Urtext = Plain Text ? – An Analysis of the Sarabande in d minor, Part 1 (Bar 1-10)

Britain

 

This is a translation of the post

Urtext = Klartext? – eine Analyse der Sarabande in d-moll, Teil 1 (Takt 1-10)

by Dr. Marshall Tuttle.


Michael Bach

This is the first part of the analysis of the

“Sarabande” in D minor

 

Interpretation of the “Sarabande” in D minor
Michael Bach, Violoncello with BACH.Bogen

audio:
https://youtu.be/ZnUPLFZCgWA

video:
https://youtu.be/2iIExSfutG4

 

Sarabande d AMB -
Copy by Anna Magdalena Bach, digital scan of the Staatsbibliothek zu Berlin – PK

 

Glossary

JSB = Johann Sebastian Bach
AMB = Anna Magdalena Bach

2-slur, 3-slur, 4-slur = Slurs over 2, 3 or 4 notes.
Three 2-slurs = three slurs over 2 notes
m, mm = measure, measures

C4 = middle C

Sub = subdominant
Dom = dominant
mSub= minor subdominant
mDom = minor dominant
RM = relative major
Rm = relative minor
SRM = subdominant of the relative major
DC = deceptive cadence
DD = dominant of the dominant
D7-chord = dominant seventh chord
Dom9 = dominant ninth chord
iDom9 = incomplete dominant ninth chord (missing the root)


 

The Slur-Code

Here I codify some insights that have emerged from my detailed analyses of all the “Suites” in the copy of AMB, almost as axioms advance. I call them the “Slur-Code” in the works for solo cello. In this “Sarabande“, the following rules apply:

1

The first note under a slur is emphasized, as is the first note after the slur. The longer the slur, the stronger the subsequent noteis emphasized and the weaker is the first note of the slur. This sometimes leads to the extreme case that an exceptionally long slur has to start very quietly, while the subsequent pitch is very strongly accentuated (e.g. m 13 of the “Allemande” in G Major).

2

When one slur directly follows another, the first note of the second slur receives emphasis, and the subsequent, linked notes decrescendo. The (more…)

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