Courante and the Concept of Direction

This Courante clearly reveals Bach's good humor. As a performance hint, "direction" is extremely important. "Direction" refers to the point towards which a phrase moves, a concept present in all music. Let's explain using the first half.

Key Points in the First Half

There are three important points in the first half. The first is the chord on the downbeat of measure 1, beat 1. The second is measure 8, beat 1, and the third is measure 16, beat 3, the last measure of the first half. These are the respective important points. It is advisable to determine the dynamics when moving towards or away from these points.

Example: Measures 13-16 and Tension

For example, a sequence begins in one-measure units from measure 13. Observing the bass on the downbeat of beat 1 in measures 13-15, one can see an ascending line: F# in measure 13, G in measure 14, and A in measure 15. Therefore, the tension gradually increases from measure 13 towards measure 16. Normally, measure 16 is the tonic chord of D major, resolving from the dominant seventh chord in measure 15. Thus, playing measure 16 softer than measure 15 would lead to a resolution. However, in this case, the author thinks the opposite, feeling that the tension in measure 16 is even higher than in measure 15. Furthermore, I feel that the tension is higher on beat 3 than on beat 1, so I apply a crescendo towards the final right-hand note, D, in the first half.

Interpretation and Subjectivity

What about measure 8? Do you perceive measure 8 as weak or strong? The interpretation of these dynamics, tensions, and resolutions is truly free. There is no right or wrong. Also, these three points are purely the author's subjective opinion.

Detailed Dynamic Plan for the First Half

Initially, the chord on beat 1 of measure 1 is played strongest, then a gradual diminuendo is applied until beat 1 of measure 5. From beat 1 of measure 5, the tension is then increased towards beat 1 of measure 8. Subsequently, one sequence appears in measures 9-10, and another in measures 11-12. In this case, the line is descending, and harmonically, measures 11-12 are calmer, so a diminuendo is applied towards measure 13, followed by a crescendo towards measure 16, and so on.

Applying to the Second Half

For the second half, too, let's firmly establish the target points, referencing the example from the first half.

Voice Independence

Another indispensable element for this Courante is the independence of voices. Although it mostly proceeds in two voices, it becomes polyphonic in places such as measure 8, measures 22-24, etc. In such instances, please devise ways to clearly convey the polyphony, for example, by varying articulation and tone quality according to the voice.