RRR RRR RE RRRRKRR RRR RRR KR RK ER BREE RRR KR RR RRR RRR RRR RRR RRR RRR RK RR KE RRR RRR EERE RERERERAEAAA AR RRR RRR RRR RR RRR RRR RR RRR RK RRR RRR RRR RRR RAR RRR RRR RRR RRR KR RK RRR RRR RRR KLEE RRR RRR RRR RRR RRB R RRR RRR RR RRR RRR RRR RRR RR RRR RRR RRR RRR RRR RRR RR KR RRR RRR RRR RRR RRR RRR RRR RRR SRR RR ek RRR SRR RRR RRR RRR ER RRR RRR RR ER akectecheoke ake aiecke ake ako ok ok ok SRR RR RR RRR ER Suite No. 1 in G major for Unaccompanied Double Bass J.S. Bach Transcribed by Jeff Bradetich Recital Music RM102J.S. Bach - Suite No.1 in G major (BWV 1007) Programme Notes by Jeff Bradetich The Cello Suites of Johann Sebastian Bach (1685 - 1750) have become standard repertoire for double bassists who strive to play at the very highest level, and rightly so. The Suites represent some of the most sublime music ever played on the double bass and impose some of our biggest musical and technical challenges. This edition provides two versions of Suite No. 1 in G major - one with my detailed fingerings and bowings, and the second with no markings at all to allow the performer to establish their own markings and interpretation. The original form of early suites consisted of four dance movements - Allemandc, Courante, Sarabande and Gigue. The Prelude evolved at a later date as an improvised instrumental introduction and, although Bach's preludes are not improvised but are clearly notated, they still allow the greatest freedom in choice and variation of tempos in all the suite movements. The Allemande is a walking dance in duple meter, characterised by long phrases with semiquaver (16th note) movement - clearly evident in the opening phrase which runs for three and a half bars. ‘The Courante is a running dance in 3/4 time, using the French spelling but the Italian meaning of ‘fast’ and is a very lively dance, usually with the fastest tempo of all the movements. This movement provides an excellent example of one of the major musical considerations when playing Bach - to identify and bring out the important (ie. melody) notes of the line. In bars 1 and 2, both the second and third notes (D and G) are not melody notes and should be played with less expression and emphasis than the surrounding notes. In bars 14-15 and 36-37 the melody note is the fourth of each four- note grouping and should be brought out with more emphasis than the first three notes. The Sarabande is a walking dance in triple meter - solenin yet majestic music with an emphasis generally on the second beat. During the Baroque era, string instruments could not create an accent as we do today, with a sharp attack or bite of the bow, instead the emphasis in the music was created by using other means, often in combination with one another: Harmonic - stress-release, dissonance-resolution, sighing motive or appoggiatura; Speed of Bow - faster speed usually at the beginning of the bow stroke; Agogic - taking time on the note of emphasis; and Vibrato - using either vibrato or non- vibrato to help create the stress or emphasis. The Minuet is a stately walking dance, usually in 3/4 meter and Bach used minuets, bourrees or gavottes in the Cello Suites to give them their six movement symmetry. The minuet was one of the most popular dances of Bach’s day, was the only movement still danced during his lifetime and the tempos can often cause confusion for the performer. He wrote the first Minuet in G major and the second in G minor, with significantly different material. To determine an appropriate tempo, examine the material and determine how much time is needed to express that material. Is Bach emphasising one beat per bar, or three? My recommendation is a slower tempo in the first Minuet because it has a feeling of three beats to a bar, and a faster tempo in the second Minuet because it seems to flow more naturally in one.The Gigue is a jumping dance in 12/8, 6/8 or 3/8 and the question of bowings for this movement is quite controversial. Four basic options exist: 1) three notes slurred, three notes slurred 2) two slurred, one separate, two slurred, one separate 3) one separate, two slurred, one separate, two slurred 4) syncopated with common notes tied over beats In order to decide on the bowing, the nature and spirit of the Gigue needs to be explored and then the correct bowing which brings out the spirit can be determined. Technical Considerations The demands of the Bach Cello Suites, on both the right and left hand, are more advanced and complex than almost any other work in our repertoire and therefore would recommend the following concepts be well established before attempting to play the solo suites on double bass. Ml Four standard thumb position fingerings in different keys: 1) Courante (bar 13, first beat) 2) Courante (bar 33, first and second beats) 3) Minuet 1 (bar 9, first and second beats) 4) Gigue (bars 21 and 29, first beat - fingering below the stave) i Use of the thumb closed on non-harmonic notes - not just on G and D harmonics: 1) Prelude (bars 15 and 17) 2) Prelude (bars 21 and 22) lM Perfect 4ths played with 1-2 or 2-3 in the middle positions, and in thumb position, to create the necessary connection from one note to the next: 1) Allemande (bar 24, first and third beats) 2) Courante (bar 10, third beat) @ Not shifting in slurs in order to eliminate the more romantic sound of shifts: 1) Sarabande (bar 7, first beat) 2) Sarabande (bar 14, second and third beats) I The ability to cross strings smoothly, when playing slurs and separate bowings, with control and flexibility in the right hand: 1) Prelude (entire movement) Generally, fingerings should be based on musical considerations as a first priority not necessarily based on the ease of playing those notes. A good example is the fourth bar of the Prelude, which is the resolution of the opening three bars, therefore demanding a similar sound and approach. When played on the cello the music innately calls for many string crossings which create an overlapping and more resonant sound. In this edition that ideal is emulated in the first four bars and maintained throughout the movement. Bach, when played well on the double bass, can be one of our instrument's crowning achievements and through study, insight and innovation we can make this happen. Good luck! Jeff Bradetich Denton, Texas (2002)SUITE NO.1 in G major for Unaccompanied Double Bass Johann Sebastian Bach Transcribed by Jeff Bradetich Prelude o+ 32 o1se2 ——— a1 1 Iat Int a ae me. Ga aa i, mt ino ot t mam ‘- 7, 143 8 2 cee Se aT 1 W urn mat See “ss pte 1 10 1 1 —___m is [SS 6 12 oe eC eo Ee eS MMF Int wi ae 7 ose bet. Ceeeee o1s2 st Int as, v2 a ——s Asta 1 IV? 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