Apparently, the slur between the A and G is not in the original, but the editor put it in as there are many inconsistencies regarding the articulation grouping of two's. It IS a good suggestion, but one could also tongue lightly and play the G in diminuendo from the A. The "in diminuendo" concept is more important than whether it should be slurred or tongued. This will then set off the B nicely, let it "pop" a little, like just a touch of light on the edges of some clouds. ​In fact, the entire movement is doing just that - the motifs are like wispy layers which keep rising, descending, floating.

With just 3 notes, we can already create an acoustical layering or texture, making our sound 3-dimensional.

We might think of this kind of phrasing as having more priority in lyrical movements, but this is just as important in fast movements! By doing so, the fast will sound even livelier, without us actually playing faster. Watch out when articulation becomes "stodgy", when the air sounds inflexible.

Always lifting, always shaping.  It's a bit of a paradox of course, that we have to work to sound not over-worked. But it's no different than what singers have to do. 

Join me in a workshop hosted by Traverso Practice Net, a new online platform dedicated to everything about practicing on historical flutes. This is the platform's first ever event to kick off the new year and I'm super excited! 

"The Partita in A minor by Johann Sebastian Bach is a unique and fascinating work in the solo flute repertoire. It also presents many questions and challenges for both historical and classical flutists. In this 30-minute online workshop, Teddie Hwang will break down the barriers to this music and invite everyone to appreciate and enjoy the breathtaking beauty of the "Corrente", which is often overshadowed by the Partita's first movement "Allemande"....continue reading on Traverso Practice Net

If you don't know it already, watch my interpretation of the Corrente on Limerick Early Music.