My latest research on Bach’s ideas on cello fingerings, based on the discordata writing in the fifth cello suite, BWV 1011.

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Video 1: A visual explanation on how the discordata writing is done, and how we can deduce fingerings from this. This is the first of five videos are supporting the article on “Possible traces of Bach’s ideas on fingerings, based on the discordata notation of the fifth cello suite, BWV 1011.

Video 2: The fifth cello suite is the only known discordata writing in Bach’s production. Why discordata? Maybe because of the general development in Bach’s writing for solo cello? This is the second of five videos supporting the article on “Possible traces of Bach’s ideas on fingerings for the cello, based on the discordata notation of the fifth cello suite, BWV 1011.”

Video 3: The impact of bowings and fingerings, and the specific fingering conditions for the cello. This is the third of five videos supporting the article “Possible traces of Bach’s ideas of fingerings, based on the discordata notation of the fifth cello suite, BWV 1011.”

Video 4 is explaining with examples the information that can be deduced from the discordata writing, ordered in categories/colors. This is the fourth of five videos supporting the article on “Possible traces of Bach’s ideas of fingerings for the cello, based on the discordata notation in the fifth cello suite, BWV 1011.”

Video 5: Do we have to follow Bach’s fingerings? Discussing how we might handle “The Truth” in musical performing. This is the fifth out of five videos supporting the article on “Possible traces of Bach’s Ideas on fingerings, based on the discordata notation of the fifth Cello Suite, BWV 1011.”