In the following part I changed the "Bach - part" fitting the harmonies of the swan.

I recommend to support the sequence with a sequential fingering; it helps the memory and brings more clarity of playing. They can't escape, it is one of the most essential part of their technical thinking.

Secondly I state the function of the chord within the key of the piece.

(Rmaj) = Relative major / (minD) Minor Dominant, Suite No 1 - G major (Menuet II in G minor)

  Bach: The Six Cello Suites. ABBREVATIONS and TERMINOLGY used in the Analysis (click here)

The first is the melody – played by the violins and trumpets.

As a summary it seems Johann Sebastian interfered only in some sections. Bar 33 - 36 are an interesting transition, the first of these 2 bars reminding of the scales at the beginning of the Prelude, the second 2 bars reminding of the passage from bar 21 - 26 with overlapping bows to the next beat. 3-5, Bach: Three Pieces for Lute; Three Pieces from Violin Partita No.1, J. S. Bach: Suites for Unaccompanied Cello performed on Marimba, J.S. Analysis: Bach Suite No. in Preludes of Bach's friend Weiss (who was regarded the finest - and highest paid - lutenist of the century). As interesting as this may be, I can't emphasise enough, that such an analysis does not help much in the way of interpretation!

Courante    ||: G (T) - D (D) :||: D (D) - G (T) :|| * Duration – the rhythmic pattern heard at the start of each gavotte, is reiterated many times throughout the piece. Jenolan Caves Concerts 1996 - 2013 History & Acoustics . Interestingly enough - and to foster this idea - the last chord is only 1/4 with written out rests: finishing quite swiftly and wait for the sound to vanish until the piece has really ended. It is awkward, seems to go against a natural feeling of flow, especially in bar 2 and 3, but it brings effortlessly some dynamic elements out: From bar 77 to 78

These sections stand out as being firstly different than the other manuscripts and secondly as being marked by a capable string player. 3 for Cello; Gaspar Sanz: Suite Española, Bach Edition, Vol. As mentioned under "structure" above, the Prelude starts with just scales in C major. The "cadence circle" at the beginning of Prelude 1 compared to "The Swan" by Saint-Saens Bach: Cello Suites, BWV 1007-1012 [Germany], J.S. First video on how to play the Bach Suites: It would certainly be a misunderstanding to play a Prelude regular like to a metronome. Sarabande ||: G (T) - D (D) :||: D (D) - G (T) :||

The Prelude recalls the discursive improvisatory flavor of the second suite, but opens with a descending figure and a mood of bright sunshine instead of the study in tragedy and tension that the second suite undertakes from the beginning.

Part 1 extends from the beginning to the middle of bar 22, the note D marked with a pause. This would mean that from the perspective of intensity we have bar one standing there with the fully expressed first note G, the key note, followed by a standing back bar 2 and 3 in piano, followed by bar 4, fuller sounding than all bars before. The instruments used in the piece are: * Trumpet 1 * Trumpet 2 * Trumpet 3 * Timpani * Oboe 1 * Oboe 2 * Violin 1 * Violin 2 * Viola * Continuo – Harpsichord or Double Bass They can stand alone as a performance item. Quotation and references for the use of any material from this site needs to state the author of this website. C: - C major triad-arpeggio / scale (or parts of it indicating the key)

The answer is, the choice of bowing is really not essentially the most important thing, but once we choose to start with a bowing, we need to be consistent, that it doesn't end up unclear and messy. A straight forward G - major Cadence (Tonic: G major - Subdominant: C major: - Dominant: D major 7 - Tonic: G major), establishing the key, before adventuring into an individual avenue.

Gavotte I    ||: Cm (T) - G (D) :||: Gm (minD) - Cm (T) :|| {indicated harmonies starting on the 3rd beat} *

3 in C is folky and relaxed – Paul Tortelier’s performance shows off its friendly character.

[Print: Doerffel 1879]. Download and print in PDF or MIDI free sheet music for Cello Suite No.3 in C major, BWV 1009 by Bach, Johann Sebastian arranged by danwe for Cello (Solo)   AUSTRALIAN

The pattern as introduced in the first 8/16 in bar 1 is the most common pattern. From those very 1st opening notes we feel a sense of excitement and anticipation.