Repertoire for figured bass reductions
The repertoire is presented in three 'shapes':
- an audio recording
- a score
- a figured bass reduction
Next to that it 'can be present' in two more shapes:
- improvised, played out versions of the reduction
- in our inner ear
Obviously, a fascinating question is: 'where' is this music? One could ask: which one of the 'shapes' comes closest to 'the music'? An answer - possibly in the direction of 'a field in between, 'over all' the shapes - in line with the essence of Appendix II?
Steps to undertake:
- Listening to the recording (without looking at the score)
- Singing 'a' bass line. Playing 'a' bass line on the violin
- Looking in the score, filling in 'blank spaces', exploring differences between the 'created' bass line and the original bass line
- Listening to the recording (without looking at the score)
- Exploring the harmonic fields on top of the bass line - by listening internally, singing, playing on the violin
- Writing the numbers in the score of the reduction
- Looking into the score, filling in 'blank spaces', exploring differences between the 'created reduction' and the original
- 'Playing out/improvising' on the created figured bass line
Repertoire:
- J.S. Bach - Giga from Partita nr. 2 in d-minor
- J.P.J. Rode - Etude nr. 8 in F-sharp minor
- F. Schubert - Sonatine opus 137 nr. 3, 4th mouvement
- L. van Beethoven - Romance upus 40 in G-major
- A. Dvořák - Slavonic Dance, opus 72, nr 2 in e-minor
- F. Kreisler - Schön Rosmarin
- C.W. Gluck - Melodie in d-minor (arr. by F. Kreisler)
1. J.S. Bach - Giga from Partita nr. 2 in d-minor
