Bach Sarabande in B Minor

Edited: September 11, 2020, 6:23 PM · Hello, everyone. I am currently working on the Bach B minor Sarabande and Double.

I was wondering what suggestions you all may have. In particular I'm struggling with measure 12 (making the last chord sound good) and measure 16 (it's never consistent for me)

Thank you very much.

Replies (9)

Edited: September 11, 2020, 5:47 PM · Please add a title! We can’t access it without editing the URL numbers... makes it difficult for everyone to participate and give you the answers you need.
September 11, 2020, 6:23 PM · Thank you so much. I am new to this site and didn't realize
Edited: September 11, 2020, 7:45 PM · In my edition (Barenreiter) those measures are probably # 11 and 15.
All those 4-note chords are examples of how it can be better to roll/arpeggiate the chords instead of breaking/crunching them. And it is OK to play some chords up-bow. You don't have to have all 4 fingers down simultaneously. Delay the E-string finger until you release the G-string note, and release the G-string finger when you get to the E-string note. Hope that makes sense.
For the Double, I know Bach never went to Ireland, but it is so much like an Irish 9/8 slip gig that I added Irish style slurs. It would be presumptuous of me to actually perform it that way in public.
Edited: September 11, 2020, 8:34 PM · I add lots of slurs anyway to the Double, but probably the reverse of Irish jig style. You could do it without, but it is harder to get the right expression of dreamy recollection, IMO.

In bar 11, break the chord and finger 20-42. Remember that the low B is part of a group of D, C#, B, A, played 4-3-2-1. So don't twist your hand too much-- keeping it somewhat in place will allow you to start each chord correctly.

In bar 15, you have on the three beats an octave and a fifth, then different perfect 5ths on the next two, respectively. Never easy, but focus on those perfect intervals in particular. Also, try to relax and get the lower two strings in tune-- the upper half of each chord should follow.

It's not an easy movement, though.

September 12, 2020, 2:18 AM · Thank you very much everyone, I appreciate it!
September 12, 2020, 4:42 AM · The other thing, which I was reminded of while sampling bows, is to keep your right hand as relaxed as possible. It will make the chords speak more clearly, and help prevent the left hand from tightening.
September 12, 2020, 10:19 AM · I have noticed that myself. I think sometimes when I do relax my hand I move the bow a bit too fast as well
September 12, 2020, 5:22 PM · Go through the Sarabande and the Double side-by-side so that you can appreciate the parallel structure and harmony. This will help make a "set" of the two pieces if you perform them together. It's common to have a movement and its "double" on a program if you're not doing the whole Partita because they are contrasting in style and tempo. I agree wholeheartedly with Joel that the double resembles a jig but I don't think that means you need to take it real fast.
September 12, 2020, 11:42 PM · That's what Ive been doing Paul, I've noticed the how the doubles follow the chord progressions of the movement.


Facebook Twitter YouTube Instagram Email

Violinist.com is made possible by...

Shar Music
Shar Music

Yamaha Silent Violin
Yamaha Silent Violin

Sejong Music Competition
Sejong Music Competition

Violinist.com Guide to Online Learning
Violinist.com Guide to Online Learning

Corilon Violins
Corilon Violins

Pirastro Strings
Pirastro Strings

Dimitri Musafia, Master Maker of Violin and Viola Cases
Dimitri Musafia, Master Maker of Violin and Viola Cases

Antonio Strad Violin

Bay Fine Strings Violin Shop

Bobelock Cases

Fiddlerman.com

Fiddlershop

Los Angeles Violin Shop

Nazareth Gevorkian Violins

Violin-Strings.com

Laurie's Books

Discover the best of Violinist.com in these collections of editor Laurie Niles' exclusive interviews.

Violinist.com Interviews Volume 1
Violinist.com Interviews Volume 1, with introduction by Hilary Hahn

Violinist.com Interviews Volume 2
Violinist.com Interviews Volume 2, with introduction by Rachel Barton Pine

Subscribe