An instrument’s strings are never perfectly in tune, and even the best violinists don’t place their fingers on the exact right place on the fingerboard. By alternating these two wonky A’s, Bach is drawing our attention to the physicality of the instrument, and to the way that the subtle microtones you get from physically playing it rub uncomfortably against each other. Guitarists use this same technique all the time, and it’s no big surprise that the chaconne sounds so great on guitar.
Jake’s tone, phrasing, and ability to build tension and land it so elegantly took this track much farther than I thought it would go. His opening phrase at 0:43, laid way back on the end of the beat and contrasting beautifully against the frantically paced drums, is such an incredible statement. And Jake’s solo gave me so many additional ideas, like using some additional harmony to frame what he was playing and chopping up some of his phrases to set up the new section — directions I wouldn’t have pursued had I not reached out to him to collaborate.