The Sarabandes from J. S. Bach's Six Suites for Solo Cello: An Analysis and Interpretive Guide for the Modern Guitarist

The purpose of this dissertation is to present a comparative analysis of the sarabandes from the six cello suites. Six individual analyses each address the following elements: harmonic reduction, the relationship between the large-scale harmonic and metrical structures, the melodic elaboration of the harmonic-metrical structure, and the type and prevalence of sarabande rhythm. A summary at the end of each analysis provides a cumulative comparison of the results. Knowledge gained from this exercise will provide insight into Bach's conception of the genre by identifying both those features that stylistically unify the sarabandes as well as those that make each unique. In addition, the author will demonstrate the relationship between analysis and interpretation, using the sixth sarabande as an example. This interpretive process will also take into account the idiomatic nature of the guitar.

Grantor dc:publisher

University of North Texas

Year dc:date

2007

Author dc:creator

• Todd, Richard

Contributors dc:contributor

• Johnson, Thomas
• Dworak, Paul E., 1951-
• Lewis, Philip (Violinist)

• interpretation
• sarabande
• cello suites
• guitar
• Bach, Johann Sebastian, 1685-1750. Suites, violoncello BWV 1007-1012.
• Guitar music -- History and criticism.
• Sarabands.

Statement dc:rights

• Public
• Copyright
• Todd, Richard
• Copyright is held by the author, unless otherwise noted. All rights reserved.

Language dc:language

English

Identifier

oclc: 181156599
untcat: b3295369
https://digital.library.unt.edu/ark:/67531/metadc3606/
ark: ark:/67531/metadc3606

OAI identifier oai:identifier

info:ark/67531/metadc3606