Course Syllabus

<p id="">Introduction</p>

<p id="">J.S. Bach’s third partita in E is the only one of his solo violin works in which every movement is in a major key. In his course on this cheerful piece, William Hagen discusses constructing a narrative, inferring dynamics, tone and mood, bow technique, and more. He talks through each movement, addressing troublesome spots, offering fingering suggestions, and pointing the viewer toward opportunities for individuality.</p>

<p id="">Preludio</p>

<p id="">William Hagen examines the confident, familiar opening to the Preludio. How do we play with the necessary confidence, avoid tiring, and ensure a good sound quality? Among other things, Hagen encourages creative interpretation of dynamic markings and bringing out changes in harmony.</p>

<p id="">Loure</p>

<p id="">Despite the Loure’s relaxed tempo, it’s still a dance. Hagen advises where to add metric accents, how to use the bow economically and how to make the double stops a bit easier.</p>

<p id="">Loure</p>

<p id="">Despite the Loure’s relaxed tempo, it’s still a dance. Hagen advises where to add metric accents, how to use the bow economically and how to make the double stops a bit easier.</p>

<p id="">Menuets (I and II)</p>

<p id="">The two Menuets in BWV 1006 are much more conversational than previous movements. Hagen explores effective articulation, fingerings, the transition between the two Menuets, and timbre.</p>

<p id="">Bourrée</p>

<p id="">Have fun with this Bourrée! Hagen reminds us that our attitude will project onto the audience. He also urges us to explore contrast in as many possible forms as we can to create an engaging interpretation.</p>

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

<p id="">For the final movement, the Gigue, Hagen discusses rhythm and coordination. Make sure the downbeats remain the most important notes and try some rhythmic variations to work on the synchronicity of the hands.</p>