6 Suites Pour Violoncello

Abstract

An exact chronology of the suites (with respect to both the order in which the suites were composed and whether they were composed before or after the sonatas for violin solo) can not be fully established. However, scholars [who? ] Generally believe that, on the basis of a comparative analysis of the styles of sets of works, the Cello Suites emerged in the first place, effectively dating the suites before 1720, the year on the first page of the autographic Bach, of violin sonatas. The suites are located in six movements each, and have the following structure and order of movements. Prelude Allemande courante Sarabande Galanterie - (Minuets Suites 1 and 2, 3 and 4 bourrées, gavottes of 5 and 6) jig Suite No. 1 in G major, BWV 1007 The Prelude, mainly consisting of arpeggiated chords, is probably the best known movement of the whole suite and is regularly heard on television and enpelículas. Most students begin with this suite, as it is supposed to be easier to play than others in terms of technique required. Suite No. 2 in D minor, BWV 1008 The prelude consists of two parts, the first of which has a major recurring theme that came immediately on startup. The second part is a scale based movement cadenza that leads to the final chords, powerful. The subsequent Allemande contains short cadenzas that deviate from this form of dance otherwise very strict. The first Minuet contains demanding chord shifting and string crossings. Suite No. 3 in C major, BWV 1009 The Prelude of this suite is composed of an ABAC form, where A is a scale based on movement that eventually dissolves into a strong hand arpeggio, and B, where you enter the cellist of the position of the thumb, it is necessary [citation needed] to reach the demanding chords. Then, return to the issue of scale, and ends with a powerful and surprising chord movement. The Allemande is the only movement in suites that features a beating, which consists of three sixteenth notes instead of one, which is the standard way. The second Bourrée, though in C minor, has a 2-plane (or in G minor) signature key. This notation is common in pre-Classical music, is sometimes known as a partial signature key. The Bourrée I and II of the third series is sometimes used as material for solo bass instruments such as tuba, euphonium and trombone. Suite No. 4 in E flat major, BWV 1010 Suite No. 4 is one of the most technically demanding of the suites from my flat is an uncomfortable key to sing in the cello and requires many positions of the left hand extended. The prelude consists mainly of a hard shaking movement that flows leaving room for a cadenza before returning to his original theme. The Sarabande is quite quiet dark on the rate noted in the second place, which is the basic characteristic of the dance of 3 / 4, since in this particular Sarabande, almost all the first time contains a string, while the second hit more often not. Suite No. 5 in C minor, BWV 1011 Suite No. 5 was originally written in scordatura with the A-string tuned to G, but now a standard tuning version is included in almost all editions of the suites, along with the original version. Some chords must be simplified when playing in standard tuning, but some melodic lines easier that way. The prelude is written in a form AB, and is a French overture. It begins with a slow and emotional range that explores the depth of the cello. After that comes a fast and very demanding of a drain line that leads to the final powerful. Suite No. 6 in D major, BWV 1012 The general opinion is that the set of sixth composed specifically for a five-string violoncello piccolo, cello small, about the size of a normal 7.8 cello has a higher fifth string tuned to E, a perfect fifth above the another upper chain. But some say there is no substantial evidence to support this claim: whilst three of the sources inform the player that is written for an instrument "a cinq cordes", only Anna Magdalena Bach manuscript 's indicates that the tuning of the strings and other sources do not mention any intended instrument at all.