PEDAGOGICAL AND TECHNICAL SUGGESTIONS FOR J. S. BACH’S SONATAS AND PARTITAS, BWV 1001-1006, FOR FIRST-YEAR COLLEGE STUDENTS IN A FOUR-YEAR COURSE OF STUDY by JI YEON SHIN A LECTURE-DOCUMENT Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts August 2018 ii LECTURE-DOCUMENT APPROVAL PAGE Student: Ji Yeon Shin Title: Pedagogical and Technical Suggestions for J. S. Bach’s Sonatas and Partitas, BWV 1001-1006, for First-year College Students in a Four-year Course of Study This lecture-document has been accepted and approved in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance by: Kathryn Lucktenberg Chairperson Jack Boss Core Member Margret Gries Core Member Accepted by: Leslie Straka, D.M.A Director of Graduate Studies, School of Music and Dance iii © 2018 Ji Yeon Shin iv DOCUMENT ABSTRACT Ji Yeon Shin Doctor of Musical Arts School of Music and Dance August 2018 Title: Pedagogical and Technical Suggestions for J. S. Bach’s Sonatas and Partitas, BWV 1001-1006, for First-year College Students in a Four-year Course of Study The purpose of this lecture document is to present a four-year course of study, using the Sonatas and Partitas, BWV 1001-1006 by Johann Sebastian Bach, for an entering first-year college student. Even though the Sonatas and Partitas by Bach have been included in college auditions as repertoire to present the student’s musicality and technique as a solo violinist without any accompaniment, many students have little experience with this literature. In the proposed course of study, three case studies (the Allemanda in D Minor, the Gavotte en Rondeau in E Major, and the Fuga in G Minor) of the Sonatas and Partitas are presented in two different approaches – the historically informed performance practice (HPP) and the mainstream performance practice (MSP). The list of references for the first-year student in each approach is included. v CURRICULUM VITAE NAME OF AUTHOR: Ji Yeon Shin GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene University of Hartford, West Hartford Pennsylvania State University, University Park Sookmyung Women’s University, Seoul DEGREES AWARDED: Doctor of Musical Arts, 2018, University of Oregon Graduate Professional Diploma, 2014, University of Hartford Master of Music, 2012, Pennsylvania State University Bachelor of Music, 2010, Sookmyung Women’s University AREAS OF SPECIAL INTEREST: Violin and Viola Pedagogy Historically Informed Performance Early Childhood Education PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon, 2014-2018 Suzuki Violin Teacher, Community Music Institute, University of Oregon Teaching Assistant, Pennsylvania State University, 2010-2012 Pennsylvania Centre Chamber Orchestra, Section Violin, 2010-2012 Seoul Metropolitan Youth Orchestra, Section Violin, 2008-2010 vi GRANTS, AWARDS, AND HONORS: Graduate Teaching Fellow, University of Oregon Teaching Assistant, Pennsylvania State University vii ACKNOWLEDGMENTS I wish to express sincere appreciation to Professor Kathryn Lucktenberg, Dr. Margret Gries, and Dr. Jack Boss for their assistance in the preparation of this manuscript. In addition, special thanks are due to Dr. Marc Vanscheeuwijck. viii I dedicate this lecture-document to God and my mother, who has never doubted me. ix TABLE OF CONTENTS Chapter Page I. INTRODUCTION ...................................................................................................... 1 Purpose and Status quaestionis ............................................................................. 1 Review of Published Material ............................................................................... 3 Using movements of the Sei Solo by Bach in the Violin Curriculum for the First Year Student ...................................................................................... 9 Mainstream Performance Practice and Historically Informed Performance Practice ................................................ 10 The Hypothetical Model Student ........................................................................ 11 Prerequisite Process before Learning the Sei Solo in the First Year .................. 12 II. MY RECOMMENDATION FOR TEACHING .................................................... 16 Sequence of Movements in HPP ......................................................................... 16 Sequence of Movements in MSP ........................................................................ 20 Recommended Score for the Studying the Sei Solo ............................................ 22 My ‘Ideal’ Approach ........................................................................................... 23 Reasons why I would begin with HPP ........................................................... 23 Why this approach might be different from that of other teachers ................ 24 III. COMPARISONS .................................................................................................... 25 Introduction to the Three Case Studies, HPP and MSP ...................................... 25 Case Study 1. The Allemanda in D Minor, BWV 1004 ..................................... 30 The Allemanda in D Minor in HPP ..................................................................... 30 Introduction ..................................................................................................... 30 Unit 1. Overview of the Musical and Compositional Style of the Movement ............................................................................................. 31 Edition and Score Selection ....................................................................... 31 Musical and Compositional Style of the D Minor Allemanda ................. 33 Unit 2. Score Study ......................................................................................... 34 Unit 3. Affect .................................................................................................. 35 Tempo Affect ............................................................................................. 36 Unit 4. Rhythmic Devices .............................................................................. 39 Phrasing and Dynamics ............................................................................. 39 Bowing ....................................................................................................... 39 Dynamics ................................................................................................... 40 Unit 5. Other Suggestions for Teaching in HPP ............................................ 40 Conclusion ...................................................................................................... 43 Main Purpose of the First year while working on the Allemanda in MSP ......... 44 Introduction ..................................................................................................... 44 Edition of the score .......................................................................................... 44 Unit 1. Note Reading ...................................................................................... 46 Unit 2. Left Hand Technical Issues ................................................................ 47 x Intonation ................................................................................................... 48 Unit 3. Right Hand Technical Issues .............................................................. 48 Bow Strokes ............................................................................................... 48 Bowing Choices ......................................................................................... 50 Unit 4. Musical Issues .................................................................................... 51 Overview of Musical Style ....................................................................... 51 Tempo ........................................................................................................ 52 Phrasing ...................................................................................................... 52 Vibrato and Ornamentation ....................................................................... 52 Conclusion ................................................................................................. 53 Case Study 2. The Gavotte en Rondeau in E Major, BWV 1006 ........................ 55 The Gavotte en Rondeau in E Major in HPP ................................................. 55 Introduction ................................................................................................ 55 Unit 1. Overview of Musical and Compositional Style ............................ 56 Unit 2. Score Study .................................................................................... 58 Unit 3. Tempo, Affect, and Dynamics ...................................................... 64 Unit 4. Rhythmic Devices, Articulation, Phrasing, and Character ........... 68 Unit 5. Tessitura and Dynamics ................................................................ 71 Unit 6. Ornamentation and Repetition ...................................................... 72 Conclusion ................................................................................................. 74 The Gavotte en Rondeau in E Major in MSP ................................................ 76 Introduction ................................................................................................ 76 Unit 1. Left Hand Technical Issues ............................................................ 78 Double and Multiple Stops ................................................................... 80 Unit 2. Right Hand Technical Issues ......................................................... 81 Bowing Choices .................................................................................... 81 Bow Strokes ........................................................................................... 82 Unit 3. Musical Issues ............................................................................... 83 Structure ................................................................................................ 83 Tempo ................................................................................................... 84 Phrasing and Dynamics ........................................................................ 84 Vibrato and Ornamentations ................................................................. 85 Conclusion ................................................................................................. 86 Case Study 3. The Fuga in G Minor, BWV 1001 .............................................. 88 The Fuga in G Minor in HPP .......................................................................... 88 Introduction ................................................................................................ 88 Unit 1. Overview of Musical and Compositional Style of the Movement ........................................................................................ 89 Unit 2. Score Study .................................................................................... 90 Unit 3. Affect and Tempo .......................................................................... 96 Key Affect ............................................................................................. 96 Tempo Affect ........................................................................................ 96 Unit 4. Rhythmic Devices, Phrasing, and Dynamics ................................ 98 Unit 5. Chordal Playing ............................................................................. 98 Unit 6. Interpretation of Measures 35-41 ................................................... 99 Conclusion ............................................................................................... 100 xi The Fuga in G Minor in MSP ...................................................................... 101 Introduction .............................................................................................. 101 Unit 1. Left Hand Technical Issues ......................................................... 106 Fingering Choices and Position Choices ............................................ 106 Chord Preparation and Musical Outcome .......................................... 106 Unit 2. Right Hand Technical Issues ....................................................... 109 Bow Strokes Used .............................................................................. 109 Bowing Choices .................................................................................. 110 Unit 3. Musical Issues ............................................................................. 110 Tempo ................................................................................................ 110 Phrasing ............................................................................................... 111 Vibrato and Ornamentation ................................................................ 111 Dynamics and Phrasing ...................................................................... 111 Conclusion .......................................................................................... 112 IV. CONCLUSION ...................................................................................................... 114 APPENDIX A. LIST OF FIGURES .................................................................................................... 116 B. LIST OF TABLES ...................................................................................................... 117 REFERENCES CITED .................................................................................................... 118 CHAPTER 1 INTRODUCTION Purpose and Status quaestionis My document, “Pedagogical and Technical Suggestions for J. S. Bach’s Sonatas and Partitas, BWV 1001-1006 for First-year College Students in a Four-year Course of Study” will provide a four-year course of study featuring pedagogical and technical approaches for the Six Sonatas and Partitas by Bach (hereafter, Sei Solo) from two perspectives: Historically-Informed Performance Practice (hereafter, HPP) and Mainstream Performance Practice (hereafter, MSP). Objectives of my paper are the following: 1) to present a four-year course for the Sei Solo for the first-year student. 2) to introduce the Sei Solo in the new approach (HPP) for the first-year student. 3) to describe different perspectives of the Sei Solo in HPP and MSP approaches. As examples for my comparison, three movements are selected: the Allemanda in D Minor (Case Study 1), the Gavotte en Rondeau in E Major (Case Study 2), and the Fuga in G Minor (Case Study 3). All of them are included in both HPP and MSP sequences of the Sei Solo for the four-year course of study, even though each example may be introduced at a different point in the curriculum, depending on the particular skills being addressed. Through my comparison, each unit is analyzed according to different pedagogical/musical approaches. The instructor and the student might spend more than one lesson (week) on each unit, which is presented with a focus on specific suggestions for each approach. 1 My pedagogical goal is to provide another way (HPP) of exploring the Sei Solo for the first-year student who has, until this point, been trained according to MSP. There are many musical interpretation and technical suggestions that have been published for the Sei Solo both in HPP and MSP. The targets for these publications are professionals and students who are devotees of the art. Recently, more courses in HPP are provided in universities and conservatories.1 In individual lessons, however, the specific curriculum which trains those students to play the Sei Solo still seems to be dependent on the instructor’s preference. The “American School”2 is led by the Juilliard School of Music and the Curtis Institute of Music. This approach emphasizes beautifully-controlled tone production and projection along with developing sound and vibrato.3 The aesthetic aims toward a sound that is even, warm, and well-projected.4 The root of the American School is found in the Franco-Belgian School, extending back to the Paris Conservatory. My desire is to provide a rhetorical foundation and a four-year course of study whereby the student is exposed to the HPP approach to Bach through the Sei Solo, and encourage them to extend further study to other repertoire from other time periods. Another desire is to instill the concept that all music can be performed using the HPP approach, not just early music. Once the student notices the power of rhetoric, it enables her to be an orator who communicates with the audience based on concepts studied in 1 Each school has slightly different name for the HPP program. It is also called Early Music Program. Universities and conservatories such as University of Southen California, Boston University, Case Western Reserve University, Claremont Graduate University, Duke University, Indiana State University, Cornell University, Florida State University, Eastman School of Music, and many more, include such programs. Please refer to this article for more details: https://www.earlymusicamerica.org/files/Where_To_Study_Early_Music.pdf. 2 Dorottya Fabian, A Musicology of Performance: Theory and Method Based on Bach’s Solos for Violin, (Cambridge, UK: Open Book Publishers, 2015), 90. 3 Ibid., 90-1. 4 Ibid., 93. 2 rhetorical research. I believe in the potential positive effects of an early introduction of the “aesthetic principles of the past”5 for freshmen studying the Sei Solo. Review of Published Material A Musicology of Performance: Theory and Method Based on Bach’s Solos for Violin by Dorottya Fabian presents a comparison of modern performers’ recordings of the Sei Solo in the two different approaches (HPP and MSP).6 Through comparative research of several recordings of the Sei Solo by both HPP and MSP performers, she highlights the differences in technique and musical interpretation. In her research, an overview of recent recordings (1980-2010) both in HPP and MSP style is also presented, which inspired this paper to envision the thesis question: Why should HPP be introduced to students who already have a background of MSP? Fabian’s comparison between recording samples of HPP and MSP performances is systematically organized and analyzed in great detail. Her advocacy for neutral, un-biased research is based on “a more balanced, humble, and open-ended approach,”7 regardless of the type. This resource successfully compares HPP with MSP. Judy Tarling’s The Weapons of Rhetoric: A Guide for Musicians and Audiences (hereafter, The Weapons) is not only for professional performers and students, but also for the audience. According to Tarling, rhetoric is a persuasive art, utilizing the sound 5 Wyatt True, “A Modern Violinist’s Introduction to Early Music and Historical Performance Practice,” (D.M.A. document, University of Oregon, 2014), 3. 6 Fabian utilizes the abbreviation of HIP for Historically Informed Performance Practice. Occasionally, HIP is labeled differently, HPP, depending on the style of abbreviation. If the full title is written as “Historical Performance Practice,” its abbreviation is HPP. The abbreviation is HIP when the full title is “Historically Informed Performance Practice.” Both HIP and HPP indicate this performance practice. 7 Fabian, A Musicology, 296. 3 and rhythm of written and spoken words.8 Modern performers, such as Gustav Leonhardt and Nikolaus Harnoncourt, have called our attention to the importance of rhetoric in the performance of Baroque music.9 Tarling’s book consists of six parts, including the Preface. In the Preface, Tarling introduces rhetoric to today’s musicians and audiences through various synopses, considering several factors in rhetorical performance. In The Foundation of Rhetorike (Part One), the overview of the history of rhetoric is presented, including classical rhetoric, eloquence and persuasion, and the English eloquence manuals. Part Two and Part Three include case studies to present how each element can be displayed: Part Two provides information about audience and affect, including a description of decorum (“speaking appropriately”10) in the rhetorical performance. Part Three consists of two parts: speech, and language-based delivery and articulation. The structure of a classical oration and its rhythm is the subject of Part Four (Structure). Lastly, Part Five is divided into two subcategories, ornamentation and repetition. As the author states in the last chapter (“Coda” 11), the purpose of this book is to acknowledge rhetoric and its importance.12 From this source, the rhetorical evidence from each case study is utilized, especially that having to do with affect. Another book by Tarling – Baroque String Playing for Ingenious Learners (hereafter, Ingenious Learners) provides practical examples for each case study, a step further from The Weapons of Rhetoric. She presents relevant examples extracted from treatises written by Leopold Mozart, Quantz, Corrette, and L’Abbé le Fils. These examples confirm suggestions made in each case study. This book includes information 8 Tarling, The Weapons of Rhetoric: A Guide for Musicians and Audiences (St Albans, UK: Corda Music Publications, 2004), 3. 9 Tarling, The Weapons, 240. 10 Ibid., 54. 11 Ibid., 239-40 12 Ibid., 240. 4 about rhetorical style with five subcategories: Baroque rhetoric, articulation, dynamics, tempo, and ornamentation. It provides more technique-related information using musical examples and samples from treatises written in the sixteenth- and seventeenth- centuries. Even though the major target for this source is performers of the higher string instruments, Tarling also presents information about the lower instruments, including the viola.13 In Part Six, she offers suggestions for treatises and facsimile editions pertaining to the instrument and bow, which would be useful for the first-year student. Jaap Schröder’s main purpose in Bach’s Solo Violin Works: A Performer’s Guide is to provide the modern violinist with HPP stylistic and technical suggestions in Bach’s music. Each sonata and partita has its own introduction, explaining theory and structure before addressing actual execution. Instead of stating technical and musical suggestions for each measure, Schröder pays attention to essential musical aspects and technical guidelines for the musician. He addresses these in the chronological order of the Sei Solo starting with the G Minor Sonata. In Before the Chinrest:A Violinist’s Guide to the Mysteries of Pre-Chinrest Technique and Style, Stanley Ritchie provides practical technical suggestions for both HPP and MSP performers.14 This resource resembles Francesco Geminiani’s The Art of Playing on the Violin (1751), which he uses as a framework. Geminiani’s structure is more similar to current method books written in the twentieth- and the twenty-first centuries. Particularly, Part four can be utilized in lessons for the college student. Compared to Tarling’s Ingenious Learners, this publication is based more on his 13 Judy Tarling, Baroque String Playing for Ingenious Learners (St. Albans: Corda Music Publications, 2001), 203-231. 14 Stanley Ritchie, Before the Chinrest: A Violinist’s Guide to the Mysteries of Pre-Chinrest Technique and Style (Bloomington: Indiana University Press, 2012). 5 experience of study and teaching as a HPP performer and pedagogue, even though his approach is in HPP. Ritchie also published The Accompaniment in “Unaccompanied” Bach: Interpreting the Sonatas and Partitas for Violin. This resource is quite different structurally from Schröder’s Performance Guide. Ritchie categorizes each movement by form and character. After presenting an overview of dance forms that are found in the Sei Solo, all movements are discussed as part of a particular theme, such as the improvisatory movements, the ostinato movements, the dancelike movements, the virtuoso movements, the philosophical movements, and the lyrical movements.15 This resource aids in the college student’s comprehensive understanding through comparison of movements. Ritchie focuses on essential elements and sections of each movement while providing his technical suggestions in realms such as fingerings and bowings. Principles of Violin Playing and Teaching (hereafter, Principles) by Ivan Galamian is a method book presenting his technical and pedagogical statements about violin playing. Especially, Chapter Two and Three provide a clear vision of his technical suggestions containing verbal description, visual reference, and relevant musical examples. The body of the book is divided roughly into two large sections, left hand and bow arm. This aids the student’s understanding of each technique in a systematic fashion. Galamian published his edition of the Sei Solo in 1971 with the title, Six Sonatas and Partitas for Violin Solo, with facsimile of the autograph manuscript. As one of the most popular editions both in performance and academia, this edition is utilized in my paper as a main source for each case study in MSP. Compared to other twentieth century 15 Ritchie, The Accompaniment in “Unaccompanied” Bach: Interpreting the Sonatas and Partitas for Violin (Bloomington, Indiana University Press, 2016), vii-ix. 6 editions, two distinctions are noticed: 1) his edition includes the composer’s manuscript as an appendix in the back of the publication, and 2) the level of arranging and editing is limited to bowings and fingerings. However, compared to Bach’s manuscript and the more recently published unedited text by Bärenreiter, the editorial decisions by Galamian are still noticeable. In each case study, one can perceive that Galamian’s editorial suggestions promote his musical and technical preferences. These preferences define MSP aesthetics. Burton Kaplan wrote a book, Practice for Artistic Success, designed to teach practice strategies for MSP students. Each chapter focuses on practice strategies for each specific topic. For instance, a reader may consult Chapter Twelve (“Strategies for Improving Intonation”) for intonation accuracy. Furthermore, his book aids readers, including students, to establish their own practice routine. His book begins with philosophical questions about practice in general: definition of practice, elements for practice, and types of activities that do not count as practice. Kaplan also tackles a list of practicing myths while giving readers a clear vision of topics such as the proper ‘slow’ speed and timing for slow practice. Through “the Basic Work Process,”16 he suggests a series of specific, practical steps in a practice session. “The Basic Work Process” consists of four sequential techniques: “the Technique of Observation,”17 “the Technique of Success at Any Cost,”18 “the Technique of Intimacy,”19 and “the Technique of the First 16 Burton Kaplan, Practicing for Artistic Success (New York: Perception Development Techniques, 2004), 29. 17 Ibid. 18 Ibid., 35. 19 Ibid., 39. 7 Try.”20 This book addresses the training of the performer’s mind more than the instrumental technique. Simon Fischer’s Basics is highly recommended for MSP students and instructors.21 This method book contains practice strategies and descriptions of every aspect of technical factors in MSP violin playing. It is divided into seven parts: Right Arm and Hand, Tone Production, Key Strokes, Left Hand, Shifting, Intonation, and Vibrato. Its musical examples provide exercises specifically focused on each concept, rather than borrowing from previous compositions and examples by other pedagogues and authors. Fischer’s other book, The Violin Lesson: A Manual for Teaching and Self- teaching the Violin, is mainly focused on “Basics” rather than a musical interpretation of a specific repertoire. He recommends readers (students and instructors) follow three simple steps: 1) notice everything by hearing, seeing, and sensing every element in their playing, 2) categorize issues under three groups (technical and musical aspects, and background essentials22), and 3) prioritize the list based on importance and necessity.23 The first chapter (“The Tone Production Lesson”) of his book paraphrases the aesthetic of MSP. All of these resources are valuable in providing a rich background for study for the undergraduate violinist. The list of references for both HPP and MSP approaches will be presented in Chapter Two of this document. 20 Kaplan, Practicing, 43. 21 Simon Fischer, Basic: 300 Exercises and Practice Routines for the Violin (New York: Edition Peters, 1997). 22 Fischer introduces other relevant elements about violin playing that support the performance and the practice session. 23 Fischer, The Violin Lesson: A Manual for Teaching and Self-teaching the Violin (New York: Edition Peters, 2013), xviii. 8 Using movements of the Sei Solo by Bach in the Violin Curriculum for the First Year Student As one of the most revered works among violinists in the twentieth and twenty- first centuries, the Sei Solo has frequently been on college audition repertoire lists both for undergraduate and graduate studies. The Sei Solo did not become prominent on the performance stage until the twentieth century. These pieces reveal every inch of the skills needed to perform any genre in addition to the musical challenges: the virtuosic violinistic skills include multiple stops, various bow strokes, and moto perpetuo movements that rival Paganini. It also calls for the MSP aesthetic ideal of a pure and even tone.24 Due to these characteristics, the Sei Solo is often used in auditions and recitals, and used by students of the art. The “American School”25 of violin playing, led by Juilliard and Curtis, developed the systematic structure of MSP under two major pedagogues, Ivan Galamian (1903- 1981) and Dorothy Delay (1917-2002).26 Meanwhile, conservatories in Amsterdam and The Hague on the European continent pioneered institutionalized HPP training.27 Along with the active educational movement in HPP by European HPP performers and scholars during the 1970s and early 1980s, Amsterdam and The Hague were the places for studying period instruments.28 At that time, the educational environment for HPP seemed to be limited to a few institutions on the European Continent. In recent times, it has also been accepted in higher education in America, where HPP was introduced to the Julliard 24 Fabian, A Musicology, 21. 25 Ibid., 90. 26 Ibid. 27 Ibid., 93. 28 Ibid., 93-4. 9 graduate program in 2008.29 The influence of HPP in MSP has been growing incrementally at both the individual and institutional level.30 In the narrow sense, the Sei Solo provides opportunities for students to present their technique and musicianship in an unaccompanied setting. For a college student, it also offers a different musical experience from her previous ones. Mainstream Performance Practice and Historically Informed Performance Practice In this paper, MSP indicates the performance practice handed down from teacher to student and is typically utilized by modern musicians.31 Violin pedagogy in the style of MSP is dominant, especially in conservatories. The aesthetic ideal in MSP has to do with tone production: pure and even.32 Along with this ideal, several common features are found among performers and students in MSP: 1) every note is treated with equal importance; 2) technical perfection is heavily emphasized; 3) musical aesthetics are strongly influenced by the musical tastes of recent generations; 4) the presentation of musical phrases is required to be vocal-like in delivery; and 5) the historical context is limited to two or three generations of teaching. Thus, teachers of MSP emphasize the development of personal interpretation and intuitive musical choices based on the aesthetics and pedagogy of their teachers’ generation. On the other hand, HPP is an approach based on rhetoric. This approach is not limited to the knowledge one can gain from the composer’s biography, the publication date of the repertoire, theoretical information, and technical suggestions. It is deeply 29 Fabian, A Musicology, 94. 30 Ibid. 31 Ibid., 8. 32 Ibid., 21. 10 rooted in classical Roman rhetoric. Classical authors, including Quintilian and Cicero, identify the divisions of rhetoric as invention, arrangement, expression or decoration (suitable style), as well as memory and delivery.33 During 1500-1800, rhetoric was a principal element in music, both in performance and composition. Specifically, the sixteenth and seventeenth centuries were the peak period of this rhetorical approach to music, though treatises of composition based on rhetorical principles continue into the eighteenth century (such as Heinichen and Mattheson). All elements of music study were centered around the concept of rhetoric during this time.34 According to Judy Tarling, rhetoric applies to a speech that is crafted in a certain speaking style by an orator to persuade the audience.35 Various skills in delivery that can induce the emotional response of the audience are the main source of a successful persuasion. Therefore, the main goal for HPP is to communicate with and convince the audience using rhetoric. The Hypothetical Model Student In a college audition, the first-year student would hypothetically perform (1) the Gigue from Partita No.3 in E Major from Sei Solo by Bach, (2) the first movement of the Violin Concerto No.3 in G Major by Mozart, (3) one two-octave scale, and (4) one selection from 75 Melodious and Progressive Studies, Op. 36, Book 1: Thirty Special Studies by Mazas. This college uses a semester system of thirteen weeks: two semesters in one academic year. This student has never been exposed to the HPP approach before college. 33 Tarling, The Weapons, 1. 34 Ibid., i-ii. 35 Ibid., i. 11 Prerequisite Process before Learning the Sei Solo in the First Year The reading list in HPP for the first-semester freshman includes treatises and guidance written by many violin specialists/pedagogues and musicologists. The list can be divided into two categories: (1) treatises written from the seventeenth century to the early nineteenth century; and (2) treatises written by twentieth- and twenty-first century HPP scholars. These lists can be studied in any order within the categories. The student should study the Resources in these lists (Table 1) when she is working on Sei Solo in the HPP approach. The materials for HPP should be distributed in advance. The instructor should have a discussion with the student over the weekly reading assignments, based on careful consideration of the academic schedule. It is recommended to set appointments on a regular basis to confer over these reading assignments; however, a certain portion of the weekly lesson should also be reserved for this. This document will introduce suggestions concerning the performance of the Sei Solo in HPP in comparision with MSP. Once a student enters college, the pedagogical approach for this student is up to the faculty. In the MSP tradition, instruction for all repertoire, including the Sei Solo, follows the aural/oral tradition and the mold of the “master-apprentice.”36 Ultimately, I hope my document can be used in a comprehensive or selective fashion, even though the student may wish to stay in the venue of MSP. As there are many resources to aid the student and the instructor in establishing fundamentals of violin set-up and bow hold, my document will not address these issues in depth. Instead, I hope it will serve as an introduction to students and instructors in 36 Fabian, A Musicology, 66. 12 academia who are less familiar with HPP. In my three case studies below, each unit will concentrate on one or more relevant concepts in each approach (HPP and MSP). Table 1. The Reference List for the HPP Approach. Time Author (Publication Year) Title of Publication period The Georg Muffat (1695) Georg Muffat on Performance Practice37 seventeenth Francesco Geminiani (1751) The Art of Playing on the Violin38 century to Johann Joachim Quantz (1752) Quantz and his Versuch: Three Studies39 the early Leopold Mozart (1756) A Treatise on the Fundamental nineteenth Principles of Violin Playing40 century L’Abbé le Fils (1761) Principes du violon41 Michel Corrette (1782) Michel Corrette and Flute-playing in the eighteenth century42 37 Georg Muffat and David Wilson, Georg Muffat on Performance Practice : The Texts from Florilegium Primum, Florilegium Secundum, and Auserlesene Instrumentalmusik : A New Translation with Commentary (Bloomington: Indiana University Press, 2001). 38 Francesco Geminiani, The Art of Playing on the Violin (New York: Performer’s Facsimile, 2001). 39 Johann Joachim Quantz, Quantz and his Versuch: Three Studies (1752), trans. Edward R. Reilly (New York: Galaxy Music Corporation, 1971). 40 Leopold Mozart, A Treatise on the Fundamental Principles of Violin Playing, trans. Editha Knocker (New York: Oxford University Press, 1948). 41 Le Fils L'Abbé, Principes du Violon (Genève: Minkoff Reprint, 1761). 42 Michel Corrette and Carol Reglin Farrar, Michel Corrette and Flute-playing in the Eighteenth Century (Brooklyn: Institute of Mediaeval Music, 1970). 13 Table 1. (continued). Time period Author (Publication Year) Title of Publication The David Boyden (1965) A History of Violin Playing from its twentieth to Origins to 176143 the twenty- Robin Stowell (1999) The Historical Performance of Music: An first century Introduction44 Judy Tarling (2001) Baroque String Playing for Ingenious Learners45 Judy Tarling (2004) The Weapon of Rhetoric46 Jaap Schröder (2007) Bach’s Solo Violin Works: A Performer’s Guide47 Stefano Montanari (2012) Metodo di Violino Barocco: Tips and Tricks48 Robin Stowell and Colin The Cambridge History of Musical Lawson Performance49 (2012) Before the Chinrest: A Violinist’s Guide to Stanley Ritchie (2012) the Mysteries of Pre-Chinrest Technique and Style50 The Accompaniment in Stanley Ritchie (2016) “Unaccompanied” Bach: Interpreting the Sonatas and Partitas for Violin51 Comparatively, the Reference List in the MSP approach (Table 1.2.) is relatively short, yet important: The Principles of Violin Playing and Teaching by Galamian, including Contemporary Violin Technique, Volumes 1 and 2. While the reading of Principles is required in the first semester, it will be reviewed throughout the four years 43 David Boyden, The History of Violin Playing from Its Origins to 1761 (London: Oxford University Press, 1965). 44 Robin Stowell, The Historical Performance of Music: An Introduction (Cambridge: Cambridge University Press, 1999). 45 Tarling, Baroque. 46 Tarling, The Weapons. 47 Jaap Schröder, Bach’s Solo Violin Works: A Performer’s Guide (New Haven and London:Yale University Press, 2007). 48 Stefano Montan, Metodo di Violino Barocco: Tips and Tricks (Milan: Carish, 2012). 49 Colin Lawson and Robin Stowell, The Cambridge History of Musical Performance (Cambridge: Cambridge University Press, 2012). 50 Ritchie, Before the Chinrest. 51 Ritchie, The Accompaniment. 14 of study as a supplementary source to comprehend specifically Galamian’s pedagogical approach. Table 2. The Reference List for the MSP Approach. Time Period Author (Publication Date) Title of Publication The Ivan Galamian (1962) Principle of Violin Playing and twentieth Teaching52 century Ivan Galamian and Contemporary Violin Technique Frederic Neumann (1966) (Volume 1 and 2)53 Elizabeth A. H. Green Miraculous Teacher: Ivan Galamian Judith Galamian and the Meadowmount Experience54 and Josef Gingold (1993) Simon Fischer (1997) Basics: 300 Exercies and Practice Routines for the Violin55 Barbara Lourie Sand (2000) Teaching Genius: Dorothy Delay and the Making of a Musician56 Dorottya Fabian (2014) A Musicology of Performance: Theory and Method Based on Bach’s Solos for Violin57 52 Ivan Galamian, Principle of Violin Playing and Teaching (Englewood Cliffs: Prentice-Hall, Inc., 1962). 53 Ivan Galamian and Frederic Neumann, Contemporary Violin Technique: Volume 1 and 2 (Boston: ECS Publishing Home, 1966). 54 Elizabeth A. H. Green, Judith Galamian, and Josef Gingold, Miraculous Teacher: Ivan Galamian and the Meadowmount Experience (Ann Arbor, MI: University of Michigan, 1993). 55 Fischer, Basics: 300 Exercises and Practice Routines for the Violin (New York: Edition Peters, 1997). 56 Barbara Lourie Sand, Teaching Genius: Dorothy Delay and the Making of a Musician (Portland, OR: Amadeus Press, 2000). 57 Fabian, A Musicology. 15 CHAPTER II MY RECOMMENDATIONS FOR TEACHING Sequence of Movements in HPP In my document, the sequence of movements for the four-year course in each approach will be different, as each sequence is designed for different musical and pedagogical purposes. That is, the sequence of movements in the Sei Solo does not necessarily begin with the G Minor Adagio – the first movement in the Sei Solo. The priority in this approach is nethier number of movements nor accomplishment of the perfect instrumental skill. The goal in HPP for my hypothetical student is to obtain and strengthen the ability to use rhetoric in an unaccompanied musical context. The rest of her lesson will be conducted in MSP; however, she will participate in at least one ensemble in HPP along with the larger ensemble requirements standard in MSP. The first movement that the student will study in both approaches is the Allemanda in the D Minor Partita, for three reasons. The first reason is related to the more straightforward compositional structure of the movement. The D Minor Allemanda seems to have similar scalar melodic lines and skips compared to the E Major Gigue that the student auditioned with. Therefore, it can be ‘less surprising’ for the first year student in terms of compositional structure (both rhythmic and melodic). The second reason is that the length and the tempo of the movement is relatively close to the E Major Gigue. In the Galamian edition, both movements are one page or slightly more than a page with a repeat at the end of each half. According to Fabian, the tempo for the D Minor Allemanda is around 56 to a quarter note; the E Major Gigue is around 72 equal to a dotted quarter 16 note.58 The last reason is related to the first reason. In terms of pedagogical aspect, the gap inbetween the D Minor Allemanda and the E Major Gigue is manageable. The selection of additional movements for the student should be carefully planned based on pedagogical, musical, and technical needs. In the first year, the student will learn two movements: the D Minor Allemanda and the D Minor Gigue. As stated previously, the D Minor Allemanda is assigned for the first semester while the student establishes the rhetorical fundamentals. The reason for choosing the D Minor Gigue for the spring semester is to provide an opportunity for the student to apply rhetoric that she worked during the first semester to a musical context while envisioning the similarity between it and the E Major Gigue. Thus, studying the D Minor Gigue provides a parallel experience to the one in E Major. The goal for the first year in HPP is to build a strong foundation of rhetoric through numerous references to it in the lessons and to build the student’s Baroque instrumental skills. The instructor should carefully and consistently check on her understanding of rhetoric and how it is reflected in her playing. During the first summer break, the instructor can ask the student to review and/or complete the reading reference list. She may study the G Minor Siciliano and the G Minor Presto on her own during the summer, and may complete the process of determining the rhetorical approach to these movements. In the second year, the student will study the Siciliano and the Presto in the G Minor Sonata. In the first lesson, she should be able to present her research on the rhetorical aspects of these two movements, including studying the Siciliano dance form, tessitura, affect, and structural notes. The main concentration in the second year is to refine the student’s rhetorical and proper instrumental skills in order to be a successful 58 Fabian, A Musicology, 133. 17 orator. The lesson in HPP consists of a discussion of the rhetorical vision in these movements. During this year, the lesson is conducted both in HPP for the Sei Solo and MSP for other repertoire. Therefore, it is expected for the student to reach a certain level of rhetorical maturity and to switch more comfortably between HPP and MSP in the lesson. In the last lesson of the second year, it is important for both the instructor and the student to have a discussion about her career plan. If the student would like to continue study in HPP, the lesson plan for the next two years should be presented differently. The time given to MSP as opposed to HPP can be varied based on the student’s desires regarding future career and graduate study. If the student wants to learn more about HPP at the graduate level, it is recommended for her to participate in workshops and conferences in HPP. Through these events, the student may explore opportunities and construct a plan for the graduate school application process. If the choice is made to continue the emphasis in HPP, my recommendation is to deepen her rhetorical study for graduate programs. At this point, there are many summer programs globally, including workshops and conferences that will allow the student to learn and grow. The third-year student will continue studying the Largo and Allegro assai in C Major, Sonata No.3, during the fall semester and add the E Major Gavotte en Rondeau during the spring semester. In the beginning of the third year, the student may decide the type of set-up (period, or modern violin and bow). In my personal anecdotal experience, the demonstration of HPP performance as part of the graduate audition presented a wide range of study at the undergraduate and graduate levels, which can be a positive influence for acceptance. If it is desired and/or asked for, the student could present the audition 18 repertoire with the baroque bow and the modern violin. This ‘hybrid’ instrumental set-up is a practical solution, allowing the student a degree of comfort in the audition. The E Major Gavotte en Rondeau is not heavily emphasized in my curriculum, yet it still allows the student to continue her HPP journey in the Sei Solo while preparing for auditions. In the fourth year, the amount of repertoire learned will be increased. The reason for having the E Major Preludio and the E Major Minuet II is to extend rhetoric to a different musical context. The E Major Preludio will allow the student to comprehend its rhetorical function and the purpose of the prelude in Bach’s music. The E Major Minuet II will provide an opportunity for the student to study the minuet – one of the most popular Baroque dances – while studying the multiple stops and their rhetorical functions. The Minuet I is another piece that the instuctor and the student may work on, along with the Minuet II. However, the Minuet II will provide opportunities for the student to have an experience of the dance with a more subtle minuet characteristic. The student can study Minuet I after studying the second minuet or simultaneously to complete a whole set of minuet. In the last semester, the student will study the G Minor Adagio and Fuga. The Fuga, one of the representative compositional genres of the Baroque for which Bach is renowned, should be studied for pedagogical and musical reasons. The goal for the sequence in HPP is to explore various musical and compositional contexts (genres), while the student’s ability to use rhetoric in playing becomes stronger and extends to other compositions in different periods and by different composers. 19 Sequence of Movements in MSP The sequence of movements for the MSP student contains more movements compared to the one for HPP. In MSP, the ideal in studying the Sei Solo are to complete the E Major Partita and the G Minor Sonata. These two are considered to be less challenging for the student, compared to the B Minor Partita (No. 1), the A Minor Sonata (No. 2), the D Minor Partita (No. 2), and the C Major Sonata (No. 3). 59 The full recommended sequence for the curriculum in HPP and MSP will be presented later in the second chapter. In the first year of the MSP approach, the student will learn the Allemanda in D Minor and the Loure and the Bourrée from the E Major. The main focus for the fall semester is to have a firm grasp of “Basics” while studying the Allemanda. The Loure and the Bourrée are assigned for the spring semester. In case the student needs to have another movement to replace the Loure due to the double and multiple stops, the Gigue in D Minor is one possibility. However, I believe that the Loure prepares the student for the double and multiple stops in the Gavotte en Rondeau in E Major and the Fuga in G Minor. The Loure and the Bourrée will allow the student to explore other Baroque dance movements while completing the E Major Partita. The movements that the student in the second year will learn are the Preludio in E Major and the Minuet I and Minuet II in E Major. The goal for the second year is to complete the E Major Partita. The Preludio allows the student to practice the right-hand technique, bariolage. The E Major Minuets will be assigned for the spring semester. They 59 The A minor Sonata (No. 2), the C Major Sonata (No. 3), and the D Minor Partitat (No. 2) are considered to be difficult due to inclusion of the Fuga and the Ciaconna. On the other hand, the B Minor Partita (No.1) is considered to be chellenging as a whole. It contains eight movements, including Doubles for each movement, the Allemanda, the Corrente, the Sarabande, and the Tempo di Bourée. 20 provide opportunities for the student to be prepared for the Gavotte, by featuring double and multiple stop usage in pieces of more manageable length. In the third year, the main concentration is the graduate audition and/or the auditions for the profession. In the fall semester, the student will learn the Gavotte en Rondeau in E Major, and the Siciliano and the Presto in G Minor. It is important for the student to prepare two movements (slow and fast) for the audition early. It is recommended that the instructor and student have a discussion over the repertoire for the audition. My first recommendation for the audition is the Siciliano and Presto in G Minor. My second recommendation is the Andante and Allegro in A Minor. During the summer break before the third year, the student will be asked to try both options and work on one recommendation out of two. However, both will be included in the curriculum for the MSP student. In the fall semester of the last year, the student will learn the Andante and Allegro in A Minor if the student already completed the Siciliano and Presto in G Minor. These movements can be learned as her audition process is completed. She will learn the Adagio and the Fugue in G Minor in the last semester. Her senior recital will likely includes these movements that she has been studying. While the student learns the Sei Solo, other repertoire should be included such as concertos, sonatas for violin and piano, and various ensemble literature. The time period of these repertoires should not be isolated to a single period. College time for the violin performance student should provide an opportunity to explore beyond the repertoire that she has been introduced to before the audition. During this time, the student’s musicianship and technical skills will be developed through a disciplined practice 21 regimen. The concept of ‘the Balanced Plate’ was coined by Galamian and developed into method books by Fischer. This indicates a pedagogical sequence of “Basics”: scales, etudes, solo music, sonatas for violin and piano, chamber music, orchestral excerpts, and standard concertos. This gives opportunities for the student to develop instrumental skills as a soloist, a chamber musician, and an orchestral player for their potential graduate studies and future career. As stated, a primary reason to study the Sei Solo for the MSP student is to master her technique and musicality in an unaccompanied setting. The Sei Solo will provide her the means to achieve the perfect level of the MSP aesthetic in a solo context. Recommended Score for the Studying the Sei Solo My recommended edition for studying the Sei Solo are the facsimile of Bach’s only extant manuscript, regardless of the type of approach.60 In other words, I suggest that both HPP and MSP students refer to the composer’s manuscript. Schröder insists that Bach’s written slurs function as a genuine bowing, and this affects the phrasing immensely. 61 Fortunately, the Galamian edition includes the manuscript in the back as an appendix, even though the editor did not mention the reason specifically. One possibility 60 Sarah Vandemoortele, “Studying the Editions of Bach’s Sonatas and Partitas, (1): Manuscripts” last modified March 17, 2014. http://www.violinist.com/blog/SarahVDM/20143/15639/; There are six sources in manuscript of Sei Solo available. Source A is used on this course projection. Source B is a copy of source A transcribed by Anna Magdalena: Bach’s wife. Source B contains editorial markings by the violinist Georg Heinrich Ludwig Schwanberg. Source C is a second copy produced by several copyists (BWV 1001-5 by Bach’s pupil – Georg Gottfried Wagner (1698-1756), and BWV 1006 by anonymous copyist at the end of the eighteenth century) and owned by Staatsbibliothek zu Berlin. Henryk Szeryng and Glüxam stated that source C was copied from a lost model for source A or a lost copy of the model of source A. Thus, it was highly possible that Source C could include important knowledge of Bach’s original intentions, which were not presented in source A. Source D was by Johann Peter Kellner, who was a collector of Bach’s works. This source only carries portions of the Sei Solo with a reduction (three sonatas and selected movements from Partita No.2 and No. 3). Its Ciaconna and the C Major Fuga are drastically shortened. Due to this reduction, this source is considered less reliable. The last source, source E, was produced by a Cöthen copyist and organist Emanuel Leberecht Gottschalck. It was based on source A. 61 Schröder, Bach’s Solo, 17. 22 is his interaction over publication of Contemporary Violin Technique (Volume 1 and Volume 2)62 with Frederick Neumann, whose background included authentic performance practice of the seventeenth and the eighteenth centuries.63 It is possible that Galamian followed the ‘tradition’ of inserting the manuscript, as other twentieth century editors of the Sei Solo, including Joachim and Flesch.64 However, the difference between Galamian’s edition and their editions is in the manner of presentation. Their editions placed the corresponding measure of the manuscript in modern notation under their edition so that performers could compare the differences quickly and efficiently. Galamian’s was the first modern edition to include the autograph fascimile.65 My ‘Ideal’ Approach Reasons why I would begin with HPP My ideal approach for the first-year student is to study the Sei Solo in a genuine HPP approach. Regardless of types of approaches, it is believed that the earlier introduction of a new concept and approach is pedagogically beneficial.66 In other words, I believe that the first year in undergraduate program is a proper time for students to explore this new approach. The HPP approach may require more of an obligation and strong commitment from the student and the instructor, yet it ultimately can only be 62 Ivan Galamian, Contemporary Violin Technique, 1966. 63 Ibid. 64 J. S. Bach, Sonaten und Partiten, BWV 1001-1006 für Violine Solo, edited by Carl Flesch (New York: Edition Peters, 1948); Bach, Six Sonatas and Partitas for Violin Solo, edited by Joseph Joachim and Andreas Moser (New York: International Music Co., 1942) ; Bach, Six Sonatas and Partitas, edited by Joseph Joachim and Andreas Moser (New York: International Music Co., 1976). 65 The Galamian edition was known as the first case of including the autograph manuscript. In fact, the attempt to include it in the edition was made by earlier editors as well. According to Andreas Moser’s foreword in the Joachim’s edition of the Sei Solo, his edition includes the Adagio in G Minor only due to the negotiations with the owner of the autograph manuscript. Because of it, the publication of this edition was dealyed. 66 Galamian, Principles, 107. 23 beneficial for the student in the end. This approach is not only for the student as future teacher/performer. It is believed to be influential for them as audience members as well. The reason I would begin with HPP can be found in the book written by John Butt who believes that HPP offers MSP performers an “imagined slice of the past”67 and allows them to “appreciate a difference that we would have not otherwise have noticed.”68 Why this approach might be different from that of other teachers My desire is to provide a systematic sequence and guidance through the Sei Solo, introducing HPP for students and instructors while designing the sequence based on academic realities. I am fully aware that each instructor may have a specific idea concerning order of movements. My suggestion is not the ultimate solution for every case. In my own teaching, these samples of sequences might be slightly modified based on the student’s needs and observations by the instructor. For an average college student in a music major, other academic requirements are equally important. It is crucial for her to be academically successful, even though individual lessons and other ensemble classes should be prioritized in a performance major. 67 John Butt, Playing with History: The Historical Approach to Musical Performance (Cambridge: Cambridge University Press, 2002), 145. 68 Ibid., 65. 24 CHAPTER III COMPARISONS Introduction to the Three Case Studies, HPP and MSP In this chapter, I will introduce three case studies – three specific and representative movements from Johann Sebastian Bach’s unaccompanied Sei Solo for violin – in which I compare a number of issues as they are currently dealt with in the mainstream performance world (MSP) and in the group of musicians who primarily work with historical performance practice (HPP). In terms of methodology, I will approach relevant issues from each perspective, first HPP, then MSP through a pedagogical lens, and will offer a summarizing table that compares both approaches. General differences between the perspectives of each approach (HPP and MSP) will be overviewed before examining differences in individual pieces and presenting my suggestions for the Sei Solo. Two major discourses between the approaches are presented in what follows. The first discussion will center on the differences between each approach. The starting point, essence, and operative system of HPP are all based on classic rhetoric. Judy Tarling states that “the term ‘rhetoric’ applies to a particular way of speaking by an orator whose main aim is to persuade the listener.”69 Its purpose is to communicate through music using various techniques to convince a message and emotions to an audience.70 The history of rhetoric began in ancient times. The evidence of the affects shared by rhetoric and music are easily found through myth and literature of the time. According 69 Tarling, The Weapons, i. 70 In the HPP, the term ‘technique’ includes an instrumental skill as a tool of delivery; however, the term also includes all rhetoric skills in orating. 25 to Aristotle’s description, the reaction of the audience to the speaker is highly valued in rhetoric.71 This is deeply relevant to the concept of “the perfect orator,”72 who presents a strong moral authority, honesty, and passion in delivery.73 The imitation by instrumentalists of effective speech was especially encouraged from the late sixteenth to the early nineteenth centuries.74 HPP is the approach that uses rhetoric based on historically- and culturally-informed knowledge and understanding. In order for this to be heard in performance, the learning process of the student needs to start from the broad question of ‘where the piece belongs’ so that all aspects can develop alongside each other for a ‘holistic’ completion of the education process. The student should be aware of her identity as an orator, types of rhetorical strategies for decorum, and most importantly, should have a firm fundamental knowledge of rhetoric. I chose the D Minor Allemanda as the beginning piece in the undergraduate program for several reasons.75 First, it represents the characteristics of a courtly Baroque dance.76 The second reason is associated with structural similarities between the D Minor Allemanda and the Gigue in E Major, BWV 1006. Both movements are in binary form. Both of them have the same number of measures (thirty two) with sixteen measures in each half. Their first halves both begin in tonic, and the second halves are in the dominant key, going back to tonic. Arguably, the visual presentation of both the Gigue and the Allemanda is not fundamentally different from a student’s perspective. The D Minor Allemanda seems to have similar scalar lines and melodic skips compared with the E 71 Tarling, The Weapons, i. 72 Ibid., 6-7 73 Ibid. 74 Ibid., i. 75 These reasons are not specifically based on a certain approach. The Allemanda is assigned as the first piece for both approaches, even though the sequence with movements from Sei Solo for each is slightly different later in the undergraduate program. 76 Ritchie, The Accompaniment, 10. 26 Major Gigue, thus, less surprising for the first-year student. Additionally, the Allemanda and the Gigue have similar bowing patterns that are equivalent in technical challenge. The student in the HPP approach needs to have a more comprehensive understanding of the work, including the composer’s biography, the composition’s general circumstances and purposes, the genre, and any other relevant information about the composition. In consideration of decorum, the student of HPP also considers other factors to adapt the performance to the circumstances in a rhetorical point of view, as HPP contemplates those elements from a holistic perspective. The main focus of MSP is a presentation of a refined instrumental technique, seeking an intuitive connection to the music and developing note-accuracy from the beginning of study. Along with the development of technical aspects of the performance, the initial stage of music learning requires a solid knowledge of musical notation, including notes, performance markings, bowings and fingerings. Indeed, many pedagogues in the twentieth and the twenty-first centuries have published method books based on experience and information passed down from their teachers and mentors for such technical accomplishments. As previously stated, the pedagogical direction in HPP is based on rhetoric. The core concept of HPP pedagogy for the instructor is to explain to the pupil the music within its own communicative context. This does not indicate that the HPP approach considers any other approach as less important. Once music is rhetorically understood, the technical aspect functions in a self-explanatory way through the practice process. Additionally, HPP celebrates the instruments themselves in Bach’s time. The Baroque 27 violin and bow are different than the ones we currently use, and gut string are also considered a tool for rhetoric. The MSP approach focuses on note-accuracy first. Fischer describes the technical principles of MSP as “Well-aimed exercises [that] develop individual parts of technique.”77 The pedagogical journey in MSP consists of specific technical goals in order to obtain a diversity of techniques for a performer, up to the level of automaticity in order to present the most musically refined performance. Galamian states that technique only exists to serve the music.78 The repertoire studied under the MSP model is designed to follow the concept of the ‘Balanced Plate.’ Minor differences among students in one teacher’s violin studio can be witnessed; however, common technical preferences can easily be discerned. Additionally, basic knowledge about the piece, including the composer’s biography, the composition’s publication date, any critical information about the composition, and the genre of the composition is required for a student in MSP to some degree. However, the major concern in the music learning process in MSP is more technique-oriented rather than based in cultural and historical knowledge of the piece. Another important discrepancy between HPP and MSP is the instrumental equipment along with relevant instrumental technique. The student in HPP will use the Baroque violin and bow, while the student in MSP will stay on modern equippment. Compared to the modern violin, the Baroque violin has a shorter fingerboard. The height and the curve of the bridge are different from the modern one. The bow’s design was entirely different with balance and length designed as a tool for rhetoric. The neck and 77 Ritchie, The Accompaniment, 10. 78 Galamian, Principles, 6. 28 fingerboard on the modern violin were lengthened, allowing for higher register playing and greater dynamic possiblities.79 The material for the strings is different: gut strings for the Baroque violin, and silver- and aluminum-wound strings with a synthetic core for the modern violin.80 This is important to understand when drawing a sound out of the violin. Practically speaking, a gut string takes more weight and slower bow speed in order to produce a sound. With MSP, a free and open sound is valued. Using the synthetic materials available since the mid- twentieth century allows for the production of sound using less weight and more bow speed. The homogeneity of timbre throughout all four strings in MSP is highly sought, therefore the performer will often shift into higher positions, where HPP performers would celebrate the characteristic sound of each string of the instrument. A refined shifting technique is a major tool in the development of a MSP student’s musicianship. Through presentation of different pedagogical suggestions in each case study, these fundamental differences will be explicitly and implicitly addressed. The different direction of music learning will function as the core of this paper. In each case study through specific movements of the Sei Solo (the Allemanda in D Minor, the Gavotte en Rondeau in E Major, and the Fuga in G Minor), the different presentations will be addressed pedagogically to the student: the HPP approach based on rhetoric and MSP based on “the American School”81 tradition. The purpose of each case study is to envision differences between the approaches using specific movements of the Sei Solo through comparison and contrast. As a student from the MSP perspective who found the 79 John Dilworth, “The violin and bow – origins and development,” The Cambridge Companion to the Violin. Edited by Robin Stowell (Cambridge: Cambridge University Press: 1992), 21. 80 Ibid. 81 Fabian, A Musicology, 92. 29 benefits of using HPP in the Sei Solo, I hope to build a bridge between the two approaches for students and their instructors in undergraduate programs who may be interested in what awarness of HPP can do for their interpretation, and that a melded approach has merit. Case Study 1. The Allemanda in D Minor, BWV 1004 Both in HPP and MSP, the Allemanda in D Minor will be assigned in the first semester in first year, as is previously stated. The similarities between the Gigue in E Major and the Allemanda in D Minor will help the student to have less difficulties. The pedagogical plan for the first-year student including the musical and technical goal will be presented differently based on the type of approach that the student is in. The Allemanda in D Minor in HPP Introduction The main focus of the first year in the HPP is to be solidly acquainted with rhetoric before working on the Allemanda. Preparation of the instrumental skills in the HPP style along with the Baroque violin can be simultaneously conducted during the process of acquisition of this rhetorical knowledge, at least up to a fundamental stage. Another important characteristic of HPP that the first-year student should be aware of is its rather holistic approach. The music should be learned in a comprehensive frame based on rhetoric rather than in a selective fashion focusing on a single or a few elements. This might conflict with previous experiences that the student had before college. Beginning with a biography of J. S. Bach and historical and theoretical knowledge of the Sei Solo, 30 the student should understand that several elements – affect, tessitura, tempo, rhythmic devices, harmony, pitch, temperament, counterpoint, function (i.e. ornamental and structural components) and even allegory – in rhetoric present a hierarchy within HPP. This process of establishing a sense of rhetoric can be enhanced during the first three weeks while the instrumental set-up proceeds. During this process, the instructor may test the student’s understanding of rhetoric by asking her to describe each element. This process will confirm and strengthen her knowledge in the context of the Allemanda. Unit 1. Overview of the Musical and Compositional Style of the Movement Edition and Score Selection As noted in the previous chapter, the student will study the Allemanda from the autograph manuscript of Bach (Figure 1.82). This might be an uncomfortable experience for the student at first as she has been studying from modern notation up to this point. The autograph manuscript of the Sei Solo allows the student to envision Bach’s musical, pedagogical, and rhetorical ideas through this visual representation that emerged directly from the hand of the composer. It shows his ideas of phrasing, affect, and grouping of notes in great detail. Based on this writing that contains an implicit rhetoric, the student will be aided in accessing the music in a culturally and historically proper way. 82 Bach, the Sei Solo. 31 Figure 1. The Autograph Manuscript of the Allemanda in D Minor83 83 Numbers on the left margin indicate measure numbers. As the manuscript does not include any 32 Musical and Compositional Style of the D Minor Allemanda Marpurg referred to the Allemanda as similar to the Prelude, which is typically introductory.84 Little and Cusick stated that the Allemanda is “one of the most popular Baroque instrumental dances in a suite.”85 Ritchie categorizes the Allemanda as “a philosophical movement that precedes the actual dances.”86 Its compositional characteristics are neither entirely polyphonic nor monophonic. It might seem to be monophonic without any polyphonic content; however, each measure and phrase holds a clear bass line hidden to establish itself as semi-polyphonic. The bass notes can be understood by guiding the student through a harmonic analysis. The student must be able to extract the bass line to structure the phrase. Ritchie’s suggestion (Figure 2) can be a good model for the extraction of the bass line. 1!:!~JW!!®w1:@dlf ~awlb@1 : □P @£b- 1~:a»e,a@1;os@:rr@1::::"1: Figure 2. Bass line Extract87 measure numbers like modern publications of the Sei Solo, they are added for the convenience of the readers. 84 Ritchie, The Accompaniment, 87. The original text is from Clavierstücke mit einem practischen Unterricht, i-iii by F. W. Marpurg (Berlin, 1762-1763). 85 Meredith Ellis Little and Suzanne G. Cusick, “Allemande” Grove Music Online, accessed May 24, 2018. https://doi.org/10.1093/gmo/9781561592630.article.00613. 86 Ritchie, The Accompaniment, 87. 87 Ibid., 92. 33 Unit 2. Score Study Tarling defines tessitura as “the relative position of the voice within its natural range, [...] a tool used frequently for affect.”88 In the Allemanda, the D in measure 14 as the highest note in the movement can be more highlighted more and carry more intensity. Shimmery and brief vibrato, as an ornament for this note, can be added lightly. Indeed, vibrato can be added to other notes to decorate them, based on rhetorical reasoning, yet not ‘overly’ used. For example, the high E in measure 1, the low C in measure 5, the low C sharp in measure 6, the low G sharp in measure 7, the high F on beat 2 in measure 18, the low E flat in measure 19, the low C in measure 24, the low A in measure 25, and the high A in measure 27. These notes are smaller indicators of higher/lower arrival within local phrases. The dotted eighth notes in measures 1, 17, and 23 also can be considered for vibrato, however, the amount and the size of oscillation is recommended to be even smaller. My suggestion is to consider them as a pedal note of the organ, metaphorically speaking, to let them function as a ‘flag of noticeable harmonic change.’ The importance of “tone of voice”89 is essential to keep the audience concentrated on the oration along with a variety in sound. The high D in measure 14 also carries a surprising message, which draws attention by presenting a wide leap (minor seventh). The last slur in measure 14 also supplements this leap by encouraging a decrescendo after the arrival of the D in measure 14 and moving back to A Minor in measure 15. This section might allow the audience to have a feeling of being raised up to the top of a slide that would take them to arrival at the other side of a tunnel. As an orator, the student can 88 Ritchie, The Accompaniment, 75. 89 Ibid, 24. According to Tarling’s Weapons, Cicero indicates the tone of voice as a “prop to eloquence.”. 34 consider a slight diminuendo on the B and the E before proceeding to emphasize the D more strongly. Unit 3. Affect Among the various tools to recognize or understand affect, a study of the harmonic structure of this movement, or a harmonic analysis, should be conducted first. This means that the student is learning Bach from ‘the bass line up.’ Different harmonic presentations of each section may influence different rhetorical and technical plans, ultimately promoting a proper eloquence. The Allemanda contains two equal sections of sixteen measures. The harmonic progression in the first half can be divided into two sections: measures 1 to 8 and measures 9 to 16. The first quarter (measures 1 to 8) of the movement begins in D Minor and moves to A Minor through F Major. The second quarter (measures 9 to 16) arrives at A Major (dominant). The second half of the section can also be divided into two sections. The third quarter reaches F Major through G Minor, while the last quarter goes back to the key of D Minor. The harmonic progress in this movement is clearly set. The affect of the Allemanda is determined by the key of D Minor. Tarling’s chart about affect compiles the opinions of such composers as Rousseau (1691), Charpentier (1692), Mattheson (1713-9), and Rameau (1722), and shows differences and similarities between keys (both major and minor keys).90 This indicates the presentation of a certain affect of each key, which can be subjective, based on the individual orator, and in musical terms, based on temperament. Tarling states, “The principal aim of the orator is to 90 Tarling, The Weapons, 76-7. 35 persuade the listener’s emotions, to bend his will, leaving aside reasoning, judgement or deliberation.”91 According to Tarling’s chart, the affect of D Minor can have many subtleties: it can be serious (Rousseau, 1691); serious and pious (Charpentier, 1692); devout, grand, flowing not skipping (Mattheson, 1713-9); or sweet and tender (Rameau, 1722). Based on these descriptions, the color of the D Minor Allemanda can be described as pious, grand, and tender yet serious.92 The Allemanda consists of more scalar than arpeggiated or skipping figures. This compositional feature of the Allemanda matches the description of Mattheson above. The affect of the Allemanda should be more poised and serious than overly active and animated. The bow remains naturally placed on the string, without adding any artificial weight. Tempo Affect In order to present the proper affect, the speed of the movement matters. It is not related to technique, but it is relevant to the affect. As the suggested affect of the movement is somewhat narrative, the speed of this narration can be intermediate to describe a pious, grand, and tender yet serious mood. Schröder’s metronome suggestion is quarter note equal to 58.93 My suggestion related to the usage of the metronome is to set the tempo to a smaller rhythmic unit (‘musical figure’94) than the quarter note at first, as the metronome is a tool for the student to gain the human pulse.95 The oration of the 91 Tarling, The Weapons, 70. 92 These affects are similar to the ones attributed to dorian mode, D Minor’s predecessor in a sense, in medieval times. 93 Schröder, Bach’s Solo, 182-3. 94 In this paper, the term unit is differently used. In terms of compositional elements, the term unit indicates a small segment that represents a musical cell and/or motif. 95 Schröder, Bach’s Solo, 182. 36 Allemanda cannot be properly presented at a single speed for the whole movement. Once the student has successfully established a consistent, appropriate tempo based on her rhetorical research, use of a metronome should be terminated. The student, as an inexperienced HPP performer, might misunderstand that HPP musicians may perform more freely, up to the point of inconsistency. This could lead to practicing the music at an inconsistent and irregular tempo. Therefore, she should be careful not to use rubato too freely or use it without any proper rhetorical reasons. Additionally, technical difficulties should never be a reason for the student to adopt a noticeable tempo change – slow or fast. Thus, rubato as a rhetorical tool should be used to show phrases and transitions rather than as a tool to allow time for overcoming any technical demands required by the music. In the case of a large leap from string to string (“string crossing”) as in measure 6 (C sharp - E) or measure 7 (G sharp -B), it is tempting for the student to pay more attention to the string crossing itself than envisioning the pause musically. Cetain notes (C sharp in measure 6 and G sharp in measure 7) mark the arrival of previous melodic lines. The note C sharp clearly seems to be part of the previous three notes (F - E - D), and the G sharp to be part of the previous four notes (D - C - B - A). Pauses between C sharp - E (measure 6) and G sharp - B (measure 7) can function as a breath to divide each phrase and present the difference between higher and lower registers. A similar case of string crossing from the D string to the E string can be found in measure 21. The first notes of each figure in measure 20 and 21 proceed in a descending transition. The low E flat in measure 21 functions as an arrival yet a ‘springboard’ to G. 37 The segment of the second half of measure 21 seems to be a small ornamented section that leads to the downbeat D in measure 22. The rhythmic figure in this section, specifically two thirty-second- and one sixteenth note, should flow at a moderate speed, not rushed or dragged. I would suggest the student to imagine a leaf from a tree in the autumn. The student should be aware of these motivic characteristics as they relate to harmonic function. The tempo in these motifs can have a more forward motion to the arrival notes to show the flow of the oration. The following leap (‘breath’) can have the space that rhetoric dictates, but should never be large enough that the tempo artificially slows down or the pulse is interrupted. The end of the first half should not be slowed too much. The reason for maintaining the same tempo in the first repeat is to show the half-cadence of the music without any interruption of the oration. The ending of the Allemanda in measure 32 can bring more change of tempo to show the final arrival. However, beginning the ritardando too soon or making drastic tempo changes can change the introductory character of the Allemanda. I recommend a simple elongation of the last three notes. Planning for each phrase aids determination of the flow within them, which produces a different affect. Prioritizing phrases and grouping them can be discussed after the rhetoric is studied and comfort with the Baroque violin and bow are in place. This process can be planned before ‘score reading’ or can occur simultaneously. By ‘score reading’ in this context, I mean learning the notes and bowings. In HPP, a “fingering- and-bowing learning” process is not the main focus; however, it is necessary for the 38 student to have this process firmly and clearly in place as the orator delivering a musical speech in a rhetorical style would. Unit 4. Rhythmic Devices Phrasing and Dynamics Phrasing in HPP is defined by the articulation of larger syntactic figures into its motivic components.96 The delivery of phrasing can be determined by grouping and prioritizing of phrases, both rhythmically and dynamically speaking. Putting it in a public speech context, a verbal delivery requires understanding and prudence in the grouping of those phrases. Variation of dynamics allows a delivery that is more active and even attractive to the audience. The bow functions as the speaker’s vocal cords and tongue. It ultimately produces and articulates sounds. The longer and larger arches in phrasing are important; however, the student should always keep this in mind: “Follow the bass line!”97 The blueprint of the bass line in the Allemanda provides a harmony and metric hierarchy for the musician. Bowing Bowing can differ based on rhetorical understanding; however, this does not indicate any ‘artificial’ distortion or addition of bowings. The anacrusis is an up-bow that starts around the lower half of the bow. From the perspective of the student based on her previous experience, the bowing of the Allemanda may seem “uneven and inflected.”98 Technically, the student is coping with uneven bow distribution. Understanding the 96 Fabian, A Musicology, 110. 97 Ibid. 98 Ibid. 39 combination of these bowings and the Baroque bow will be an answer for this. The shorter length of the Baroque bow will allow the student to produce lightly lifted and buoyant strokes. The instructor needs to encourage the student to construct a different aesthetic of this ‘irregularity’ and to surrender to the mechanism of the bow. The lower half of the bow is used primarily, except for the longer slurred phrase in measure 9 and 10. In general, the student respects the original bowing that is notated in the manuscript. Dynamics In the Allemanda, there are no dynamic markings evident by the composer. The structural characteristics of the Baroque bow allows for natural shading as it moves from the frog to the tip and back. Compared to the sustained volume featured in MSP, a diminuendo occurs naturally on a down-bow. A slur indicates diminuendo in many cases and highlights the important first note of each slur in measures 10, 15, and 16. A series of slurs in a longer sequence can create a larger dynamic scheme, such as in measure 20-1 and 31-2. Unit 5. Other Suggestions for Teaching in HPP As is previously addressed, the composer’s manuscript does not include any editorial suggestions of finerings and bowings. Ritchie suggests favoring fingerings in low positions.99 The reason for this is closely related to the harmonic character of each section (Figure 3. Ritchie’s Suggestion: Fingerings in Low Positions).100 Fingerings and bowings are fundamental in crafting desired rhetorical gesture. In the Allemanda, the first 99 Fabian, A Musicology, 7. 100 Ibid., 91. 40 position is preferred. Since position refers to the arm movement, he defines the first position as “configuration of the arm that allows the fingers to fall naturally, without extension or contraction, on all the notes between G-sharp on the G-sring and B-natural on the E-string.”101 Figure 3. Ritchie’s Suggestion: Fingerings in Low Positions102 My suggestion is to maintain most fingerings in the first position as Ritchie and Schröder suggest in their guidelines. The anacrusis is played by the open D string. The following D will be played as a double stop with the open D string and the fourth finger on the G string in the first position. This suggestion of mine aligns with Ritchie’s (Figure 3).103 However, I would like to leave an opportunity for the student to consider a high ring finger for the C sharp in measure 1 instead of the fourth finger suggestion from Ritchie. Shifting smaller distances without a slur can sometimes be accomplished by a contracting or extending motion while staying in position. However, the student should avoid sliding between half-steps when the figure is slurred.104 A representative case is measure 15 (high C - B). Some modern publications, including Galamian’s edition, 101 Ritchie, Beyond the Chinrest, 31. 102 Ritchie does not indicate the reason for using the fourth finger for the A (the second sixteenth figure) in the text. However, his recommendation for this fingering supports “the real harmony emerges more readily, and the resultant tonal clarity is preferable,” in the Accompaniment (p.92). 103 Ibid. 104 Ibid., 112. 41 suggest that students and performers consider using finger three on both notes so that the shifting can be accomplished over a smaller distance and can minimize the risk of ‘mis- shooting.’ Ritchie suggests utilizing the fourth finger for the C (measure 15), which I agree with and would suggest the student consider this to avoid any sliding. As this suggestion likely demands a very different technique from her previous experience, the student should be able to demonstrate the shifting conducted by a contracting left hand reaching the C with the fourth finger. Therefore, the fingerings from the D in measure 14 are the following: 4 – 3 – 2 – (shift to the second position by placing the fourth finger to the second finger) – 4 – 3 – 2 – 1 – 2. Along with this, Ritchie suggests fingerings that require a shift once more to low D (second sixteenth-triplet) in measure 15.105 His fingerings ask performers to shift a whole step from the second position to the first with the third finger. This still avoids any shifting during a slur. For those who find this whole-step move strange, I suggest a shift from the second position to the first with the first finger (C to B). If the student would like to consider Ritchie’s bowing and fingerings in this section, a shift to low D in measure 15 works while avoiding changing a position during a slur. For my fingering suggestions, the bowing should stay as it is presented in the manuscript. Another suggestion is to celebrate the different timbres of each string, even an open string in this context. Based on previous experience before college, the student might notice the difference and try to diminish it. The Allemanda provides an opportunity for the student to explore string color in a resonant key and lower-position tessitura. 105 Ritchie, The Accompaniment, 93. The second sixteenth-triplet has a slur, which is different from the manuscript. 42 Through the simple choice of fingerings, the student is introduced to a new way of experiencing timber, including the tone color of each string. Conclusion The pedagogical goal for the first year student in HPP is mainly focused on rhetoric, along with an introduction to the Baroque violin and bow. Additionally, the student should be reminded that the principles of the rhetorical style and HPP are holistic. The instructor needs to encourage the student to explore and experiment during the process. Related to this goal, there are a few objectives: 1) comprehension of the concept of rhetoric, 2) utilize the knowledge obtained from written sources to the musical context during score study, and 3) establishment of fundamental instrumental skills to orate in the rhetorical fashion. Through studying the D Minor Allemanda, the student exercises the rhetoric that she learns from various sources in a musical context. The D Minor Allemanda is not overwhelmingly different from the previous repertoire (the E Major Gigue). It provides an opportunity for the student to put into practice the concept of rhetoric in a less difficult context. Lastly and most importantly, the role of the instructor is more subsidiary than MSP so that the student can find her concept for the Sei Solo, develop her own style such that it serves her rhetorical performance, present a certain affect properly planned based on rhetorical reasons, and can independently develop her ‘voice’ as an orator. I hope to leave space for the student to consider her emerging preferences. 43 Main Purpose of the First year while working on the Allemanda in MSP Introduction In MSP, the goal for the first year is to set Basics and routines for a daily practice schedule. In Basics, we can recognize three subcategories: Basics I, Basics II, and Basics III. Basics I consists of right-hand technique, including open string bow exercises, such as “whole bow warm-ups,” “paint brush stroke (détaché),” and other types of bow strokes with both passive and active finger motion – from Principles. It also includes hand frame, vibrato, and shifts in the left-hand category. Basics II contains scales (three- and four- octave in all twenty four keys in major and minor), arpeggios (same as scale), and double stops (seconds, octaves, thirds, sixths, tenths, and fingered octaves). Basics III is structured as a more comprehensive concept than the other two as its main purpose is to bridge fundamental techniques from Basics I and Basics II to actual repertoire that the student is studying at the moment. Thus, Basics I and II within a frame of Basics III can be applied to all repertoire. In this process, the student solves technical problems in each work studied. She practices those findings and issues in a technical setting and a musical context. Basics I and II can be chosen by themselves or together as a solution to technical difficulties. Therefore, designing the practice routine using all three subcategories of Basics are crucial in the first year. Edition of the score The inner workings of MSP are to be found in the fingering and bowing choices in Six Sonatas and Partitas for Violin Solo by Galamian (Figure 4. Galamian’s Edition of 44 the Allemanda in D Minor).106 The editor’s note states that his edition follows Bach’s manuscript faithfully. However, upon careful scrutiny, one can see this pertains only to the addition of dynamics not already present in the manuscript. His editorial bowings and fingerings dictate a specific use of the bow and left-hand technique that embody the musical ideals of MSP. Therefore, the printed fingerings and bowings should be honored as all of them contain pedagogical and musical reasons from generations before Galamian, as well as his own wisdom and expertise. PARTITA No. 2 Alle manda ( 1) '-= 1 1 4 .-::,.0 2 ~ '# §33 2 ~ □ JVW.qaJffl{D@1JJJ@ ECI:rWf Eiit 1r rir d±J ;JJ]JJP 1 Figure 4. Galamian’s Edition of the Allemanda in D Minor107 106 Bach, Six Sonatas and Partitas for Solo Violin, ed. Ivan Galamian (New York: International Music Co., 1971), 28-9. 107 Ibid. 45 Figure 4. (continued) Unit 1. Note Reading Before the student learns the notes, it is important for her to understand the meaning of two symbols that Galamian explains in the editor’s note. In the Galamian edition, these two signs are utilized: ◻ and ¡. The sign ◻ is designed to reach a new position or to move through positions using a “creeping fingering” 108 technique to shift a short distance. It proceeds in two steps: 1) reaching the new note with the finger first, then 2) moving the hand. During that process, the student should be careful not to produce any ‘unnecessary’ slides. The student should be able to plan the shift without any disruption to the intonation or tone production. For example, measure 2 has two notes in a row of the sign ◻ in an alternative fashion (regular - ◻ - regular - ◻). While the fourth finger plays F, the second finger should extend back, reaching C sharp in the second position. From this position, the first finger extends back to access the A. The sign ◻ in measures 11, 12, and 13 is used to unify the timbre of each rhythmic segment. The hand stays in the new position after the first note of each figure defined by the sign ◻. The sign ¡ does not indicate a ‘shifting’ motion of the hand. It remains in position while a finger extends or contracts to access a note just out of position. The 108 Galamian, Principles, 32. 46 Allemanda does not include any case of the ¡ signs yet. This will be discussed in the second and third case studies. However, it is important for the first-year student to be aware of its function before learning other movements of the Sei Solo. Galamian’s system of arpeggios prepares the student for this. Unit 2. Left Hand Technical Issues In the Allemanda, the student is in familiar territory with regard to position; much of Galamian’s choices place the performer comfortably in first, second and third position with extensions to reach notes just beyond. Additionally, effort is made to avoid open strings (e.g. measure 3). This makes the opening motif smoother and more homogenous, a delivery prized by MSP performers. Galamian considers the E, A, D, and G strings in the fashion of Soprano, Alto, Tenor, and Bass. This is revealed in measure 1, which places the violinist in third position on the G string. The resulting opening motif melody on the G and D strings makes for a darker and richer sound by avoiding open D string usage and first position brightness. The seriousness in the opening is well-maintained by taking higher positions of each string and circumventing open strings. As briefly introduced in Unit 1, the Allemanda requires the student to be fluent in demonstrating various intervals and be able to move cleanly and accurately from one position to another. It is important for the student to develop a smooth shifting technique as left hand fluency is tied to the MSP ideal: a smooth, connected, and homogenous sound. A rigid left hand interrupts fluency in shifting, and gentle reminders will guide the student towards a left hand technique that is easy and accurate, and serves all repertoire. 47 Intonation For the Allemanda, Pythagorean, or melodic intonation is more frequently used. Prior to the study of this movement, the student should be comfortable with the Galamian Scale System (twenty-four notes without the repeated top note and with a “turn- around”109) that helps establish a firm sense of melodic intonation. Unit 3. Right Hand Technical Issues Bow Strokes In MSP, a rich and consistent tone throughout is a prime goal, and the relevant technique to achieve this is often begun in the first lesson. The principal bowings used in this movement are: smooth détaché, portato, and legato. The détaché is the most commonly used bow stroke in the Allemanda. Galamian defines the détaché as “a separate bow taken for each note and the stroke is smooth and even throughout with no variation of pressure.”110 Therefore, the main focus of the first two lessons will be on the détaché with attention to ease while employing a paint brush-like motion of the hand and fingers. In this movement, notes without editiorial bowings (e.x. slur, dash, and/or both) can be played with the smooth détaché. The portato, or louré, is for all practical purposes, “a series of détaché notes performed on one and the same bow stroke.”111 Galamian uses this bow stroke where there are bow distribution problems. This marking is editorial and is not found in the 109 The term “turn-around” indicates a sequence of scale degrees one - three - two - one - two of the scale applied in the beginning and the end of the scale. For example, C Major Galamian scale is sequenced as “C, E, D, C, E, F, G, … F, E, D, E, D, C.” 110 Galamian, Principles, 67. 111 Ibid., 68. 48 composer’s manuscript. However, the musical outcome of the portato stroke by a modern bow and the light détaché with a Baroque bow can be quite similar. The primary function for the portato stroke is to ‘catch-up,’ and bring the bow back to the place where it can be more comfortably used. There are two types of portato used in this movement. The first type (three sixteenth notes slurred with a portato marking) can be found in measures 6, 7, 15, 26, and 30. In these measures, generous bow is used for the up-bow portato notes in order to be in the right part of the bow for the following passage. The second type (three or more legato notes with one portato at the end of the section) is found in measures 8, 11, 12, 20, 21, 22, and 31. In measure 8, the editorial bowing suggests a portato bowing for the last note. This allows the student to produce a lightly articulated last note, similar in sound to a Baroque bow used near the frog. In measure 4, a two-note down-bow with a portato stroke is presented on the downbeat. This is designed to work to the tip, however, this can be executed with the original bowing if one also takes out the portato indication on beat 2. The legato stroke is, in essence, a slur, executed as a détaché stroke with more than one note per bow. Galamian breaks the single slur in measures 9 and 10 into two slurred units (musical figure) with eight sixteenth notes each. For stronger sound projection, this editorial bowing makes sense; however, the bow change between measure 9 and 10 should be hidden in order to honor the score. 49 Bowing Choices Tone production consists of three elements: speed, weight, and sounding point.112 A change in one of these elements can produce unwanted variation in sound. A faster speed with an equal amount of weight and sounding point produces a louder sound, while a slower speed with identical conditions of weight and sounding point will create less sound. Therefore, a consistent bow speed is fundamental for the production of equal and consistent tone. Variance of weight also contributes to volume differences: heavier weight for a louder sound and lighter weight for a softer sound. As the tip of the bow is lighter than the frog, a careful effort to add gradual weight during a bow stroke is necessary for such tone consistency. The soundpoint refers to the distance between the bow and the bridge. If the bow is placed closer to the fingerboard, the tone gets softer and more diffused. It becomes stronger and more focused if the bow is placed closer to the bridge. Generally, the mid-point between bridge and fingerboard produces a sound that is neither exceedingly strong nor noticeably weak, yet still gives resonance. According to Galamian, tone production can be categorized into two types: Type One and Type Two.113 Type One mainly focuses on the variance of bow speed. The faster the speed, the weight gets lighter and the distance from the bridge is further. Type Two depends on weight combination with a rather slow speed. The combination of the weight and the distance between the bridge is different for each. The bow placement is closer to the bridge and the speed is slower in Type Two. The Allemanda in the MSP tradition requires a resonant, even and sustained tone using a fluid détaché. The speed and weight of the bow remain fairly constant with bow 112 Galamian, Principles, 55-9. 113 Ibid., 62. 50 speed used more often for dynamic shaping. In some case, a slight variance in bow speed is used to facilitate shifting. For slurs, the legato stroke is used in two ways: 1) with a minimum amount of bow usage (“saving the bow”), or 2) more freely, often changing the composer’s original phrasing. Bow strokes in general stay on the string in this movement rather than off the string. Fundamental knowledge and sense of proper modern bowing technique is necessary for the best sound quality and healthy tone production. Galamian strongly emphasized the importance of Basics. The student should be acquainted with mixed bowing patterns as explained in his Principles.114 Alongside the Allemanda, the student will practice all the bowings found in the Allemanda on scales. Galamian’s Contemporary Violin Technique: Volume I Part II, will be assigned as a tool for practice. Unit 4. Musical Issues Overview of Musical Style In MSP, the characteristic of the dance, the Allemanda, carries less importance than its song aspect. If the characteristic of the movement carries a noticeable dance-like style such as the E Major Gavotte en Rondeau, it should be reflected in the musical interpretation. However, the Allemanda in MSP is usually presented in the style of vocal- like, rather than with a strong feature of the dance. The end result is a delivery that adheres to MSP principles of smoothness and homogeneity, however, one could argue that the dance aspect of the Allemanda is lost. 114 Galamian, Principles, 64-84. 51 Tempo Even though the edition does not indicate any specific guidance in tempo, MSP performances tend to play the Allemanda at quarternote to 56.115 This is an average of MSP recordings in Fabian’s book, and some musicians have performed in much slower tempos or faster tempos based on their musical preferences.116 The musical reason for tempo choice is to capture the character of a song, not a dance. Therefore, the tempo is rather more poised and supports the singing quality of the movement. Phrasing The student might be surprised to learn that fully each half of the movement is one phrase only. Awareness of this helps her conceive a larger musical picture. A long and singing phrase should be conveyed. The last chord in measure 16 is the arrival of the first phrase, even though smaller phrases can be found. This long phrasing plan is also applied to the second half. Any noticeable pause in the middle of phrasing should be avoided as it might interrupt the smooth, connected line sought by MSP. The arrival at measure 23, the downbeat dotted eighth note, can create a brief sense of arrival. However, any sense of lengthy pause should be avoided in favor of the longer line. Vibrato and Ornamentation In general, extra ornamentation is avoided by proponents of MSP. Printed trills usually start on the primary note and often continue for full duration. If the trill is started 115 Fabian, A Musicology, 133. 116 Hahn performed at quarternote to 40, while Shaham performed to 66. 52 from the upper neighbor it is often played before the beat. The end result is ornamentation that is deemphasized. Compared to HPP, the MSP performers tend to use vibrato consistently. Vibrato can be varied based on speed and width of oscillation, though Galamian speaks to a third, more elusive component, “intensity.”117 Since the tempo for the D Minor Allemanda is not terribly fast, some sixteenth notes can have vibrato as well. One possible case for the vibrato is the fingered note in the unison double stop (measure 1 and 17). For this case, the open string should be dropped out if vibrato is used on the unison doble stops (D in measure 1 and E in measure 17). Other possible notes for vibrato are the following: top two notes of the quadruple chord in measure 16; and dotted eighth notes in measure 1 (E), 15 (A), and 23 (G). Tone production can be aided by the vibrato. The function and purpose of the vibrato is to beautify the sound. It can be richer on the longer notes in measures 1, 17, and 23. It is crucial for the student to develop a varied, beautiful vibrato that brings variety and emotion to the work. Conclusion The pedagogical goal for the first year in MSP are clearly different from HPP. The completion of stronger Basics should be prioritized. For the left hand technique, the student should be able to shift fluently and comfortably in a scalar context. Familiarity and comfort with a left hand extension technique is also developed. For the right hand, the student will have learned a smooth détaché along with the legato and the portato 117 Galamian, Principles, 37. 53 strokes, and gained a deeper understanding of the pedagogical and musical choices that Galamian presents. Other differences are summarized in the following table (Table 3.). My proposed lesson plan and timeline should be adjusted based on careful observation of the student and her progress. Table 3. Comparison of HPP and MSP in the Allemanda in D Minor HPP MSP Timeline Fall semester in the first year Fall semester in the first year Unit 1 Overview of Musical/Compositional Note reading Style Technique-building Familiarity with Baroque violin and bow Unit 2 Score Study Left hand Technical Issues Fingering Choices Position Choices Extension and “creeping” shifting technique Unit 3 Affect Right hand Technical Issues Tempo Affect Bow Strokes Bowing Choices Unit 4 Rhythm Devices Musical Issues Articulation Overview of Musical Style Phrasing Structure Character of the movement Tempo Phrasing Vibrato, Ornamentation Dynamics and its phrasing Unit 5 Manuscript Study Continuation of previous 54 Case Study 2. The Gavotte en Rondeau in E Major, BWV 1006. The Gavotte en Rondeau in E Major will be assigned in the third year of university study. Each student will learn the Gavotte en Rondeau at a different time of the year depending on the approach she is in: the Gavotte en Rondeau will be assigned in the spring semester of the third year in HPP while the student in MSP will learn the Gavotte en Rondeau in the fall semester of the third year. The explanation for the different timing is related to the reality of different emphases each approach requires. Students of both HPP and MSP would benefit from participating in other Baroque genres such as trio sonatas, chamber music, and Collegium. My desire is for the student to have an experience that is diverse and enriching, regardless of approach. In this movement, the characteristic of the gavotte is embedded within the rondo. Through the Gavotte en Rondeau in E Major, I will show different pedagogical and technical suggestions in HPP and MSP. As with Case Study 1, a comparison is drawn based on each. The Gavotte en Rondeau in E Major in HPP Introduction Each lesson can center around one rhetorical element at a time. However, studying the movement still needs to be conducted based on the holistic concept of HPP. By now, the student has been gaining fluency in rhetoric. The instructor must encourage the student to express her own rhetorical interpretation of the music while confirming her reasons based on written texts and evidence. 55 Unit 1. Overview of Musical and Compositional Style As a first step, the student should understand the theoretical form of the Gavotte en Rondeau. The student should be able to identify sections that are labeled differently based on compositional functions: the ritornello and the couplet. The main theme (the ritornello) repeats five times without counting the first repeat; the episode (couplet) occurs four times. The length varies: eight measures for the first couplet, sixteen measures each for the second and the third, and twenty measures for the fourth one. For the concept of ritornello (a diminuted term of ritorno in Italian: ‘return’118; ‘small return’119), the instructor may confirm with the student if she is aware of the term before any additional explanation is given from the instructor. In this Gavotte en Rondeau, it is the opening theme as well. The instructor also may confirm that the student has had experience with performing it or listening to recordings of the repertoire written in ritornello form. This can be conducted with other standard literature such as that composed by Antonio Vivaldi, who had developed and standardized the form,120 yet the student must notice the differences between the E Major Gavotte and that repertoire. In the E Major Gavotte, the ritornello recurs in the same key and almost the same rhythmic figures. This feature is closer to the classical rondo than the Baroque ritornello, which can modulate. Without providing the answer, the instructor may ask the student to find those recurring sections from the autograph score. For more clarity, each ritornello can be numbered for a clear outline and understanding of the compositional structure for oration. 118 Michael Talbot, “Ritornello” Oxford Music Online, https://doi.org/10.1093/gmo/9781561592630.article.23526. 119 Richard Taruskin. Oxford History of Western Music, Volume 1: Music from the Earliest Notations to the Sixteenth Century (Oxford: Oxford University Press, 2010), 352. 120 Peter Burkhart, Grout, Donald, Palisca, Claude. A History of Western Music (seventh edition) (New York: W.W. Norton & Co.,2006), 136. 56 During the seventeenth and the eighteenth centuries, the Gavotte (Gavot, gavotta, and gavat) was widely appreciated in various genres. According to Tarling, the gavotte is in common time starting with a two-quarter-note anacrusis, which re-emerges repeatedly for the whole movement.121 Based on this, the E Major Gavotte en Rondeau is closer to a rondo with ‘gavotte-like’ characteristics. She states that the structure of a gavotte is based on a composition with two short phrases and one long phrase. In this Gavotte, I believe that the order of these phrases is determined by the half-note double stops. Therefore, the first phrase and the last phrase are relatively shorter than the second phrase. Each two- measure phrase can be enhanced in a more separate fashion, rather than considering the entire ritornello as a single phrase. Another related suggestion from Tarling is to follow a recommendation of Muffat’s of holding back over the second and fourth quarter notes of each measure.122 Muffat specifically states that the second and fourth quarter notes should be rather held back than rushed when the marking is Alla breve.123 My suggestion related to this is to sustain the rhythmic value of the half-note double stops (measures 2 and 6) to show a clear division of each phrase instead of rushing into the following phrase. The E Major Gavotte contains the characteristic of the gavotte that is emphasized under the name of rondo. The student should keep this feature in mind during the study of this movement. 121 Tarling, Baroque, 109. 122 Ibid. 123 Muffat, Georg Muffat on Performance Practice, 43. 57 Unit 2. Score Study As with the Allemanda, the student will work from the autograph manuscript (Figure 5). By now, the student is already familiar with the autograph manuscript of the composer, and visual similarities between the E Major Gavotte en Rondeau, the G Minor Fuga, the G Minor Presto, the B Minor Double (of the first Corrente), the C Major Adagio, and the C Major Fuga will emerge. Figure 5. The Autograph Manuscript of the Gavotte en Rondeau in E Major124 124 Measure numbers are added on left. 58 Figure 5. (continued) As an example, the last staff line does not meet the alignment of other staff lines above. Due to this misalignment, the student might get lost while playing or studying it. The first half of measure 91 is placed in the upper line for a lack of space in the same staff line, therefore, the student should be able to follow thorugh the second of the measure. It seems to be helpful visually that groupings of figures in measures 86-87, 88-89, and 90- 92 are in the same line. During the lesson, the instructor will confirm that the delivery is cohesive regardless of visual presentation. Related to this, the instructor should confirm if the student has recognized that a Da Capo is necessary, even though it is not written out. The modern edition has conveniently printed the first ritornello at the end of the movement for the performers to follow a more conventional map. The student might have several experiences of ‘forgetting the Da Capo’ during practices and lessons. It might seem dogmatic, but I 59 believe this process can be useful during the lesson to help with the delivery of the oration as a whole. Another suggestion is for the student to prepare separate copies of the movement for the learning process: one for performance and another for studying. This method can be considered for any repertoire. For the Gavotte en Rondeau, this suggestion would help the student to envision the presentation of each ritornello and couplet. The study copy is used for theoretical analysis and historical context to deepen understanding. However, the copy for the performance should remain clean and leave ‘room’ for practical markings all performers need. This may also encourage more freedom on stage for inspiration from the audience and ‘adaptation of the performance circumstances.’125 The most important suggestion in unit 2 is to identify the structural notes and the ornamentation. Quantz labels structural notes as the principal notes that should always be highlighted in a proper place in the Italian manner (good or accented notes and bad or pass notes).126 The structural notes are closely relevant to the musical and compositional structure. Metaphorically speaking, they are musical beams that support the musical structure. The less important notes fall under the category of ornamentation trills, compound trills, one note graces, slides, mordents, turns, zusammenschlags, anschlags, arpeggios, and vibrato.127 It might help the student to think of ornamentation as any note or notes not functioning as a part of the structure of the music. Tarling states the importance of acknowledging the structure: “Knowledge of the structure of the music being performed is essential in order to make the listener aware of the content of the 125 Tarling, The Weapons, 58. 126 Quantz, trans. Reilly, 123. 127 Neumann, Ornamentation in Baroque and Post-Baroque Music with Special Emphasis on J. S. Bach (Princeton, Princeton University Press, 1978), xi-ii. 60 music, and what it has to say.”128 She mostly refers to the musical form in the text; however, this statement also emphasizes the importantce of the structural notes. As structural notes should be delivered with greater emphasis, the student should consider various rhetorical tools for doing this, including “emphasis of beats and rhythm,”129 and diverse types of emotional affect that appropriately serve the musical connotation. This approach provides part of a fundamental foundation for rhetoric. Firstly, identification of phrase and motif should be conducted along with recognition of the structural notes. The larger phrases can be determined by half-note double stops (7th interval), which carry more harmonic stress.130 According to Quantz, several types of notes that should be emphasized are the following: “notes that have dissonances as the second, diminished fifth, augmented sixth, or seventh above them, or those that are raised irregularly by a sharp or natural sign, or lowered by a natural or a flat.”131 My suggestion is based on the description given above. The structural notes are planted in measures 1, 2, 5, 6, and 8 in the main ritornello (measures 1 to 8). They are the quarter note double stop (A-G) in measure 1, the half-note double stop (B-A) in measure 2, the first note A in measure 5, the half-note double stop (B-A) in measure 6, and the octave double stop (E-E) in measure 8. Notes other than these are basically ornamentation. These structural notes are the most highlighted with various affects,132 such as inégales, and receive different harmonic attention that lead one to consider 128 Tarling, Baroque, 10. 129 Ibid., 19. 130 Quantz, trans. Reilly, 20. 131 Ibid., 244. 132 The affect should properly be chosen based on a thorough research of the musical context. 61 different rhetorical tools. They also determine the units (figures) including motifs, phrases, and sections in this movement. The structural notes in the second (measure 24) and third ritornello (measure 48) stays identical with the first ritornello.133 The beginning of the fourth ritornello in measure 64 is written to avoid a parallel fifth, however, the high E can emphasized to strengthen the sence of tonic. The rest of the fourth ritornello carries the same structural notes as the beginning. In the first couplet in measure 8, the structural notes are found on the half- measure. The double stop on the third beat of measure 10 is also part of this feature along with the E on the third beat of measure 12, the E sharp on the third beat of measure 13, and the last half-note C at the end of the section. As the second couplet in measure 24 gets more complex, the structural notes may be harder to find. They are the following: the first note (B) in measure 25, the half-note (B) in measure 26, the downbeat (F) in measure 29,134 the half-note (F) in measure 30, the quarter notes (Es on third and fourth quarter beat) in measure 32, the half-note (E) in measures 33-34, A sharp – C sharp – E in measures 34-36,135 the first double stop in measure 37, the half-note chord in measure 40. The structural notes in the third couplet are also discreetly embedded in eighth note figures: the first note (F) in measure 49, the same F (on the third quarter beat) in measure 50, the first note A in 53, the first note D in measure 54, the first note G in measure 55, the first note C in measure 56, the the first note A sharp in measure 57, the 133 The second ritornello begins in the middle of measure 16; the third one is found in the middle of measure 40. 134 From measure 28, it is progressed in a stepwise sequence with structural notes (G sharp, F sharp, and E) leading to B Major. 135 In measures 34-36, the bass line note is F. Even though A sharp, C sharp, and E are emphasized as structural notes, the harmonic center is in F. 62 third note E sharp in measure 59, the first note (B) of the second beat in measure 60, the first note A and the third note (G) of the following figure in measure 61, the first note (F) and the third note (E) of the following figure in measure 62. The final structural note in this third couplet is the downbeat chord in measure 64. The last couplet of the four starts from the second half of measure 72. The structural notes are in the following measures: measure 72 (the first double stop in quarter notes); measures 73 and 74 (the downbeats); measure 75 (F and G, continuing the sequence from before); measure 76 (the first double stop with A and G); measure 78 (the first quadruple stop as well as the triple stop on the third beat); measure 80 (the half-note triple stop); measure 82 and 84 (the half-note G); measure 86 (the whole note E); and measure 92 (the downbeat). Understanding and identification of these structural notes aids the student in setting a rhetorical plan with this movement. This is a fundamental for deciding affect, phrasing and dynamics, and envisioning tessitura for decorum. Therefore, the student is encouraged to find these structural notes for the following lesson. This should be conducted during the lesson to avoid any misleading or misinterpretation of structural and harmonic analysis. This unit 2 can be assigned for two weeks or longer depending on the needs of the student. During this process, the instructor encourages the student’s rhetorical knowledge. It is pedagogically critical for the student not to lose this academic approach to her interpretation. 63 Unit 3. Tempo, Affect, and Dynamics The time signature of the E Major Gavotte en Rondeau is Alla breve; the speed is not so fast as a Bourée.136 Schröder suggests 74 to the half-note.137 My suggestion for tempo aligns with Tarling’s and Schröder’s suggestions. The tempo for each couplet would be planned based on the intended affect. Recognizing that key is one of numerous factors influencing musical choices in the tradition of HPP, understanding the affect of E Major is essential. According to the compilation in Tarling’s The Weapon of Rhetoric,138 Charpentier (1692), Mattheson (1713-9), and Rameau (1722) address the affect of E Major quite differently. Charpentier claims that E Major can be quarrelsome and/or clamorous. Mattheson says it can be fatally sad, while Rameau states it as grand and/or tender. Ritchie (2016) interprets Mattheson’s text even more differently, indicating E Major as “triumphant joy,”139 which might fit the character of the E Major Gavotte most suitably. This cheerful affect can be applied to the ritornelli, however, the couplets may have contrasting character. The first couplet in measure 9 is in the relative minor key (C# Minor). While maintaining similar articulation executed to the first ritornello, emphasis on the B sharp (measure 10) needs to be presented strongly to provide a darker and mellower color with a small swell to show the change of affect more vividly. This emphasis can be strengthened with a brief shimmer vibrato without losing the bottom F sharp. In order to present the affect of “triumphant joy,” the suggested bow stroke for the ritornello (especially the opening) is a lifted bow stroke. According to Ritchie, the bow is 136 Tarling, Baroque, 26. 137 Schröder, Bach’s Solo, 184. 138 Tarling, The Weapons, 77. 139 Ritchie, The Accompaniment, 64. 64 lifted by raising the right arm with the fourth finger of the right hand taking the weight of the bow.140 The stroke for the anacruses should be light and near the lower half, almost imitating a brass timbre. The bow is quickly placed on the string before the trilled double stop in measure 1 for a stronger bite of the strings to enhance the double stop, which is already emphasized with an ornament (trill). The bowing in the beginning is down-bow, moving back and forth as it comes. The third and fourth quarter notes in measure 1 are up-bows without losing the lifted articulation, so that the half-note double stop in measure 2 can be played with a down-bow. After the double stop trill in measure 1, a brief diminuendo to the third beat (F) is performed over two eighth notes (F and E) with a smoother détaché stroke. The following two quarter notes are lightly articulated in the lower half of the bow, carrying a brief crescendo to the half-note double stop in measure 2. For this half-note, the arrival bow stroke should be more rounded without adding any unnecessarily articulation.141 Ritchie suggests taking two up-bows on the anacruses: the two notes (beat 3 and 4) in measure 1, the two eighth-note slurs on the third and fourth beats in measure 2, and the third and fourth quarter notes in measure 6. Taking two up- bows in a row creates lighter articulated strokes. My suggestions are slightly different from his, even though I agree on producing lightly articulated strokes in all cases. I suggest taking down-up for the two anacruses for every ritornello because it is more natural and invites a dance-like delivery. For slurs consisting of two eighth notes throughout the Gavotte, the end of each slur should be lifted gently. With this gesture, there is also a slight diminuendo. 140 Ritchie, Before the Chinrest, 6. 141 Ritchie provides a visual reference that is useful (The Accompaniment, 64). 65 After the second ritornello in measure 16, the following couplet in measure 24 expands to sixteen measures (eight plus eight). It ends on the dominant (B Major), yet E is a consistent reminder of the main affect (“triumphant joy”) in measures 32, 33, and 34. I suggest a forward motion to the half-note from the first quarter note (measure 32) and adding a diminuendo on the three-note slu in the first beat. Slurs in general should be executed by slowing bow speed and lightening weight. It is important for the student to address this motivic segment (two quarter notes and one half-note in E) with this forwarding motion, rather than rushing too much into the half-note E. Additionally, this diminuendo will bring prominence to the repeated E’s that follow. For these measures, the bow division for each note should be as follows: smallest - smaller - smallest (first note - second note - third note). The second time in measure 34, the arrival to the half- note is grander, although using too much bow might cause unnecessary elongation and disruption of the flow. The half-note double stop in measure 34 should have more weight than speed and amount of bow for this reason. During these two repetitions, slurs of two moving eighth notes from measure 34 to 36 extend the F sharp dominant for a surprise fragment of the ritornello in B Major. Each slurred figure of two eighth notes is isolated and lightly executed, rather than heavier and connected to each other. The lower half of the bow is suggested without using much bow. For the motif in measures 34 and 35, a similar strategy can be applied. A sharp, C, and F in the first section (measures 34-5) are lightly accented as are A sharp, C, and E in the second section (measures 35-6). In order to accent these notes, it is necessary to have a lighter grip on the string than the one for the half-notes. The bow length for this three-note-unit in measure 35 is no longer than half of the bow and mirrors the conservation of bow needed on the half-note in measure 66 34. While the first slur in measure 33 demonstrates diminuendo to promote the beginning of the following figure, the one in measure 35 creates a gentle crescendo to empower the final arrival to the end of the second couplet. Again, the student should consider weight difference in the lower half of the bow rather than speed. The third couplet in measure 48 contains “conversational elements,” according to Ritchie, something similar to the confutatio in an oration.142 He suggests breaking the passage down into basic figures to highlight the embedded dialogue. His “A” section begins from the anacruses in measure 48; the “B” section starts from the F sharp (the fourth note of the first eighth note figure with three-note slur) in measure 52.143 The A section emerges again in the middle of measure 54 from C sharp.144 For these types of sections in “conversation,” different affects should be considered to show an alternating communication between the sections/voices. A clear presentation of each phrase will help to reveal this conversation between the two voices. The suggested character from measure 48 to 52 (Section A) would be that of a question (measure 48 to 50) and a more developed question (measure 50 to 52) leading up to Section B (measure 53) in measure 53. Compared to Section B (from the second half of measure 53 to 56), the affect of Section A can be rather simple with two sets of ‘crescendo-decrescendo.’ The first half of Section A is clearly divided into four groups of four notes each. This can be portrayed with a mezzo piano dynamic, as Ritchie suggests. While the second half of Section A (measures 50 to 52) is presented in a stronger dynamic (mezzo forte), the diminuendo occurs dramatically in the second half of measure 51 on the downward figure (G, E 142 Ritchie, The Accompaniment, 65. 143 Some may consider this F sharp less important as it is placed on the weakest beat. However, it is necessary to envision the beginning of the “B” section in measure 52 to understand the conversational elements of this section. 144 The detailed suggestions of Ritchie is well-presented in his book, The Accompaniment in “Unaccompanied” Bach. Please consult the book for more details. 67 sharp, F, and B sharp; the notes with no slur). Instead of making a decrescendo on the three-note slur in measure 52, the dynamic for this slurred figure stays at a softer dynamic (piano) to show an overlap of the end of section A and the beginning of section B. The second half of measure 52 (notes with no slurs) reaches mezzo forte through a crescendo. From measure 53 to 55, groups of notes with slurs invite a diminuendo while figures without slur demonstrate a crescendo. Over this detailed dynamic plan, a larger diminuendo would be appropriate (measures 52-56). The first half of measure 56 resolves to A Major and should be played at a healthy mezzo forte. After this stronger beginning of the A section, the B section follows a similar dynamic scheme (measures 58-60). The harmonic intensity of the E sharp in measure 62 is highlighted, even though it is on the weaker beat (beat 2 in alla breve). In general, crescendos align with scalar/arpeggiated figures of separate eighth notes going upward, while decrescendos are presented in a scalar/arpeggiated downward fashion or as ‘more-than-three-note’ eighth note groups with slurs. Unit 4. Rhythmic Devices, Articulation, Phrasing, and Character The ritornello (Gavotte theme) is rhythmically simple. The shortest rhythmic value is the eighth note; an longest value is the half-note. The compositional function of each seems to be clear: eighth note (moving), quarter note (indicating beginning and/or forthcoming arrival), and half-note (arrival). This is closely related to character, phrasing, and articulation. In terms of phrasing, each rhythmic value shows its own function clearly. Half-note double stops set an end of each phrase. Quarter notes before the double stops confirm a cadence. Metaphorically speaking, eighth notes connect the dots in 68 between quarter notes and half-notes. In the ritornello, the quarter note is quite short and light in terms of articulation. Half-notes are more poised, while eighth notes carry different articulations and characteristics based on the musical notation (slurs). Thus, quarter notes are the most articulated, while half-notes are the least articulated. Eighth notes are interchangeable based on placement and notation. The rhythmic figure of this unit presents two anacruses, reflecting character of the gavotte and French music. The unit with three Es in measures 32-34 repeats twice with different moving notes on the bottom. These Es can be a bell to get the listener’s attention, metaphorically speaking. Indeed, this segment with E repeats three times; the third time is more discreetly presented in a different rhythm in eighth notes that are placed under these Es. It is possible to consider that Bach chose the open E string on purpose, the most brilliant string on the violin. While a two-note anacrusis is characteristic of the gavotte, Bach varies these anacruses in each couplet and the range of variation develops towards the end. The first couplet’s anacruses are identical to the beginning, but quickly modulates to the relative minor. The second one in measure 24 changes the tessitura, as well as the rhythmic device of two quarter notes into ascending scalar eighth notes. The anacruses in the third couplet in measure 48 are varied than the second one by changing the scalar figure into an arpeggiated one. The transformation of the anacruses into a unit of double stops (two eighth notes and one quarter note) occurs in the last couplet in measure 72. The third couplet begins with similar rhythms and intervals to the second couplet. The format is ‘8+8,’ which repeats. Related to the third couplet, most of my suggestions paraphrase Ritchie's presentation in his book and agree with his format of ‘8+8.’ 69 However, I have found one difference in measures 52-6 and in my interpretation of sections A and B. I read the end of the A section as overlapping the beginning of the B section in measure 52. To prepare for this, the diminuendo occurs earlier in the last four eighth in measure 51 (G sharp, E sharp, F sharp, and B sharp). Three slurred eighth notes (C sharp, F sharp, and E sharp) in measure 52 stay in a softer dynamic, yet function simultaneously as the beginning of Section B. Therefore, the last four eighth notes in measure 52 (G sharp, A, B, and G sharp) can serve the B section as anacruses. Metaphorically speaking, a Speaker B interrupts while Speaker A finishes the phrase (Section A). The ascending four-eighth-note sequence in measures 53, 54, and 55 shows a small closure of each unit (four ascending eighth note and three descending slurred eighth notes with one separate eighth note). These ‘four ascending eighth note’ figures, commonly found in this gavotte, can function as anacruses to the following measure. Compared to the three couplets introduced earlier, the anacruses are omitted in the last couplet. The middle of measure 72 is the beginning of the last couplet, consisting of three units of “anapest”145 in double stops. Their arrival is found in a half-note double stop in measure 74. According to Mattheson as presented in Tarling’s The Weapon, the anapest is used for sarcastic and satirical poems, and calls for a rebounded or “struck back bow stroke” (“V V –” 146).147 Bach inserted these anapests in measure 72 as a quick transition; however, my suggestion is to consider down-up on the two eighth-note slurs. Based on score study, the phrasing can be clearly addressed. The most important factor for the student to remember is that a unit (musical figure) is not a phrase. That is, 145 Tarling, The Weapons, 178. 146 In terms of bow usage, this bow stroke implies two up-bow strokes in a row by taking the bow back to where it begins each stroke. 147 Tarling, The Weapons, 178. 70 one phrase can surely contain more than two units. In the ritornello, one phrase contains four units consistently (4+4148). In the first couplet in measure 8, the first two units stay as one phrase, the rest (from the middle of measure 12 to 16) consists of the second phrase. The second couplet in measure 24 can be divided into three phrases plus one ‘coda-like’ phrase at the end. The first phrase begins in the middle of measure 24 going to measure 32. Starting from the middle of measure 32, the second phrase continues to the middle of measure 36. The rest can be considered as a ‘coda-like’ phrase. The third couplet starts in the middle of measure 48. Due to the conversational characteristic of this couplet, each phrase represents a statement from each communicator. The first Phrase A is from the middle of measure 48 to measure 52. The first Phrase B is from measure 52 to the middle of measure 56. The second Phrase B takes over measure 58 to measure 60 where it is succeeded by the Phrase A until a combination of the Phrase A and B enters in the middle of measure 60 and continues until measure 64. The first phrase in the last couplet (measure 72) is from the middle of measure 72 to the half-note double stop in measure 80. The last phrase begins in the second half of measure 80 and goes to the end of the fourth couplet (measure 92). Unit 5. Tessitura and Dynamics The tessitura of the ritornello is voiced mostly on the A and E strings in a comfortable range of the instrument. In order to maintain the intended affect of tessitura in this range, the delivery of the ritornello can be at a moderate dynamic (mezzo forte). In the beginning of the first couplet, the tessitura goes lower than the ritornello, matching the darker affect of the relative minor key. In measure 59 in the third couplet, the highest 148 Four fragments consist of one unit; one phrase is made of these four units. 71 note (D) serves as a high point for the musical tension that has been growing. During the structural development, the affect is presented mostly in first position until the high D. This peak is actually previewed by the B and A sharp in measure 58. Through three notes (E sharp, C sharp, and B) in measure 59, the tessitura shifts from low to high. Immediately and dramatically, this transition intensifies energy and then bursts it. The first chord of the third ritornello in measure 65 has a sixth chord to avoid parallel fifths,149 which also allows the harmonic texture to thicken. A pedal note on G sharp 5 in measures 82-5 and E5 in measures 86-7 sustains the higher tessitura. From the beginning of the last couplet through measure 87, this moderate tessitura stays higher. The change of the pedal note from G sharp to E leads to a transition of the tessitura from high through middle to low, through a descending eighth-note figure (two notes per slur). It allows the violinist an opportunity to explore the plaintive quality the open string can have. The general dynamic is moderate, showing a ‘drop in energy’ along with the descending sequence. After the arrival at D sharp in measure 88, the affect of the tessitura changes along with an ascending scalar line beginning in measure 87, which cadences to the final ritornello in measure 92. The rondo form highlights dynamic change in an alternating fashion: moderate – softer or ‘more energetic’ – moderate – softer or ‘more energetic’. Unit 6. Ornamentation and Repetition The performer should determine the type of ornamentation based on the compositional style, to satisfy the rhetoric.150 Tarling suggests examining the written ornamentation in order to determine the best execution. Unlike the Allemanda in D 149 Schröder, Bach’s Solo, 173. 150 Tarling, The Weapons, 216. 72 Minor, the E Major Gavotte includes the written ornamentation, trillo (“t” on the score), in the autograph manuscript. It is found only in the ritornello. Ritchie warns that the trillo and the trill should never be confused. He states that the trillo consists of the accelerating repetition of a note. His example is demonstrated on the open E string without any alternation.151 Tarling suggests considering five elements for trills: approach, starting note, speed of re-iterations, stopping point of re-iterations (point d’arrêt), and ending or termination.152 She also adds that there is no absolute rule about the trill and its starting note, whether to start from above or on the main note.153 The execution changes depending on cultural customs and periods. For the trill in the ritornello, I suggest the student to start the trill from the primary note. As a supplement, Essempio XVIII no.5 from The Art of Violin on the Violin by Geminiani is suggested. He states that the trill should be initiated after the main note is held.154 Also, my suggestion paraphrases Tarling’s summary about possible situations where the trill might start on the primary note: “to emphasise the arrival on a particular note.”155 Another reason to start from the main note is to place emphasis on the dissonance of the first downbeat doublestop. After two light anacruses, the quarter note downbeat is a double stop with open A string as a bass line note against the G sharp trill. From my perspective, the trill is a final ‘touch-up embellishment’ of the note. It also carries an affect of “triumphant joy,” and functions as the call of a brass instrument. 151 Ritchie, Beyond the Chinrest, 67. 152 Tarling, Baroque, 45. 153 Ibid, 45. 154 Geminiani, The Art of Playing on the Violin, 26. 155 Tarling, Baroque, 46. 73 There are two major national styles of ornamentation in Baroque music: the French and the Italian.156 Alternatively, one could say that there are two major national styles, the German style, and the mixture of the French and the Itaian. The French style of ornamentation contains small ornaments on single notes while the Italian style often presents a long flourishing melismatic style of ornamentation. Because the E Major Partita is fashioned after a French suite, smaller and shorter embellishments should be applied. Mattheson states that ritornello means repetition.157 The ritornello in the E Major Gavotte en Rondeau occurs six times, including the Da Capo. Tarling states, “Quintilian considers that repetition is not in itself a figure, but many figures use the device of repetition for emotional affect.”158 In this case study, the focus is on identically repeating sections as in the ritornello. However, in measures 84-5, the identical figure of measures 82-3 repeats. Interestingly, this section is the only two-measure unit presented twice in a row in the exact same fashion. Tarling suggests two options for short repeated phrases: emphasis or weaken (like an echo).159 In consideration of affect (measure 86-7), the dynamic in measures 84-5 should lessen to arrive in measure 87, where the cadence leads to the end of the last couplet. Conclusion The E Major Gavotte allows the student to consider two different compositional and musical structures (genres) mixed into one movement. While presenting the affect of 156 Tarling, The Weapons, 216. 157 Ibid., 219. 158 Ibid. 159 Ibid., 222. 74 “triumphant joy” in the ritornellos, each couplet gives variety and opportunity for different affects. The piece also demonstrates how each couplet is varied with new rhetorical tools that are not presented in Case Study 1. For example with the third couplet, the student should be aware of conversational elements that are similar to the confutatio. The alternating conversation between two voices (the A section from measure 48 to 52 and the B section from measure 52 to 54) demands a different rhetorical plan to emphasize the conversational aspect. Based on the understanding of compositional format (the gavotte and the rondo), the structural notes in both ritornelli and couplets are highlighted with various affects and are utilized to determine the units, phrases, and section in this movement. The first three ritornelli have the identical structural notes. The fourth ritornello has a slightly different emphasis (the upper two notes – B and E), as it is written to avoid a parallel fifth. The condition of these notes are selected based on the description of Quantz: notes with dissonances and/or raised irregularly by accidentals. Two anacruses present the character of the gavotte and French music. As this movement is written in Alla breve, the speed should not be as fast as a Bourée. However, each couplet is performed in a different tempo with the intended affect. A different affect requires the student to consider different technique. The E Major Gavotte provides an opportunity for the student to ‘exercise’ her rhetoric through repetition in a musical context. 75 The Gavotte en Rondeau in E Major in MSP Introduction As in other MSP case studies, the main focus is to retain the melodic flow of the music while maintaining ideal tone production.160 By the third year, the student has had experience approaching many genres of music in the MSP model and has studied the technical hurdles presented in the Gavotte en Rondeau in other repertoire, not necessarily in Baroque works. As in Case Study 1 (the D Minor Allemanda), note learning and technical execution are the first priority, with musical concepts overlaid later during study. Compared to the Allemanda in D Minor, the Gavotte en Rondeau in E Major contains more double stops and multiple stops, however, the fingerings for these stops are not challenging. The rhythmic duration of the double stops is fairly longer (i.e. quarter note and half-note) except in measures 25, 32, and 33. In this section, the rhythmic duration for each double stop gets shorter (eighth note) and the bowing changes from separate to slurred bow. This requires a different plan in type of bow stroke. By this time, the student will find the actual note learning fairly straightforward: the Gavotte stays in first position for the most part, and the lack of sixteenth notes gives confidence to the student in learning notes before the first lesson. As in Case Study 1, the student will learn this movement from the Galamian edition (Figure 6.161), respecting his bowing and fingering suggestions. If the assignment of independent note learning proves difficult, the instructor can isolate the challenging sections and examine them in lesson. However, expectations for the following lesson should be clear. 160 As it is presented previously, the phonographic ideal in MSP is in a smooth, even and resonant tone. 161 Bach, Six Sonatas and Partitas, ed. Galamian, 62-3. 76 Gavotte en Rondeau tr ~•n11,1 F C I~ CT r f I t fl fl I Sur ft I fin cF g I Figure 6. Galamian’s Edition of the Gavotte en Rondeau in E Major.162 162 Bach, Six Sonatas and Partitas, ed. Galamian, 62-4. 77 Figure 6. (continued) Unit 1. Left Hand Technical Issues As stated, the bowings and fingering given by the editor should be followed as much as possible. However, minor changes can be considered based on the student’s physique and musical preferences. Before making a change, the instructor should 78 diagnose the problem and address the pedagogical and musical reasons behind Galamian’s fingering suggestions. Without any comprehension of his reasons, other choices might only rely on personal preference. In this case, one might go against the printed suggestions without any rationale. The following fingerings indicate shifts in Galamian’s edition: measure 11 (Finger 2 on D sharp), 14 (Finger 2 on D sharp); 38 (Finger 1 on F sharp; bottom note of the first double stop with finger 3 on the E); 52 (Finger 1 on C sharp);163 58 (Finger 3 on B); 60 (Finger 3 on A); 75 (Finger 1 on F sharp and G sharp); 90 (Finger 1 on C sharp); and 91 (Finger 3 on A sharp). The shifting distance for fingerings that do not include any symbols (square or circle) is short, mostly shift half-step intervals. My suggestion for these shorter distances is to keep shifts clean with minimum sliding sound. This type of shift is executed by a sudden finger motion resembling the articulated sound of a new finger.164 In a 1978 recorded performance, Perlman displayed a noticeable shift in measure 11, obviously chosen for musical preference.165 It is possible for the student to contemplate adopting this in her playing. However, I do not prefer this approach as I would like the student to consider a cleaner move, as does Galamian. Fingering choices are less complicated due to the compositional structure of the Rondeau. As discussed in detail in the HPP section of this paper, the rondo section repeats six times, including the repeat at the beginning. The fingering in the rondo section stays in the first position and remains the same with each repetition, with one exception: measure 64. As explained before, Galamian specifies fingerings outside the “hand frame” 163 The C sharp in measure 57 can be a part of these examples, however, a change in positions does not occur. It is in the second position as a result of the previous measure. 164 Galamian, Principles, 32. 165 Itzhak Perlman, “Itzhak Perlman: J.S. Bach - Partita in E Major, BWV 1006,” YouTube video, 19:56, posted by “allegrofilms,” Aug 1, 2016, https://youtu.be/kKQ_GyelRsc?t=8m7s 79 with two symbols: a squared number, and a circled number. The former indicates the suggested execution in shifting. The process in execution is divided into two steps: 1) reaching the note with the printed finger number, and 2) the hand follows in a shifting motion. The latter does not involve any type of shift, it signifies an extension. In the E Major Gavotte, measures 14, 39, 55, and 58 contain these symbols. It indicates a contraction or extension of the finger while the hand remains in position. Measures 59 and 90 can be selected for concentrated practice. The suggested system of intonation for single melodic lines is the Pythagorean System. The nature of leading tones highlights the bright E Major and characteristics of the Gavotte. Double and Multiple Stops The Gavotte in E Major contains frequent double stops. The alternation between single melody and double stops is a feature in the ritornello. The first entrance is a double stop, a fifth. The double stops presented in this movement are thirds, augmented fourths (tritone), fifths, major sixths, minor sevenths, and octaves. For the rondo, the following double stops are found in chronological order of stops: a perfect fifth, a major seventh, and a major third. For the first episode, the augmented fourth (measure 10) is a new feature. In measure 26 beginning with the second beat, there are more types of double stops, including a minor sixth. The half-note B in that measure requires that the first finger be kept down. A similar pattern occurs in measure 30. The first finger should be relaxed yet be placed firmly enough to cover both strings for the fifth. The third episode ends on a F sharp tonic, but immediately launches into the fourth rondo. In measure 78, 80 the first and only quadruple stop in the movement is presented. The finger preparation for this and all chords is set before the bow lands on the D and G strings. For single line notes, melodic intonation (Pythagorean Intonation) is preferred so that the section with these notes can present the melodic flow more obviously. Mostly, double stops in the E Major Gavotte appear as a ‘harmonic flag’ at the end of cadences, except measures 6, 22, 70, 72, and 73. The technical approach for measures 82-87 is quite different, as each slurred figure requires repeated finger patterns. Additionally, there is a brief switch to a single line (third two-note eight-note group) in measures 82 - 83. Measures 84 and 85 are repetitions of measures 82 and 83. In general, fingers should be lifted from the string no more than necessary. Unit 2. Right Hand Technical Issues Bowing Choices Bowing choices are based on the printed suggestions by Galamian. My suggestion is to follow them except in measure 24. After the downbeat down-bow, the following eigth notes may begin with another down-bow by retaking after the previous double stop octave E. More commonly, an MSP performer might make a gentle stop at the end of the half-note, conserving enough bow to continue on the same down-bow near the tip. One could conceive of this as a single portato. As only a modest breath between the second rondo and the second episode is acceptable, retaking the bow is executed smoothly and quickly. Bow weight is used judiciously in order to avoid any scratch. Again, a body of sound generated by bow speed is the preferred technique in MSP. The balance between 81 two strings is produced by finding a mutual angle which allows for playing double stops without any poor sound production. Usually in MSP, a triple stop is executed two strings at a time. The middle note in those triple stops functions as a pivot in playing ‘2+2.’ The chord is often begun slightly before the beat. The triple stops usually start from the air without a hard attack. The Fouetté (“Whipped Bow”166) is another possibility for additional clarity when presented with a chord on an up-bow. The pivoting motion should be quick. For the quadruple stop in measure 78, the pivoting motion will be larger yet still conserving enough bow for the following three eighth notes after the chord. In measure 78, Galamian suggests an alternate bowing, two eighths slurred and two separate. This solution allows the student to have a down-bow on the triplestop (B, F sharp, and D sharp) in that measure. Bow Strokes With MSP, the primary bow strokes used in the E Major Gavotte will be the détaché and its derivatives: the accented détaché, the détaché lancé, the détaché porté and the portato (louré). Even though the movement requires some lifted strokes as well, the two types of bow strokes most prevalent are the accented détache and the portato. According to Principles, the accented détaché is the stroke beginning with an accent or articulation due to a sudden increasing pressure and speed without any pinching process as in the martelé.167 This light and clean stroke promotes a resonance of separate notes, fitting for the sparkle of the E Major Gavotte. 166 Galamian, Principles, 69-70. 167 Ibid., 67. 82 The portato bow stroke is used in measures 3, 5, 10, 19, 28, 33, 43, 45, 49, 53, 54, 55, 62, 67, 69, 78, 80, 81, and 95. The portato patterns in these measures can be identified as six types (bowing patterns) based on Contemporary Violin Technique by Galamian. The instructor may ask the student if the student can categorize each of the patterns. This suggestion can be beneficial, in case the bowing that the student presents in a lesson is not strongly set. According to Principles, the portato, or the louré, is related to the détaché bowing although it is a slurred stroke. It is indicated by a dash over the note head. According to Galamian, “This stroke has a slight swelling at the beginning followed by a gradual lightening of the sound.”168 He uses this bowing in a practical setting, using it to aid in bow distribution and to move to other parts of the bow. Unit 3. Musical Issues Structure In the first two lessons after the fundamental process of learning notes and bowings, the instructor may ask the student to find the rondo sections. The student should be able to recognize and label all of them. In case the student might not be able to recognize the third rondo in measure 64, a brief explanation of the harmonic analysis of these two chords can be addressed. Tempo Fabian’s research confirms that tempo preference for the E Major Gavotte en Rondeau is slightly slower among MSP performers, such as Buswell, Fischer, Hahn, and 168 Galamian, Principles, 68. 83 Perlman.169 Even though MSP’s concentration is not in studying affect as HPP would require, it is generally agreed among MSP performers that this Gavotte should have a dance-like nature. My suggestion for the student is to find a personal performance tempo, slow enough to execute notes cleanly but fast enough to show a bright and light character. Thus, the tempo can be modified slightly based on the instructor’s careful observation of the student and her ability. Phrasing and Dynamics The length of phrases in MSP is generally longer than HPP. This supports the ideal of MSP (smooth and continuous tone). The whole rondo refrain (opening through downbeat measure 8) stands as a single phrase consisting of three possible units divided by half-note double stops in measures 2, 6, and 8. The first episode functions similarly to the rondo: the whole section is a single phrase. The second episode might not be as recognizable as it is divided by rhythmic values other than half-notes. The instructor may confirm with the student if she notices rhythmic similarities. The first phrase in the second episode is from the four eighth-note anacruses in measure 24 to the downbeat in measure 29. The second phrase begins in measure 29 with four eigth-notes slurred by two, and ends on the downbeat half-note double stop in measure 36. The last phrase of this episode ends on the downbeat (triple stop) of measure 40. In the third episode in measure 48, the phrasing gets noticeably longer. The student should be able to navigate these longer lines as a whole, to the triple half-note stop in measure 64. The last episode begins in the middle of measure 72. The phrasing can be divided into shorter lengths. From measure 72 to 80, it can be divided into two phrases or considered as a single 169 Fabian, A Musicology, 208. 84 phrase based on dynamic shaping and the interpretation of the half-note double stop in measure 74. Even if the student interprets this section (from measure 72 to 80) as two phrases with a brief pause to show a division, the breath should never break the flow. The second half of this episode ends with the half-note downbeat in measure 92. As with other movements in the International edition, the E Major Gavotte does not contain any editorial dynamics. My suggestion for the rondo theme is a solid mezzo forte to project the sound and convey brilliance. Dynamics between the rondo and episode sections can be varied; however, it is still recommended to maintain the identical type of dynamic (mezzo forte) for each rondo. This identical dynamic promotes the characteristic of a rondo. Within each episode, the recommendation is to vary it according to melodic/pitch progress. Vibrato and Ornamentation Different types of vibrato are used in the E Major Gavotte. The main purpose of vibrato is to amplify the resonance and ‘beautify’ the sound at all times. There are several double stop exceptions: double stops with a slur, including the first double stop (downbeat tri-tone, F sharp, and B sharp) in measure 10, and double stops that are perfect intervals. Wider vibrato is allowed for notes with longer rhythmic value; shorter rhythmic values get a thinner oscillation. Prior to this movement, studying double stops with vibrato is recommended. According to Galamian, there are three aural components to consider: speed, width, and “intensity”.170 To start, the instructor should confirm that the student can demonstrate a beautiful vibrato without any tension or inconsistency in speed. Ultimately, the student will be have command of a variety of kinds of vibratos. 170 Fabian, A Musicology, 37. 85 The E Major Gavotte contains one type of printed ornamentation: the trill. When playing trills, there are a few technical principles for students to remember, such as keeping left fingers closer to the fingerboard for efficiency and ease. Additionally, Galamian suggests that “a slight motion of left hand pizzicato with the trilling finger”171 will make the ending of the trill more clear and articulate. My suggestion paraphrases his guidance. Additionally, the student should be careful not to let the trill distort the rhythm of notes before and after. Another suggestion for practice trills in the E Major Gavotte is to save the bow and carefully supervise sound quality during trills. Indeed, this advice is applicable for any trill, not only in the E Major Gavotte. Conclusion The E Major Gavotte provides an opportunity for the student to prepare for an alternation between monophonic and polyphonic lines while developing variants of the détaché. The technical demands for double and multiple stops are less challenging compared to the complex chord work of the G Minor Fuga, therefore, it serves as good preparation. The following table (Table 4.) shows a comparison in curriculum between HPP and MSP. 171 Galamian, Principles, 30. 86 Table 4. Comparison of HPP and MSP in the Gavotte en Rondeau in E Major HPP MSP Timeline Spring semester of the third year Fall semester of the third year Unit 1 Overview of Musical/Compositional Left-hand Technical Issues Style Double and Multiple Stops Unit 2 Score Study Right hand Technical Issues Bowing Choices Bow Strokes Unit 3 Affect Overview of Musical Style Dynamic Structure Tempo Phrasing Vibrato, Ornamentation Dynamics, and its phrasing Unit 4 Rhythm Devices Contribution of previous Articulation Phrasing Character of the movement Unit 5 Tessitura Contribution of previous Unit 6 Ornamentation Contribution of previous Repetition 87 Case Study 3. The Fuga in G Minor, BWV 1001 The G Minor Fuga will be assigned to the student in her fourth year. Both the Adagio and Fuga should be learned, however, only the Fuga will be examined for this paper. Out of all three fugues in the Sei Solo, the G Minor Fuga is the only one that will be part of my four-year curriculum. The other two fugues (A Minor and C Major) are not recommended for the student unless the student is well prepared in terms of technical excellence and theoretical knowledge of the genre. From my perspective, Bach’s fugues require much ‘academic maturity’ from the student in terms of understanding and studying, strong memorization skills, and physical and mental endurance. The G Minor Fuga is relatively shorter, with a lower level of complexity in terms of technique and musical challenges. Additionally, I personally believe that the student should have experience with one fugue in this set before completion of undergraduate studies. This allows the student to explore the genre of the fugue, and opens the possibility in the future for studying other repertoire, including the A Minor Fuga and the C Major Fuga. The Fuga in G Minor in HPP Introduction The Fuga in G Minor will be the most complicated movement for the student up to this point. The technique of playing on a Baroque violin and bow are still relatively new to the student. The challenges include an understanding of tone production, ornamental vibrato, gut strings (lower tension), and a more relaxed way of holding the violin and bow, including a lower level of the right elbow, different preference of bow strokes, and a different approach in the left hand technique. It is understood that for the 88 complexity of this fugue, study of the musical and compositional style will be ongoing. Therefore, each unit focuses on each rhetorical element for more than one week. One or more units can be included for a holistic approach that personifies HPP. The instructor must encourage the student to express her own rhetorical interpretation of complex musical contexts such as this fugue, while confirming her musical choices based on written texts and other historical evidence. Unit 1. Overview of Musical and Compositional Style of the Movement As a very first step in studying the G Minor Fuga, I recommend that the student become familiar with Bach’s two arrangements of this fugue for organ and lute. In different keys for each arrangement, Bach was clearly aware of the rhetorical affect of the instruments. The organ fugue is written in D Minor to avoid the unnatural register of the instrument that would occur if it followed the original text (G Minor).172 The instrumental differences between the organ, the lute, and the violin versions are discussed in detail by Schröder. The name fuga is taken from the Italian fugare, to chase.173 The subject indeed seems to ‘be chased’ in the music. The subject modulates or repeats with or without multiple stops as the music develops. The beginning of each section is determined by the presentation of the principal cadence.174 Lester concentrates on principal cadences for categorizing each section in the G Minor Fuga: the subject and hypothetical tonal answer from measures 1 to 4 emerge four times (D in measure 1, G in measure 2, one octave 172 Schröder, Bach’s Solo, 61. 173 Stevan Sretenovic and Jelena Adamovic, “The Interpretation of J. S. Bach’s Sonata No. 1 in G Minor for Solo Violin,” 34. 174 Joel Lester, Bach’s Works for Solo Violin, 58. 89 higher G in measure 3, and D in measures 4). The first full cadence is in measure 14. The second cadence is found in D Minor (the dominant of G Minor) in measure 24. The third cadence is in measure 55 (C Minor). The fourth cadence is in measure 64 in the relative major (Bb Major). The fifth section is in measure 87 (G Minor) while the sixth cadence and final cadence (measure 94) completes the movement.175 The second group of subjects presents in a circle of fifth sequence (D, G, C, and F) in measures 14-18 while the first group shows subject, hypothetical tonal answer, and episode in a quite simple yet clear fashion. Countersubjects in measures 2 and 15 (E flat, A, and D) also appear in identical fashion as the subject group. Through this study, the goal is for the student to envision how each subject is introduced, how differently, and where it is presented in the music for further rhetorical study. Unit 2. Score Study As was the case in the other movements studied in HPP, the student will study the composer’s autograph manuscript (Figure 7). Each section of the piece consists of three major compositional elements: subject, countersubject, and episode. In this Fuga, the subject is clearly presented in the first measure. It is important for the student to notice that the G Minor Fuga is based on a thorough understanding of these elements before going into further details in the rhetorical approach. The following are steps of instruction that I would use for the student in the first lesson. 175 Lester, Bach’s Works for Solo Violin, 58. 90 ,, 5 . . " ... -.... - - Figure 7. The Autograph Manuscript of the Fuga in G Minor176 176 Measure numbers are written on the left margin of the manuscript. 91 I \ • -~ - ~ · _· ~- -~:~ ~~$.!~ Figure 7. (continued) 92 The first step is to identify the number of voices in the Fuga. The student should be aware that a fugue can be divided into sections, consisting of the subject, the countersubject, and episodes. As with the other two cases studies, having a few study copies is adjustable. The first measure states the subject. The answer in measure 2 contains a modulation of the main subject in measure 1, starting a fifth lower. In measures 4 and 5, the main subject re-emerges. The first episode is introduced in from measures 6 through 13. This outlines the first section. The second section is from measure 14 to the middle of measure 24. Measure 24 to 54 is categorized as the third section while measure 55 to 73 is the fourth, and the last is from measure 73 to the end. In measure 14, the main subject in measure 1 recurs an octave higher. In the following measure (measure 15), the modulation of measure 2 is presented an octave higher as well. According to Schröder, the E flat on the top of the fourth beat of the quadruple stop (from the bottom: C, B, and E flat) in measure 83 is misplaced based on consultation with the two arrangements for organ and lute.177 While the organ score carries the section as chromatic, the lute part has the same E flat as the violin score. If E had been used in the violin manuscript, the music could have shown an unbroken chromatic motion as in the organ part. The second step is to find the structural notes from each section based on the study of the compositional structure for rhetoric, and identify each factor. Within the main subject in measure 1, the structural notes are D, C, and B. Measure 2 includes G, F, and E flat as the structural notes. Measure 3 presents the identical notes as measure 2, one octave higher, while measure 4 follows in fashion, but one octave higher. The structural 177 Schröder, Bach’s Solo, 63-4. 93 notes are more discreetly embedded in the first episode. The structural notes in measures 6-11 are presented in a more chromatic fashion and hidden in series of sixteenth notes (measure 6: E flat, measure 7: D, measure 8: E flat, measure 9: E, measure 10: F sharp, measure 11: D).178 The bottom note D in measures 11-12, and the bottom note C (downbeat) and A (the third beat unit of the measure) in measure 13 lead the section to the arrival of G in measure 14. Measures 14 and 15 present the main subject taken one octave higher. The change in the voice to the higher register implies more intensity in the upcoming passage. Indeed, the second section carries more multiple stops than the previous section. Instead of identical imitation of the main subject as in earlier measures (measures 1-5), measure 16 begins the subject on C. Measure 17 emphasizes the harmonic interval (fifth) of each subject from measure 14 to measure 17. Measures 14 and 15 function as a pair in their fifth relationship, as do measures 16 and 17. Measure 18 confirms the chain in descending fashion (measure 14 – D; measure 16 – C; and measure 18– Bb), even though the final arrival of the presentation of subjects is shown in measure 20 (A an octave lower). The structural notes in measures 21-22 are in the bass voice. The presentation of bottom notes in measures 22-24 almost seems to emphasize structural notes (A in measure 22, G - A - B in measure 23, A and D in measure 24). The subject in measure 24 begins the third section on beat three, an octave lower; however, the second voice enters two eighth notes earlier with supporting harmony. The harmonic progression in measures 24 and 25 seems to be identical to the ones in measures 1-2. Instead of presenting the subject again, measure 26 begins with a thicker texture of multiple stops (the end of measure 26 starts a third subject on C5). The 178 Except for measure 9 (third beat), the rest carries the structural note in the downbeat of each measure. However, structural notes can be found on the stronger beat (downbeat or third beat unit of each measure). 94 structural notes from measure 30 to 35 can be as seen as exceptions. To this point, the structural notes had been placed at the bottom of multiple stops. Measures 27-28 reveal structural notes one every beat, in dialogue between two voices. However, the bottom notes in multiple stops in measures 30-35 function as an accompaniment during the presentation of a descending scale that has an impression of sliding from the top note to the bottom due to slurs and repeated notes. Starting from measure 30, the structural notes are (Bb, A, G sharp, A, F sharp, G, E, F, D, E flat, C sharp; the first note of each eighth note slurred unit). The goal of these notes is D (downbeat) in measure 33. A similar interpretation is recommended for measures 33-34, with a final arrival of the cadence in measure 35. The interpretation of the bariolage measures, 35 to 41, will be discussed in detail in Unit 6. The episode continues with arpeggios in measure 42. Downbeats in measures 42-46 (D, G, C, and F) move through the circle of fifths to a G pedal on the downbeat of measure 47. Measures 49 through 54 bring this section to a close, with a full statement of the subject in measure 50 and structural notes used to cadence to the new section, which is in a sublime B flat Major. The fourth section begins on C in measure 55. Through enterances of each subject in measures 55-58, the texture adds intensity with multiple stops in measures 61 and 62. The cadence brings us to a gentle B flat Major episode in sixteenths, measures 64 through 73. From measures 69 to 73, there is a pedal D until the subject emerges in measure 74, progressing in a descending scalar fashion and serving as a transition to the next episode. An identical figure (a modulation of the subject) to the initial subject with D in measure 1 breifly emerges in measure 80. The D in the lower octave in measure 82 presents the 95 fugal subject for the last time before the G pedal in measure 87 which marks the coda. From measure 89, the ascending bass line notes should be emphasized: G in measures 88; A in measure 89; B - C in measure 90; and D in measure 91. The penultimate bar (measure 93) features a long melisma, which is under one slur in the autograph manuscript. This final flourish carries the work to completion. Unit 2 might take more than two weeks to study, therefore, flexiblity should be built into the timeline. It is critical for the student to know the form of the Fuga, its structural notes, and subjects. This knowledge will function as foundation for further rhetorical study. Unit 3. Affect and Tempo Key Affect According to the chart by Tarling,179 the affect of G Minor can be interpreted as sad (Rousseau, 1691), serious and/or magnificent (Charpentier, 1692), as full of the most beautiful grace and kindness (Mattheson, 1713-9), or sweet and tender (Rameau, 1722). The range of G Minor’s affects is from sad to sweet. My suggestion for affect is based on the fugal subject. I claim that irs affect is serious yet most beautiful, grace, and full of kindness. Tempo Affect Quantz warns about “the danger of allowing the players to decide the tempo amongst themselves.”180 Based on this quote, Tarling suggests considering three factors 179 Tarling, The Weapons, 77. 180 Tarling, Baroque, 29. 96 for choosing a tempo: 1) time signature, 2) written word description (e.g. dance music), and 3) speed of harmonic motion.181 Leopold Mozart states that the tempo should indicate a cheerful yet moderate speed rather than rushed. The G Minor Fuga is exceptional among all movements in the Sei Solo in that Bach assigns Allegro as a tempo marking for the movement. The time signature in the Fuga is alla breve. Schröder considers it to be a vivace in spirit, with two beats per measure.182 The overall fugal structure should contain a steady speed despite slight modifications based on rhetorical flexibility. The exception is the coda starting from measure 87, where an accelerando lends an improvisatory flourish leading to the final cadence.183 Schröder’s suggested metronome marking is 76 to the quarter note. According to Fabian, the average tempo among HPP recordings is 66 to the quarter note across all of her studied recordings since 1903.184 The trend in performance tempi in the past thirty years (from 1977 to 2010) has been to slow down.185 The title of a movement often gives an indication of or specific information about tempo, particularly labels like fuga, canzonas, allemande, entrée, gigue, and courante. Because the title sets a compositional premise for tempo, one can demonstrate more agreeable speeds to promote rhetoric in the delivery. Later in the Baroque period, titles provided more of a general mood description. The time signature should be noted in choosing tempo. My tempo suggestion for the G Minor Fuga follows many of Tarling’s suggestions. The time signature provides the most important information about the tactus 181 Tarling, Baroque, 29. 182 Schröder, Bach’s Solo, 65. 183 Ibid. 184 Fabian, A Musicology, 132. 185 Ibid. 97 in this movement. If performed at too slow a tempo, both the alla breve sense and the allegro are lost. Unit 4. Rhythmic Devices, Phrasing, and Dynamics Due to the characteristics of polyphonic music, the rhythmic devices in the first section can be narrowed down to several repeated patterns, all taken from the subject in measure 1: one eighth rest with three repeated eighth notes followed by one eighth note with two sixteenth notes and two eighth notes. In the G Minor Fuga, the first rhythmic pattern is not only a rhythmic framework for the main subject, but also provides a rhetorical plan for phrasing and dynamics. Unit 5. Chordal Playing Schröder states that chordal playing should be planned based on the affect and function of each chord. The timing for chords is generally either before or on the beat without leaving the bottom note or bass line too soon. The bottom note (bass note) of the chord arrives on the beat. The speed of arpeggiation of a chord differs based on the rhythmic value. If it is in a longer rhythmic value, departure from the bottom note is delayed. For the shorter-value notes, the bottom note leaves sooner yet not in a rush. This follows the HPP precept, ‘from the bottom up.’ Ritchie suggests not to consider the following delivery: “ta-WHA!” “ha-CHOO!” and ”ta-wha-CHOO!”.186 As noted in Unit 2, a different technical formula for structural notes should be considered, especially when they are placed as a bottom note in the chord. 186 Ritchie, Accompaniment, 101. 98 Unit 6. Interpretation of Measures 35-41 The G Minor Fuga is well-known for its ambiguity in interpretation of the bariolage passage, a subsection of the third section’s episode, from measure 35 to 41. Based on theoretical structure, this passage can be divided into two sections: measures 35-37 and measures 38-41. Before examining how this can be done based on proper rhetoric, comparison in performance solutions of HPP musicians can be made to see diversity in interpretation existing between MSP and HPP performers alike, and within each discipline. According to Fabian’s observations and analyses of numerous HPP and MSP recordings,187 the styles of interpretation can be categorized differently based on sections: measures 35-7; measures 38-41; and the whole passage from 35 to 41. Fabian has abridged her observations in the “Summary of basic differences in executing bars 35- 41 of G Minor Fuga.”188 According to this summary, measures 35-7 are interpreted as 1) arpeggiated thirty-seconds, 2) chords and eighth notes, 3) sixteenths, and 4) soft or loud.189 Indeed, notable differences in measures 38-41 appear in the treatment of this passage among HPP musicians. Delivery of measures 35-7 by many HPP musicians, including van Dael and Schröder, is in arpeggiated thirty-seconds. There is greater variety presented in measures 38-41, although the two most common types of interpretation in this section are arpeggiated thirty-seconds or sixteenths. Van Dael and Tognetti execute the section slightly differently (sextuplets slurred in groups of three notes) from the rest of the musicians, even though Fabian has put them under the column of arpeggiated thirty-seconds. This delivery is based on arpeggiated thirty-seconds for the whole passage (measures 35-41) without any change. Regarding dynamic differences, many HPP 187 Fabian, A Musicology, 186-7. 188 Ibid., 187. 189 Ibid. 99 musicians prefer to maintain the whole passage piano, except Van Dael (cresc.) and Schröder (forte). Thus, the preferred interpretation of HPP musicians in measures 35-41 is arpeggiated thirty-seconds, even though the delivery varies from one performer to the next. For this section, it is posited that Bach would have written the words arpeggio or arp if that was his intention, according to Neumann.190 His argument takes as an example of the D Minor Ciaccona (measures 89-120) where the word arpeggio does appear. The G Minor Fuga does not include any such direction. Fabian states, “The recorded history of the works indicates no arpeggiation in this episode until the 1980s.”191 She also adds, “In my collection of over 60 versions, proper arpeggiation (arpeggiated in thirty seconds) is found only in those listed.”192 For the case of arpeggiating only in measures 35-37, Schröder, Huggett, van Dael, and Wallfisch are exemplary. Huggett and van Dael execute measures 38-41 as arpeggiated thirty seconds. Brooks, Kuijken, Podger, Matthews, Holloway, and Benznosiuk arpeggiate thirty-seconds for the whole passage (measures 35-41). Fabian’s research confirms a preference (for arpeggiation in thirty seconds ) among HPP performers for measures 35-41. Conclusion As the G Minor Fuga requires deeper knowledge of rhetoric in the HPP model, the instructor should help the student not to get discouraged during the process. In HPP, the student will follow several steps in studying the G Minor Fuga. Firstly, understanding of the fugue and identification of fugal elements (the subject, the countersubject, and the 190 Neumann, Some Performance Problems, 27. 191 Fabian, A Musicology, 189. 192 Ibid. 100 episode) should be completed, followed by the identification of number of voices and their harmonic relationship. This fundamental process will aid her to identify the structural notes. After these first three steps are completed, the student may move onto the affect. As previously stated, the affect of G Minor is serious yet most beautiful, grace, and full of kindess. The G Minor Fuga has a marking of affect: Allegro. This marking reflects the characteristic of the time signature (alla breve). Therefore, it is important for the student to consider the tempo that presents these characteristics properly. For the chordal playing, the technical aspect is different. The chords are arpeggiated and their bottom notes (bass notes) arrive on the beat, rather than before the beat. The timing for the arpeggiation differs based on the rhythmic value of the chord. Through this movement, the student will have an opportunity to make a decision in a musical interpretation (measures 35-41). My recommendation for this section is to arpeggiate in thrity seconds as other HPP performers had in Fabian’s research. The main pedagogical goal in this movement is to allow the student to explore the fuga with the training that she has had for last four years. The Fuga in G Minor in MSP Introduction With MSP, the G Minor Fuga is assigned in the spring semester of the senior year. The work functions as a final arrival for the undergraduate student while preparing for future study of movements such as the A Minor Fuga, the C Major Fuga, and the D Minor Ciaconna. 101 The technical hurdles in the G Minor Fuga provide an opportunity for the student to perform various technique in a comprehensive musical context. Advanced musicianship with understanding of the Fuga is required. Clear and even tone production is still the priority both in single-note melodic sections and in multiple stops. Prior to the study of the G Minor Fuga, the student is expected to be able to execute seamless bow changes along with smooth transitions from one stroke to another, as well as the ability to execute accurate intonation and prompt preparation of left fingers. Especially, the challenges for double stops and multiple stops are highlighted in terms of bow execution. Success in clean execution of multiple stops is related to clear tone production and strong left hand technique. The G Minor Fuga is the first fugue studied of the three (the G Minor, the A Minor, and the C Major). The structure is less complicated relative to the other two fugues due to its short length. Theoretical harmonic analysis will promote understanding of the compositional structure. As before, the Galamian edition (Figure 8.193) is used in studying the Fuga in G Minor. The student is asked to label fugal subjects and episodes. The identification of all theoretical aspects of the fugue helps with musical comprehension, and aids her technical choices. 193 Bach, Six Sonatas and Partita, ed. Galamian, 2-4. 102 Figure 8. Galamian’s Edition of the Fuga in G Minor194 194 Bach, Six Sonatas and Partitas, ed. Galamian, 2-4. 103 J ¥¥-fDJ I •fDJ ttlJ I E!ID •U f ' I !!D WJ. !l!) BB! seguo for three more bars. 2525 Figure 8. (continued) 104 --- 2 -$2 -5 -------- -= Figure 8. (continued) 105 Unit 1. Left Hand Technical Issues Fingering Choices and Position Choices In keeping with MSP aesthetics, Galamian’s editorial bowings and fingerings are followed. However, at the end of the senior year, the student is given much more personal latitude. For example in measure 4, she may choose to stay in first position for the downbeat doublestop. Another possible fingering for measure 4 would be to shift to the third position. This suggestion allows the student to shift only once into third position with an extension back to handle the C and F sharp double stop. Along with this, the shift to the first position on D after the double-stop will also eliminate additional shifting on the downbeat of measure 5. During the first lesson, the instructor should observe and evaluate two factors: whether the student’s own fingerings cause any musical and/or technical problems, and more importantly, whether musical expression is being sacrificed to technical comfort. The generation before Galamian had a strong preference for certain positions (first, third, fifth, and seventh).195 Yet, Galamian’s teaching seeks “an equal footing”196 for all positions, and this should be reflected in the student’s fingering choices. Due to these reasons, following the printed fingerings, at least at first, is worthwhile. Chord Preparation and Musical Outcome In MSP, the word "beautiful" often translates to a lush sound where all notes tend to be treated equally. This affects the treatment, or "breaking," of a chord, how many 195 Galamian, Principles, 32. 196 Ibid. 106 notes are heard at once, and for how long. For the student, one of the biggest challenges is in executing several multiple stops in a row without misrepresenting the MSP ideal. Compared to the E Major Gavotte, the chord work in the Fuga is much more complex. Most three-note chords can be delivered easily with rapid bow speed and stronger attack of the bow in order to land multiple strings simultaneously. However, this approach may cause an undesirable attack or disrupt a musical uniformity. The three-note chords often works best when executed without any break (“the Unbroken Chord”).197 In measures 30 and 31, a series of suspensions in the soprano voice complicate already dense chordal writing. In a purely technical setting, Galamian’s suggestion for this type of chord work is “to suspend the bow slightly above the middle string, then to drop it straight down for a good solid grip on the strings.”198 He goes further, however, to say, “The motion is performed by the whole arm ... the dropping must be made with flexible (though not too loose) springs ...”199 The direction of this drop should “be vertical for the simultaneous attack”200 to make the attack more precise, and clear with less forcing. The application from the air is recommended as it brings more energy from the whole arm motion. The vertical dropping of the bow and the horizontal drive of the bow are the main factors in chordal playing. The weight on the string should be judicially applied: not too light, nor too heavy, in order to produce an ideal sound. The bow is kept close to the string. Galamian states that the student should be able to execute chords in any part of the bow, either up or down-bow.201 Even though the student has now been 197 Galamian, Principles, 88. 198 Ibid., 90. 199 Ibid. 200 Ibid. 201 Ibid. 107 practicing chords as part of Basics, the musical complexity of the G Minor Fuga might bring unwanted roughness, as “the slightest miscalculation can lead to tonal failure.”202 In some cases, the three- and four-note chords should be approached differently. Especially in cases where chords initiate episodes or any melodic flow, one needs to consider the “broken chord”203 as a viable option. The procedure can be understood in two ways: 2+2, having the middle notes of the chord as a pivot; and 2+1, leaving top note only.204 The first category serves four-note chords, and the second for the three-note chord. Variations on these two templates allow the student to bring out any single line embedded in the chord. The second category is frequently found in the G Minor Fuga. The representative example is the three-note chord on the downbeat in measure 6, where the performer needs to deliver the top note alone to show the beginning of the first episode. For most four-note chords, the “broken chord” is used. According to Galamian, the four-note chord has various ways to break it. The most common way is 2+2; however, other ways exist, such as 3+2, 1+3, 1+1+2, and 2+1+2 also apply.205 Each number stands for number of notes.206 The left hand should always anticipate the bow arm in preparation. The whole right arm moves as a single unit in the breaking of chords. The first note (bottom) of the chord is usually placed before the beginning of the beat, placing priority on the subject, or moving line, over the bass. In general, the tradition of MSP has the melody (or the fugue subject in this case) uppermost in order to highlight the melodic material. Placing a chord before the beat minimizes the bass line and highlights the upper 202 Galamian, Principles, 88. 203 Ibid., 90. 204 Ibid., 88. The bold number indicates the note left in the end of the chordal process to be presented a full rhythmic value. 205 Ibid., 88-9. 206 Ibid., 89. 108 voices. The two bottom notes are often played together. This also reduces the impact of the bass line.207 Unit 2. Right Hand Technical Issues Bow Strokes Used At this level, almost all the advanced bow strokes are used. They include: 1) the Son filé (“the very long sustained tone”208); 2) the détaché, and all its subtle variants (usually executed in the mid- to upper half of the bow); 3) the spiccato, and all its variety of lengths (usually used in the lower third of the bow); 4) the bariolage; and 5) the whip (fouetté). The fouetté is usually associated with virtuoso repertoire, however, at the softer, subtler level, this technique offers a degree of consonant articulation, thus reflecting HPP values, but at the tip. A brushy spiccato can be used at the frog to substitute for the two eighth notes with a portato marking in measures 6, 11, 17, 18, 21, 24, 52, 53, 60, 61, 62, 80, 81, and 83, depending on the technical comfort and musical interpretation of the student. The boundaries between strokes are quite subtle based on the musical interpretation of the musician. There are a few bow strokes not represented: 1) the sautillé, which requires a faster tempo than customary for a fugue; 2) the slurred staccato, and 3) the classic martelé. However, one could see the portato stroke as a "softened" martelé. A skilled MSP performer uses a grey area BETWEEN the martelé and the variants of the détaché to craft a variety of consonant attacks. 207 Fabian, A Musicology, 190. 208 Galamian, Principles, 61. 109 Bowing Choices The bowing choice for the fugal subject in measure 1 is crucial. My bowing choice for the fugal subject is up-bow as is printed. Indeed, each entrance of the subject is suggested to play with an up-bow. If it begins with a down-bow, the following subjects in measure 2 and 3 will be in a different bowing: up-bow. Unified bowings allow the student to present the fugal subject with more similar timbres each time it recurs. This is especially helpful when the subject is hidden in a lower voice. The bowing for chords in a series, such as measure 21, 58, 59, 61, 62, 85, and 86, is straightforward. It is possible to consider taking all down-bows, however, it might disturb a musical phrase. The main goal in this passage is to minimize a change in sound between a down-bow and an up- bow. From measure 35 to 41, the bariolage is suggested. In the strictly pedagogical setting, Galamian addresses this effect as a ricochet.209 However, the crossing of multiple strings at a slower tempo still represents the arpeggiated chord, even though it is played on the string. Galamian makes a clear suggestion for execution on the bottom of page 3 in the International Music edition. The student should be familiar with the compositional form of a fugue. The musical style for this movement is comprehensive with polyphonic and homophonic characteristics, and its form has been analyzed earlier in my paper. Unit 3. Musical Issues Tempo The “Allegro” marking helps guide the MSP performer with regard to tempo as it does followers of HPP. According to Fabian’s research, the preferred MSP metronome 209 Galamian, Principles, 81-3. 110 marking is approximately 72.210 Inconsistency in tempo is a common problem for all students at some point in a fugue. For example, the sixteenth note episodes should never be played in a faster tempo while the chordal sections are in a slower tempo. Consciencious work with a metronome and feedback from the instructor help guard against this. Phrasing Musical phrasing is dictated by the compositional structure. Each subject, countersubject, and episode should be clearly delineated. The student may consider placing a small breath to mark the entrance of each new section. This suggestion can be applied in an infinite number of musical settings. Vibrato and Ornamentation In the tradition of MSP, a narrow but fairly consistent vibrato is often used to amplify the imprtance of each note. As continuous vibrato is a goal, the student should maintain relaxation in the left hand. This should be continued especially for chords. For episodes, vibrato can be used to emphasize an arrival. Dynamics and Phrasing Due to the absence of printed dynamics, a dynamic scheme should be planned based on chordal density and presentation of the subject within that texture. Episodes are often driven by tessitura. I suggest beginning in mezzo forte to introduce the fugal subject. The thickness of the homophonic texture can influence the dynamics. A chord 210 Fabian, A Musicology, 132. 111 will naturally be louder; this must be factored in when crafting an overall dynamic scheme. In each episode, a dynamic is raised, as the melodic line goes higher. Each section with fugal subject, countersubject, and episodes has a certain dynamic within its boundary; however, the larger dynamic scheme for this fugue should be more subtle. Technical difficulties should never cause any sudden undesirable dynamic changes. Conclusion The Fuga in G Minor is an arrival point for the student, yet a beginning of further study. New and complex chord work is demanded of the performer: the left hand must be accurate yet stay relaxed, and should anticipate the bowarm. In general, chords are placed such that: 1) the “melody” (subject, in this case) is featured rhythmically, 2) chords are represented in a fuller polyphony with full value of the printed note represented if possible, and 3) the beauty of sound is never compromised. Stamina, both mentally and physically, is also addressed. This movement challenges her to achieve both musical and technical success in a more complex context. It also allows her to present her effort and commitment in the highest musical context, the fugue. The comparison between HPP and MSP approaches to teaching is shown in the following (Table 5.). 112 Table 5. Comparison of HPP and MSP in the Fuga in G Minor HPP MSP Timeline Spring Semester in Senior Year Spring Semester in Senior Year Unit 1 Overview of Musical and Left Hand Technical Issues Compositional Style of the Movement Unit 2 Score Study Right Hand Technical Issues Unit 3 Affect Musical Issues Key Affect Tempo Tempo Affect Phrasing Vibrato and Ornamentation Dynamics and its phrasing Unit 4 Rhythmic Devices Phrasing Dynamics Unit 5 Chordal Playing Unit 6 Interpretation of Measure 35-41 113 CONCLUSION The four-year course using the Sei Solo for the undergraduate student has mostly been left to individual instructors to design in the oral tradition of MSP. Fabian’s research shows a change in MSP performers in that they have begun to show influence from HPP. Many MSP performers have reflected various factors, such as range of tempo, lighter bow technique, and other types of techniques that can be found in HPP recordings and performances. In addition, more students have become involved in courses and opportunities for period ensembles at college. It is clear that HPP and MSP have different ideals. In HPP, firm rhetoric based on contemporary and modern treatises and a holistic, comprehensive approach should be prioritized. In this rhetorical approach, the performer delivers an oration (like a speech). In MSP, on the other hand, a singing quality is prioitized. The student applies techniques learned from Basics to the repertoire in the mold of the instructor. Through the refinement of technique, the music is revealed. Through comparison of these two approaches, the student can expand her musical path whether in the HPP or MSP model, or somewhere in between. It is my goal that a college student should be comfortable with different stylistic approaches that make her grow beyond her pre-college experience. HPP, with its comprehensive and holistic emphasis, is well-suited to address that goal. The Sei Solo is a good example of musical repertoire that can serve as a tool for her musical growth. Furthermore, exploration of the HPP approach provides her “a springboard towards an expressive, and personally authentic, rendering of the music”211 as a starting point. In the course of HPP study with the Sei Solo, the rhetoric aids to idetify the structural notes, 211 True, “A Modern Violinist’s Introduction to Early Music and Historical Performance Practice.”, 228. 114 identify the influence of the affect in tempo (time signature), key signature, and tessitura; functions of rhythmic devices; planning phrasings, and dynamics along with the technical aspect to suppor the rhetoric to deliver a speech properly. With an understanding of rhetoric, an open mind and new performance skills, she will be nurtured in her music studies after graduation. 115 LIST OF FIGURES Figure Page 1. The Autograph Manuscript of the Allemanda in D Minor ...................................... 32 2. Bass Line Extract ...................................................................................................... 33 3. Ritchie’s Suggestions in Low Positions ................................................................... 41 4. Galamian’s Edition of the Allemanda in D Minor ................................................... 45 5. The Autograph Manuscript of the Gavotte en Rondeau in E Major ....................... 58 6. Galamian’s Edition of the Gavotte en Rondeau in E Major .................................... 77 7. The Autograph Manuscript of the Fuga in G Minor ............................................... 91 8. Galamian’s Edition of the Fuga in G Minor .......................................................... 103 116 LIST OF TABLE Table Page 1. The Reference List in the HPP Approach ................................................................ 13 2. The Reference List in the MSP Approach ............................................................... 15 3. Comparison of HPP and MSP in the Allemanda in D Minor ................................... 54 4. Comparison of HPP and MSP in the Gavotte en Rondeau in A Major .................. 87 5. Comparison of HPP and MSP in the Fuga in G Minor ......................................... 113 117 REFERENCES CITED Bach, Johann Sebastian. Three Sonatas and Three Partitas for Solo Violin, BWV 1001- 1006. Edited by Günter Haußwald, revised by Peter Wollny. Kassel: Bärenreiter-Verlag, 2001. ---. Sonaten un Partiten, BWV 1001-1006 für Violine Solo. Edited by Carl Flesch. New York: Edition Peters, 1948. ---. Six Sonatas and Partitas for Violin Solo. 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