply these techniques to any historical adaptations. Applying compositional and formal techniques explored in this suite to the dance forms of different his- torical eras and regions, including the most current, offers
Figure 18A: Gigue Opening Theme virtually infinite possibilities for creating etude ma-terial Source: Measures 1-10 of Suite No. 1 in D Minor – Gigue tailored to fit the idiomatic features of other instru-ments. This composition, as well as any in the same vein, com- bines in one etude the aspects of technique, musical style, and historical awareness that comprise three critical areas of a musician’s development.
WORKS CITED
“Allemande.” The New Grove Dictionary of Music and Musicians Online. Figure 18B: Ornamented Gigue Theme (Accessed 3 Aug, 2007)
Finale 2004. Coda Music Technologies. Make Music! Inc.: 2003.
“Johann Sebastian Bach.” The New Grove Dictionary of Music and Musicians Online. (Accessed 3 Aug. 2007)
Rossini, Gioachino. Overture to La Gazza Ladra. Vancouver: Cherry Classics: 2002-2003 (musical score).
“Rubato.” The New Grove Dictionary of Music and Musicians Online. (Accessed Figure 20: Sautillant Figure in Augmented Form (Double) 24 Mar 2008)
Stevens, John. Personal correspondance via email, 25 Feb. 2008.
“Suite.” The New Grove Dictionary of Music and Musicians Online. (Accessed 20 Mar. 2008) < http://www.grovemusic.com.lp.hscl.ufl.edu/shared/views/ Figure 21: Sautillant Figure in Augmented Form (Triple) article.html?from=search&session_search_id=688908129&hitnum=3§ion=m Source: Measures 48-53 of Suite No. 1 in D Minor – Gigue usic.27091>.
Suite for Cello Solo. On Bach, J.S.: Suites for Solo Cello and 2 Cello Sonatas. String instruments vary greatly from brass instruments, János Starker, Cello. Universal International Music B.V.: 1990 [CD]. not only in sound but also in performance practice. While a cellist would concentrate on the movement of bow and fin- Suite for Cello Solo. On Bach: Unaccompanied Cello Suites – Performed on Double Bass. Edgar Meyer, Double Bass. Sony BMG Music Entertainment: 2000 gers, a trombonist must rely on the movement of air and [CD]. slide. In writing music that is deliberately influenced by an established standard in cello pedagogy, I was able to trans- “The Six Bach Cello Suites: The Anna Magdelena Manuscripts.” Harry Wimmer: The Joy of Cello Playing. (Accessed 25 Jul. 2007) late Bach’s intent and practice to the trombone repertoire.
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