How would you stroke this?

I don't know this piece very well, but I'm suspicious of that bow marking. This is the bass line of the movement, and usually the strong beat in a Sarabande is beat 2. In baroque music slurs generally as a rule mark the first note being the most important and each successive note is less important. This bowing would put a lot of emphasis on beats one and three. If you look at the melody line in the piano, you can see an ornamented half note on beat two; I'd argue that this means beat two is the important beat in this moment. Maybe don't do the slur? Again I don't know the piece so well, but that's the approach to a continuo line I would take: What is the rhythmic hierarchy, what is the harmony, when does it change, and when is something unexpected coming?

 

I think I would break the slur and take the F’s as separate bows much like the F-Eb in bar 2. I might also play them a little staccato.

 

Definitely the lower F on the D string. The challenge is hitting that high F accurately without any glissando.

 

I gave the what but not the why in my previous post so I want to add on here.

When you consider your bowings you might keep a few things in mind:

1. Baroque music didn’t really include much in the way of style markings so you are free to interpret it as you like.

2. Zimmerman stuff is great but it’s dated at this point. However, it is valuable to try to understand why he made his decisions.

3. Before writing in bowings do some prep work and mark the phrases. A very important question to ask yourself is, “What is the pickup note to this phrase?” Don’t be deceived by the bar lines.

4. When you develop your bowings try to be consistent across like phrases whenever possible. You want to make these sections like cousins.

 

Good on you! As someone who formerly made their living playing jazz, converting to Classical music was a real challenge. It was so rewarding though, and I don't regret my decision. Baroque music is also wonderful music and full of wonderful people. Keep it up!

 

If you break the slur it doesn’t matter if you play the easier octave.

I would do separate bows on m. 1 beat 1 so that it matches m. 2 beat 2. Likewise m. 5 beat 1. Those are all of the same family.

M’s. 3 & 4 I’d break the slur after the first 8th note. Retake your bow for m. 4 so that it matches m. 3.

I would start the whole thing with a down bow so that m’s. 3 & 4 can be played down-up-down // retake // down-up-down.

 

I would bow:
First F down 1st finger A-string. Next three notes under one slur up. F with 4th finger G-string

 

A string, vibrato, connect the octave, practice making the lower note ring into the top. Smooth slur just for the hxll of it, regardless of the authenticity of the bowing.

 

A string, vibrato, connect the octave, practice making the lower note ring into the top. Smooth slur just for the hxll of it, regardless of the authenticity of the bowing.