Course Syllabus

<p>Introduction</p>

<p>In this video, Sara Sant'Ambrogio gives us a background of all six Bach suites for solo cello. She explains how unusual it was that Bach wrote these masterpieces for cello in the first place, and she explains the importance of the rediscovery of these works by legendary cellist Pablo Casals. She also tells us that, especially because the manuscript in Bach's own hand is lost, "When you approach the suites, there's more that you don't know than what you know." Most importantly, she tells us "There's no one right way to play Bach."</p>

<p>Prélude</p>

<p>In this lesson, we learn how to bring drama to the pure key of C major. We study different bowing styles and explore the way in which Sant'Ambrogio choses bowings to highlight the chord changes of Bach. We also learn how to practice the famous double-stop section of this prélude.</p>

<p>Allemande</p>

<p>Understanding deceptive cadences is crucial to grasping the style of this movement, as Sant'Ambrogio explains. Besides deceptive cadences, we learn about the practice of repeats (or not) in Bach and how to choose a tempo. We also learn about how the acoustical properties of the room in which we are playing must be related to the tempo one plays.</p>

<p>Courante</p>

<p>In this lesson, we learn how important it is to practice slowly and really gain deep control of our right hand and arm. As Sant'Ambrogio explains, if we can learn to control the bow at a slow tempo as we cross from the C to the A string, we will have mastered that stroke for years to come. We also learn how important it is to have all fingers be in deep contact with the frog to facilitate a strong tone over all four strings.</p>

<p>Sarabande</p>

<p>The sarabande is the most formal of the dance movements in the Bach suites, and this is where, as Sara Sant'Ambrogio puts it, "Bach reveals his innermost griefs, fears, hopes, and dreams." We study how to chose a tempo, which must be slow but not so much that it is felt in eighth notes, which would get in the way of a long, singing line. We also learn about tuning and balancing of chords.</p>

<p>Bourée I and II</p>

<p>In this lesson, we learn about character, and how the great contrast of characters is so crucial in the bourées (or in the other suites, the minuets and gavottes). Sant'Ambrogio feels that the bourée I is the "outer face" of a person, while the bourée II is the "inner, true person." We also learn that the repeats should have different shapes, colors, and even fingerings, to bring out as many facets as possible.</p>

<p>Gigue</p>

<p>In this lesson, we learn that the gigue was the most informal of the dances-- that as opposed to the other dance movements that were performed in court, the gigue was done by townspeople in the village square. Sant'Ambrogio encourages us to find a rustic, joyful character, and to invent stories in our head that the music might depict. We also study the art of of string crossings.</p>

<p>Which edition should I use?</p>

<p>In this lesson, we learn about the many choices we cellists have when it comes to choosing an edition for Bach. Out of hundreds of editions, how to pick? Sara Sant'Ambrogio explains her thought process behind this complicated -- and often confusing subject.</p>