Course Syllabus

<p id="">I. Prelude</p>

<p id="">In this lesson, we learn how to interpret the most well-known movement of any of the suites. We use sound and rhythmic freedom to create the structure, and we need to keep both hands coordinated for a clean technical approach.</p>

<p id="">II. Allemande</p>

<p id="">In this lesson, we learn about the importance of telling our own story within a strict rhythmic framework. We must keep in mind this is an old dance movement, and it needs to contrast with the Courante.</p>

<p id="">III. Courante</p>

<p id="">For the courante, Vogler teaches us that the most important thing is to bring out the vivid, entertaining qualities of this dance. He reminds us that while phrasing and rhythm are important, voicing is perhaps the most crucial element in this joyful movement.</p>

<p id="">IV. Sarabande</p>

<p id="">The “center of the suite,” as Vogler calls it. Here we are taught about the importance of seeing this movement as an emotional, turning point in the Suite. One of the highlights of this lesson is how to use time and breath wisely so there is no empty space in the sound.</p>

<p id="">V. Menuett I and II</p>

<p id="">Here, we learn it is important not to take these two “miniatures” too seriously, and to find a great contrast with the somber, expressive music of the Sarabande. In addition to learning how to keep the music light, we are also taught about some experimental baroque bowing Vogler likes for the second menuet.</p>

<p id="">VI. Gigue</p>

<p id="">For the final lesson in this course, we learn how this gigue is so different from the gigues of other suites. One of the challenges is how to make something significant out of such simple music, and Vogler teaches us that this can be achieved with a great variety of bowing techniques and characters.</p>