The gorgeous Allemande from
the first lute suite by Johann Sebastian
This is a very popular piece of course
with, with guitarists.
And but there are very many lines in it.
Even, upon further inspection,
when we study the score we, we see that
there are so many, so much content.
And, and all very melodic.
So I strongly recommend that extract and
insert kind of method of practicing for
any of the lines in here, really.
But a good example of that is this really
tough passage at
the beginning of the first half, where we
Here, it's in, it's in measure,
the second half of measure six, the third
We have a bass line that, you know,
it's, it's really quite melodic.
Like this, but of course, extracting it,
you can play it all in first position,
but that's not what happens in the actual
In the actual passage, because of the the
two lines together,
well actually the three lines together.
There's a lot of shifting that's necessary
to execute all three of those lines
And you'll be able to better hear that
bass line in the moment of playing it if
extract it first and just play it for what
so that when you just give yourself
a little bit of a listen to it.
And then go ahead and play it slowly with
the rest of the texture and
make sure that indeed you can hear it in
that, more of that melodic context.
what I'll do to demonstrate that is, I'll
try to, I'll, I'll try to play the bass
line a bit louder than the other voices,
and I'll play the other voices softer.
This is also very good practice technique.
I call it my mixer board [LAUGH] technique
of hearing voices.
One more time, it takes a few repetitions
to really get the touch in the right hand
to do it,
but what I'm trying to do is play the bass
the one with all of these shifts in it,
much louder than the other voices.
I've already extracted it and listened to
it and now I want to hear it.
And so, that takes a little bit of
practice with the touch but
it's also really good for your right hand
An example of phrase direction also,
these, they're very long breathed lines
is, is really I think the first couple of
measures is a good example.
So also be sure to work on your phrasing.
In the first two measures we have a long
starting in E minor in the tonic.
And then going to the dominant at the
first beat of the second measure,
and then cadencing at the beginning of
So, notice the arc shape or
the contour that I played
that phrase with.
Once the, the music goes to the,
in the second measure to the B dominant
The music seems to continue to grow
dynamically, and so
you can continue to crescendo through that
all the way to about beat four.
And then at that point you can let the
phrase relax as it cadences into E,
back into E minor.
One more time on that.
And maybe on your second repeat,
you can add a little bit of ornamentation.
Such as the the trail,
the mordant into the beginning.
on and so
You can have a bit of fun that.
I mean I,
what I'm doing there in measure three,
I'm really just
the E minor triad with any of
the notes that belong in that scale.
And in the second measure,
that melodic fragment of E, D-sharp, E,
F-sharp, I'm just filling out with a
couple extra notes.
So, I'm making that into some,
a couple 32nd notes with E,
D-sharp, C-sharp, D-sharp, E, and
then back up to F-sharp, which sounds like
So that's a way to augment the piece with
a little bit of melodic ornamentation.
There will be some other video some other
lessons on on ornamentation,
on repeats of baroque movements.
Good luck, and I look forward to hearing