Bach Gigue from Partita 3 transposed down

[John Goodin]

I know this is wrong in so many ways and possibly even evil but I couldn't help myself. I've been playing this wonderful, uplifting jig for decades as written but the other day a little devil whispered in my ear:

"Try playing it down a whole step in D major. What the heck, you're already playing it on a mandolin. Why not sink even further into the pit?"

In a weak moment I tried what the voice suggested and, sure enough, it was fun. There may be hell to pay later but I enjoyed it. So, if it feels wrong, don't do it. Otherwise, give it a try and see what you think.

John G.

[angelouself]

It hurt a bit inside... but if you enjoyed it :confused: When I try it that way, my ear just says "No!" :)

[Stephanie Reiser]

I thought it was fun!

[Michael Pilgrim]

I know this is wrong in so many ways and possibly even evil but I couldn't help myself. I've been playing this wonderful, uplifting jig for decades as written but the other day a little devil whispered in my ear:

"Try playing it down a whole step in D major. What the heck, you're already playing it on a mandolin. Why not sink even further into the pit?"

In a weak moment I tried what the voice suggested and, sure enough, it was fun. There may be hell to pay later but I enjoyed it. So, if it feels wrong, don't do it. Otherwise, give it a try and see what you think.

John G.

~~~~~~

In for a penny...

[Alex Timmerman]

Hi John,

Thanks for the work on this Bach piece. I enjoyed playing it through and I am sure so will my pupils.

And don't worry to much about the key it's in now; It's good to know that, for whatever reasons, Bach himself often transposed the key of his compositions.


Best,

Alex

[michaell]

I think that it's great. Thanks!

[Richard Walz]

To improve, you must work on your weaknesses... come on, what's wrong with a few more sharps on a cold wintery morning :)

[Alex Timmerman]

That's true also!

[John Goodin]

Thanks for all the comments, and thanks to Michael Pilgrim for his work. Playing the Gavotte in D is a real mind-bender for me. Since I don't really play it well in E, I learned a couple of things trying it in the new key.

Certainly I agree that this kind of transposition is no substitute for the rewards of working on the real thing. Just for fun this morning I played the Gigue first in D and then in E, at my usual "modest" tempo. It was an excellent warmup exercise. There's nothing like a little Bach first thing in the morning.

John G.

[Richard Walz]

Transposition is an interesting topic. Bach certainly did this when moving his material between his scores and the E major to D major alteration was done by none other than the composer himself (E major prelude to 3rd partita was transposed to D for the opening of one of his cantatas, maybe #29?). On the other hand, tonality implies a certain character which was especially felt and understood in the 17-18th centuries when 'equal-temperament' was not all that common. F major was the key of choice for a 'pastoral' mode, D major was popular as a tonality for overtures and marches, E major implied strength and had a certain sharpness (no pun intended) and edge. You can go on and on looking at the connection between key choice and affect in the music.

From a practical standpoint with the mandolin, E major requires a more mobile and flexible hand, one requiring stretches and more strength in bridging fiths (on the mandolin). I suggest to stick with it, go slowly and look for every opportunity to keep fingers down on the fingerboard but with minimal pressure. Players tend to over stress their fingers by pressure rather than carefull placement on the fretboard, it makes a world of difference.

[Bob A]

Is there any current recorded source for hearing music played without equal temperament? It might be interesting to hear the music in the temperament that was known to the composer, and heard by the audience of the day.

Or is it likely that the difference would not be apparent to the modern listener?

[Richard Walz]

You can listen to any keyboard (harpsichord, clavichord or organ) performance on historical instruments (or copies), in most cases they are using one of these 'unequal' temperarments (meantone, Valotti, etc.). The difference is felt (heard) by most listeners without necessarily being fully aware of the effect. To the educated ear, it is heard and felt.

[eightmoremiles]

I went to high school with Greg Fulkerson, violinist extraordinaire at Oberlin, and I have his recording of the partitas. I would have to drink a quart of coffee and pop some green "funny pills" to play them as fast on the mando. But they are a good workout at my modest pace.

[John Zimm]

This is great John. Thanks. The only thing that kept me from doing this myself is sheer laziness. I sure don't like E Major. I wouldn't worry about paying hell or storing up wrath for the great judgment day. We all transpose now and then, and a lot of times it is for the best. :)

-John.

[angelouself]

I have nothing against transposing or transcribing, but why transpose perfectly fine and playable music into D Major? The way I see it, pretty much 90% of all compositions for mandolin are in C, D or G Major... why not enjoy other tonalities?

[John Zimm]

For those of us who have little time to devote to becoming better players, sometimes it is nice to play things in more familiar, easier keys. I have a young son, work, and am writing two books, so there is little time to practice. I see the value of enjoying other tonalities, and I am looking forward to the day when I'll have the time. Until then, D major looks a lot better to my unprofesional, semi-skilled mando hands.

-John.

[dj coffey]

Speaking of Bach, has anyone seen a mandolin transcription for Goldberg Variation #1? I have a recording of Chris Thile and Mike Marshall playing it.

I downloaded the piano version from Mutopia, but found that Thile must have transposed or changed the high voice in some way as it does go well below low G.

Other than that - it's very playable in the original form.