Mark,Mark Clifton-Gaultier wrote: ↑Sun Feb 03, 2019 11:51 amYou don't have to move your hand at all - you overlooked the fact that the arrangement begins in fifth position.Paul Cezanne wrote:Should the F really be played on the 2nd string up the neck a bit? I guess I can see that why with the second finger then? I guess that finger is better than the pinky because it is just stronger, but you have to move your hand so much.As Soltifera points out, Yates is intent on creating a campanella style over-ringing effect but this is nothing more than an affectation on his part - and a complete misjudgement. One would think that he has no understanding of Bach at all regardless of the erudition shown elsewhere in the volume.soltirefa wrote:Because the G# played with 1 is on the 4th string and the D is played with 3 on the 3rd string, making 2 fall naturally on the F. Also all those strings ring out. That's why he fingered it like that.(But I still don't know why the 2nd finger is used, not the 4th.)
Fortunately there is an unfingered comparison score included - I advise you to work from that instead (at least to begin with), always bearing in mind that a linear approach will help you understand Bach's use of interval as an expressive, rhetorical device.
Bach's use of an interval it is unaccompanied string music is usually to imply polyphony. Although there are rhetorical, expressive leaps in the cello suites and other unaccompanied string music, the great majority of the time it is the implication of polyphony. It is perfectly legitimate within the context of baroque music to use campanella textures in scale runs. There are many approaches to playing Bach.