JAVS Spring 2025

to keep the parallel 6th, I could have top voices only, but the pedal tone represents the core character of the movement, therefore making the bass line indispensable. Another example (m. 8) showcases a luscious, fully diminished G#9 chord resolving to A; I add a trill to fill up the harmonic absence. (See Example 17). Although keeping the natural movement of the consecutive bass is prioritized, my transcription became relatively jumpy in the bass at m. 31 to assist two appoggiaturas at the third and fourth beat by filling up the harmonic void (See Example 18).

III. Sarabande The third movement, sarabande, is built on a pedal tone in the bass. Above the pedal tone, continuous pairs of descending appoggiaturas create a weeping effect throughout the movement. Besides the fugue, the sarabande was the most challenging movement to transcribe since many chords contain exquisite dissonances that I did not want to leave out. However, it was impossible to include all of them on the viola. For example, omitting a parallel 6th in mm. 1 and 17 was a difficult, but necessary decision. If I wanted

Example 17. BWV 997, Sarabande, mm. 1-11 and 16-19.

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Journal of the American Viola Society / Vol. 41, No. 1, Spring 2025