In difference to the beginning of the Prelude the arpeggios are written in the mirror iamage from the beginning, going from the 1st to the 3rd string instead of the 3rd string to the Yikes! for solo violin these elements vary. For me playing through the bowing of Anna Magdalena / Gruemmer was the most enlightening one: The harmonies rather integrate into this system of scales that the scale follows the harmony, similar as in a chorale the harmony has to follow melody and bass and the melody does not follow some order of harmonies. The key of the triad / chord or scale is written first. I recommend to support the sequence with a sequential fingering; it helps the memory and brings more clarity of playing. Bourree I    ||: C (T) - G (D) :||: G (D) - C (T) :|| Arrows indicate that the Dominant character is resolved in the following bar. We assume Bach's manuscript had the first three 1/16 slurred, as all early copies and prints show the same bowing (except manuscript D and Janet de Cotelle). is not the original one, as it hasn't been taken up by anyone except the first French edition. the music every time anew we play it. This is also the point, where the individual journey begins, prepared by the first transitional note in the Prelude, last note of bar 4 (indicated in red). ARROWS - The harmony has a Dominant character leading to the (resolution in the) next bar. D: - D major triad-arpeggio / scale (SD): - I - Subdominant of Dominant, in this case The dance movements should vary in the repeats. The first 2 notes are separated. - usually within the last beat before a new bar with the new harmony. Part 1 extends from the beginning to the middle of bar 22, the note D marked with a pause. Dean Markley SR 2000s are a big part of my sound, as are my great new RevSound Cabs and TC Electronic Heads . We know, manuscript "B" is older, and starts with 3 notes slurred. Similar are the last 4 bars of the Prelude with a 3 bar arpeggio, also ending in a following G major chord. The edition I used is this one. In Baroque interpreation the dynamic line is much more complex as to simply write an overall average dynamic in (which might be a reason that composers didn't become convinced it might be advisable to write "a dynamic" in). A mistake remained a mistake unless blacked out. You are the first Bass player I have seen to play the entire Suite or any part of it Awesome ! From the composers and the performers view it is the least restricted movement; it does not need to follow a certain pattern or rhythm like the dances, it is freer. From bar 7 to 13/14 Another group of 6 bars follows (27 - 32), this time arpeggios with detached bowings, again a new texture. C: - C major triad-arpeggio / scale (or parts of it indicating the key) This takes the emphasis away from the top melody and gives altogether a somewhat weaker feeling as if bar 2 and 3 are meant piano. Any use of material of this site for publication is only permitted after arrangement with the author. In particular this means: Already during the first 6 bars, after the descending scale in bar 1 has been stated, the rising dynamic of the first notes of the bar indicate a crescendo to bar 6 - we arrive at least in poco forte. In Baroque interpreation the dynamic line is much more complex as to simply write an overall average dynamic in (which might be a reason that composers didn't become convinced it might be advisable to write "a dynamic" in). ... Cello Suite No 1 - Prelude – Johann Sebastian Bach. Contact: the "hidden scale" leads us from the tonic "C" note by note down to a "G" in 2 bar segments, which in itself include twice a descending transition during the last 4/16. Menuet I      ||: G (T) - D (D) :||: D (D) - G (T) :|| Part 2 is based on scales, distinctly different from Part 1. ( the modern-bow Hugo Becker edition also slurs all eight 1/16; this might be part of the attraction of Becker's bowing).

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