The purpose of this paper is to cover problems students face when study-
ing and performing ensemble polyphonic works by J.S. Bach. The fi rst
part is devoted to the general features and polyphonic peculiarities of
Bach's trio sonatas: dynamics, phrasing, issues of form, culture of strokes,
problems of fi nger notation and some rules of ornamentation. The second
part examines the specifi cs of Bach's style on the example of Sonata No.
1 for viola da gamba and cembalo in G Major. The author elaborates on
the character of articulation, a polyphonic and dynamic ratio of voices
in different parts, ensemble unity of phrasing, identical performance of
melismas, and the ratio of tempi in terms of style.
Keywords. J. S. Bach, polyphony, articulation, chamber ensemble, trio-sonata
