Date of Award
Spring 5-2013
Degree Type
Dissertation
Degree Name
Doctor of Musical Arts (DMA)
Department
Music
Committee Chair
John Wooton
Committee Chair Department
Music
Committee Member 2
Thomas Fraschillo
Committee Member 2 Department
Music
Committee Member 3
Edward Hafer
Committee Member 3 Department
Music
Committee Member 4
Joe Brumbeloe
Committee Member 4 Department
Music
Committee Member 5
Richard Perry
Committee Member 5 Department
Music
Abstract
This purpose of this study is to provide the keyboard percussionist with information and examples for breaking chords and properly executing arpeggio passages in J. S. Bach’s solo violin Sonatas and Partitas. Primary sources included Baroque treatises on performance practice and recent scholarship of the past one hundred years. Various editions of the Sonatas and Partitas were surveyed for this document but, in the end, only Bach’s autograph manuscript and Gunther Hausswald’s critical edition were used for the musical examples as well as the marimba transcriptions included in appendices.
Topics covered are appropriate places to break chords and the various methods that can be employed. These decisions are grounded in historical practices, idiomatic specificities, and my own unprecedented ideas on how to enhance the music. Regarding arpeggio passages, I present a number of realizations on familiar passages, such as those from the G minor Fuga, Ciaccona, and C major Fuga, as well as some other phrases which have historically not been arpeggiated. This document will provide the marimbist with choices but also with information to make different choices based on the music itself and the limitations of the marimba.
Copyright
2013, Jason Eugene Mathena
Recommended Citation
Mathena, Jason Eugene, "Adapting J.S. Bach's Solo Violin Sonatas and Partitas for the Marimba: Broken Chord and Arpeggio Performance Practices" (2013). Dissertations. 503.
https://aquila.usm.edu/dissertations/503