CHASE

These staccato dashes - also in bars 2, 5, 6 etc., have been added by Alard. They may denote accentuation as well as shortening of the note.

These slurs added by Alard.

Bach's slur covers the first three notes only. If Alard's bowing is followed exactly, the succeeding bars turn out awkwardly. Maybe an extra up-bow on the second notes of the next bar is intended.

See note to the first bar of this line.

Bach's slurs for both groups of semiquavers cover the first three notes. One imagines that Alard wishes to avoid the uneven distribution between down and up bows (common in Bach, and generally in string music of his time).

In this and in all the subsequent bars until the pattern changes, Bach's slurs (apart from three bars with no slurs) cover the first three notes of the group. Alard's bowing results in alternate down and up bows at the start of the bar, evening out the bow distribution.

Staccato dot and slur added by Alard, also in the two following bars.

This pattern of slurs found in Bach's autograph part.

Slur and staccato dash added by Alard. He may have intented an extra up-bow to be taken for the last three notes in the bar.

See note to bar 7 above.

These slurs, also those four bars later, stem from the Bach autograph.

Slurs and staccato marks in this passage taken from the autograph.

Slurs added by Alard, also in the next bar.

Exceptionally, Alard retain's Bach three plus one pattern.

Bach's slur.

Bach repeats the one plus three slurring pattern.

The autograph ms gives just two notes slurred and one separate - the following groups are the same.

Instead of Bach's 4 demisemiquavers plus 2 semiquavers, Alard has substituted a smoother rhythm, presumably a sextuplet. He also slurs all five notes after the tie, whereas Bach separates the B with a staccato dot.

Here, too, Alard changes the rhythm. Beat 4 makes the same alterations as for beat 2. On beat 3, Bach writes a semiquaver followed by a dotted quaver. The last five notes in the bar have been printed a degree too high.

Fingering implies a portamento.

The harmonic A is approached by sliding the fourth finger from the previous note.

This "same finger" change of position will result in a portamento.

Bach's detailed bowings, with generally two or three notes under a slur, has been smoothed out by Alard, in this and subsequent bars.

Denotes triplet, rather than an fingering.

Another fingering implying portamento.

The fourth finger slides from G to the harmonic then back again.

A surprisingly clumsy fingering, involving two third fingers in succession, on different strings.

Alard consistently marks the crochet-quaver pattern to be played in one bow, to avoid uneven distribution. The dot above the crotchet most likely does not mean a short note, merely indicating a clear separation. (Hermann, for example, only puts a dot above the quaver.)

This and the following bars begin with an up bow, allowing the tied dotted crotchets to start near the heel of the bow.

These two bars begin with an up bow, reversing the bowing of the previous two bars. Unlike Hermann, Alard preserves Bach's slurs joining the trilled crotchets to the following quaver.0.

From here to the bottom of the page, Alard gives the same bowing as the Bach Gesellschaft edition (with the exception of the last group in the penultimate line, where BG slurs only the F sharp/G, leaving the E as a separate bow). This means that the bowing is continually reversed as phrases are repeated.

Only the last four notes are slurred in the autograph.

Unlike the previous held note, this comes on an up bow.

Awkward string crossing with the fourth finger.

It is perhaps surprising that Alard gives no reassuring up bow indication here. In fact, if the whole page is bowed as indicated, the chord at the pause at the bottom of the page will come on a down bow!

The ms gives a separate bow for each group of six. Alard combines the two groups so as to arrive on a down bow in the next bar.

It is surprising that Alard abandons the bariolage effect with the open E string, surely intended by Bach. His solution involves changing the order of the notes and, in this particular bar, an extremely awkward stretch.