Baroque String Playing / Allemande from JS Bach's Suite no. 1 in G for unaccompanied cello, BWV 1007 /
Left-hand Fingering
In baroque music, there are two main principles to think about when making decisions about fingering:
Maximising resonance
You can achieve this by playing in the lowest position available to maximise the string length. Balance this principle with consideration of where string crossings fall within a phrase. If staying in a low position means crossing to an upper string for one note in a weak part of the musical phrase, you might choose to prioritise maintaining the shape of the phrase by shifting up the string, rather than maximising string length on that occasion.
You can also maximise resonance when playing arpeggiated figures by leaving fingers down across the strings (chordal fingering) so the instrument rings with that harmony.
Enhance the expressive phrasing
Where possible avoid shifting under a slur. This makes the slur itself really smooth and allows you to use shifts in-between slurs in to emphasise articulation.
Video Resources
In this video, Ruth looks as some issues concerning fingering the G major Prelude, using the implied chord structure as a guide.
Here is a further example, from Vivaldi's A minor sonata RV44, of how fingering according to the chord structure helps increase the resonance of the instrument. Ruth goes on to look at fingering and slurring, suggesting that, wherever possible, it is advisable not to shift position under a slur.
Video Resources
Sometimes choosing to shift up the string, rather than opting for a safer fingering across the string can add character to a piece. Ruth shows how shifting up the top string in the opening of 'Es ist vollbracht', for example, adds a plaintive effect.
Video Resources
Video Resources
In this video, Ruth applies these techniques to the G-major Allemande.
1 - Choosing a Tempo
2 - Phrasing
3 - Bowing and Bow Distribution
4 - Left-hand Fingering
LEARNING RESOURCES
1.
What is historically informed performance practice?
An introduction to historically informed performance practice of baroque music, and a look at period instruments and bows.
2.
Allemande from JS Bach's Suite no. 1 in G for unaccompanied cello, BWV 1007
Ruth Alford explores this movement in the light of other baroque music for 'cello.
3.
Giga from J S Bach's Partita no. 2 in D minor for solo violin, BWV 1004
Helen Kruger looks at what what baroque theorists had to say about bowing, phrasing and articulation and applies it to this movement.
4.
Largo and Allegro from G P Telemann's Viola Concerto in G, TWV51:G9
Nicholas Logie discusses phrasing, ornamentation and vibrato.
5.
Further Reading