Selections from Bach's Cello Suites Realized for Easy Classical Guitar Solo PDF Download
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Author: Mark Phillips
Publisher:
ISBN:
Category :
Languages : en
Pages : 28
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Book Description
To "realize" a piece of music that has been only partially-or sparsely-notated by a composer is to add to it, generally by supplying harmonies. For keyboard parts in baroque scores, composers often wrote a so-called "continuo" part, which was merely a bass line with numerals written beneath certain notes (indicating intervals above those notes). Such a bass line is known as "figured bass." The keyboardist (usually a harpsichordist) fleshed out-realized-the continuo by adding intended harmonies indicated by the numerals, usually with the single-note bass line itself doubled by another instrument such as cello or bass viol.Here we've turned that type of realization upside down. Bach's six unaccompanied cello suites, even though they are mainly just single-note melodies, are a world of exquisite beauty for the cellist. But guitarists are capable of playing melodies along with harmonies and bass lines. Bach's cello melodies themselves imply certain harmonies, which in turn imply certain bass notes.By selecting only those movements most conducive to guitar, and by adding bass lines and harmonies implied by the melodies, we've fleshed out-realized-these pieces for easy to intermediate level classical guitar solo (in standard notation and tablature).Includes: Suite No. 1 - Minuet I, Minuet II, Gigue; Suite No. 2 - Minuet I, Minuet II; Suite No. 3 - Bourrée I, Bourrée II; Suite No. 4 - Bourrée II; Suite No. 5 - Gavotte I; Suite No. 6 - Gavotte I, Gavotte II
Author: Mark Phillips
Publisher:
ISBN:
Category :
Languages : en
Pages : 28
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Book Description
To "realize" a piece of music that has been only partially-or sparsely-notated by a composer is to add to it, generally by supplying harmonies. For keyboard parts in baroque scores, composers often wrote a so-called "continuo" part, which was merely a bass line with numerals written beneath certain notes (indicating intervals above those notes). Such a bass line is known as "figured bass." The keyboardist (usually a harpsichordist) fleshed out-realized-the continuo by adding intended harmonies indicated by the numerals, usually with the single-note bass line itself doubled by another instrument such as cello or bass viol.Here we've turned that type of realization upside down. Bach's six unaccompanied cello suites, even though they are mainly just single-note melodies, are a world of exquisite beauty for the cellist. But guitarists are capable of playing melodies along with harmonies and bass lines. Bach's cello melodies themselves imply certain harmonies, which in turn imply certain bass notes.By selecting only those movements most conducive to guitar, and by adding bass lines and harmonies implied by the melodies, we've fleshed out-realized-these pieces for easy to intermediate level classical guitar solo (in standard notation and tablature).Includes: Suite No. 1 - Minuet I, Minuet II, Gigue; Suite No. 2 - Minuet I, Minuet II; Suite No. 3 - Bourrée I, Bourrée II; Suite No. 4 - Bourrée II; Suite No. 5 - Gavotte I; Suite No. 6 - Gavotte I, Gavotte II
Author: Johann Sebastian Bach
Publisher: Cherry Lane Music
ISBN: 9781603789776
Category : Music
Languages : en
Pages : 36
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Book Description
(Easy Guitar). 16 Bach works arranged for the beginning classical guitarist, including: Cello Suite No. 4, BWV 1010 "Bourree II" * Cello Suite No. 5, BWV 1011 "Gavotte I" * Cello Suite No. 6, BWV 1012 "Sarabande" * Cello Suite No. 2, BWV 1008 "Minuet I" * Lute Suite No. 1, BWV 996 "Courante" * Lute Suite No. 1, BWV 996 "Sarabande" * Lute Suite No. 1, BWV 996 "Bourree" * Lute Suite No. 2, BWV 997 "Gigue" * Violin Partita No. 1, BWV 1002 "Sarabande" * Violin Partita No. 2, BWV 1004 "Chaconne" * Violin Partita No. 1, BWV 1002 "Tempo Di Bourree" * and more.
Author:
Publisher: Savage Classical GT
ISBN: 9780974962689
Category :
Languages : en
Pages :
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Book Description
Johann Sebastian Bach - The Complete Cello Suite Preludes, Transcribed, Arranged and Marked for Solo Classical Guitar by Richard F Sayage, in association with Savage Classical GT.A book of classical guitar music for the classical guitarist looking for new music by Bach, the master of counterpoint. Fully marked and fingered in various keys. 26 pages. Advanced Beginner to Advanced.
Author: J. S. Bach
Publisher: Mel Bay Publications
ISBN: 1609741684
Category : Music
Languages : en
Pages : 193
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Book Description
Although Johann Sebastian Bach did not write any music for the guitar, transcriptions of his unaccompanied string music and music for lute have long been a part of the guitar repertoire. Despite the respect that this music commands among musicians and audiences debate still exists as to what constitutes an appropriate means of transcribing, interpreting and performing this music on the guitar. It is this debate that prompted this long-awaited edition of Bach's unaccompanied cello suites by scholar and concert guitarists Stanley Yates. This definitive work includes performance scores, comparison scores an an invaluable 40-page guide entitled Arranging, Interpreting, and Performing the Music of J.S. Bach. Furthermore, the author offers comments on his arranging process and suggestions on using this edition including: ornamentation, slurs, fingerings, notation, and implementation of the comparison scores. Written in standard notation in guitar-friendly keys.
Author:
Publisher: Hal Leonard Corporation
ISBN: 1495032590
Category : Music
Languages : en
Pages : 214
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Book Description
(Bass). All six of J.S. Bach's essential suites for unaccompanied cello are arranged here for bass guitar in standard notation and tablature. Includes: Suite No. 1 in G Major, BWV 1007 * Suite No. 2 in D Minor, BWV 1008 * Suite No. 3 in C Major, BWV 1009 * Suite No. 4 in Eb Major, BWV 1010 * Suite No. 5 in C Minor, BWV 1011 * Suite No. 6 in D Major, BWV 1012.
Author: Johann Sebastian Bach
Publisher:
ISBN: 9781625590442
Category :
Languages : en
Pages :
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Book Description
A much more effective approach to Bach's works for the modern guitarist is to transcribe and perform the solo violin and cello music. Both instruments are essentially monophonic yet Bach, in one of music history's great feats of compositional resourcefulness, created contrapuntal textures through implication in his solo music for these instruments. Given the relatively greater polyphonic capabilities of the guitar, these implications can be made explicit through transcription. In fact, satisfactory transcription can almost be achieved by simple transposition and even the most uninformed reading of such a transcription on the guitar will yield a richer, more fully realized texture than is possible with the original instruments. The process in this case is often one primarily characterized by expansion and clarification; notes are easily added and implied voices clarified in the notation to create textures more in alignment with the polyphonic resources of the guitar.
Author: Jeffrey Goodman
Publisher: Createspace Independent Publishing Platform
ISBN: 9781978049802
Category :
Languages : en
Pages : 66
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Book Description
Johann Sebastian Bach's Suites � Violoncello Solo senza Basso are thought to have been composed during 1717-1723, when Bach served as Kapellmeister in K�then. The manuscript copy of Cello Suite III, BWV 1009 is the only surviving original. It is generally thought to be in the hand of Bach's second wife Anna Magdelena Bach. Some scholars now believe that the manuscript is indeed in the hand of Johann Sebastian Bach. It is housed in the Deutsche Staatsbibliothek in Berlin. This is the historical source, along with current scholarly editions of the Bach cello suites, from which this arrangement has been made. Cello Suite III, BWV 1009, is in the key of C major. This arrangement transposes the original key to A major.It is interesting to note that the great 20th century cello virtuoso Pablo Casals declined to edit his own edition of the cello suites. He said that was because his attitude to the music was founded on an unending search for musical and technical solutions, and thus was ever evolving and changing. He felt that any edition of his would therefore become out of date in a short time.For guitarists Casals's attitude of "unending search" is doubly applicable. This arrangement reflects my own current take on how Bach's Cello Suite III may be played on guitar. In order to offer guitarists a rich palette of resources with which to explore this music, this edition consists of three parts, each of which includes the complete suite:Part I - The fully realized guitar arrangement.Part II - The guitar arrangement in score with the unadorned cello part. This allows the player to always have at hand a definitive resource to see what the Bach original was.Part III - This is a reproduction of the original manuscript, which is essential for not only cellists, but for guitarists as well.
Author: Jade Synstelien
Publisher: Independently Published
ISBN: 9781799231622
Category : Music
Languages : en
Pages : 72
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Book Description
An essential compendium for any guitarist, this collection includes all of Johann Sebastian Bach's solo cello music, transcribed by Jade Synstelien for solo guitar. It is an exceptional tool for guitarists of any genre or skill level to sharpen their finger picking technique, improve their sight reading, and do so with an elegant, straightforward study book of the most beautiful, mostly monophonic, music ever composed.
Author: Eric Siblin
Publisher: Open Road + Grove/Atlantic
ISBN: 0802197973
Category : Music
Languages : en
Pages : 328
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Book Description
An award-winning journey through Johann Sebastian Bach’s six cello suites and the brilliant musician who revealed their lasting genius. One fateful evening, journalist and pop-music critic Eric Siblin attended a recital of Johann Sebastian Bach’s Cello Suites—an experience that set him on an epic quest to uncover the mysterious history of the entrancing compositions and their miraculous reemergence nearly two hundred years later. In pursuit of his musicological obsession, Siblin would unravel three centuries of intrigue, politics, and passion. Winner of the Mavis Gallant Prize for Non-fiction and the McAuslan First Book Prize, The Cello Suites weaves together three dramatic narratives: the disappearance of Bach’s manuscript in the eighteenth century, Pablo Casals’s discovery and popularization of the music in Spain in the late nineteenth century, and Siblin’s infatuation with the suites in the present day. The search led Siblin to Barcelona, where Casals, just thirteen and in possession of his first cello, roamed the backstreets with his father in search of sheet music and found Bach’s lost suites tucked in a dark corner of a store. Casals played them every day for twelve years before finally performing them in public. Siblin sheds new light on the mysteries that continue to haunt this music more than 250 years after its composer’s death: Why did Bach compose the suites for the cello, then considered a lowly instrument? What happened to the original manuscript? A seamless blend of biography and music history, The Cello Suites is a true-life journey of discovery, fueled by the power of these musical masterpieces. “The ironies of artistic genius and public taste are subtly explored in this winding, entertaining tale of a musical masterpiece.” —Publishers Weekly “Siblin’s writing is most inspired when describing the life of Casals, showing a genuine affection for the cellist, who . . . used his instrument and the suites as weapons of protest and pleas for peace.” —Booklist, starred review
Author: Johann Sebastian Bach
Publisher:
ISBN: 9781625590657
Category :
Languages : en
Pages :
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Book Description
A much more effective approach to Bach's works for the modern guitarist is to transcribe and perform the solo violin and cello music. Both instruments are essentially monophonic yet Bach, in one of music history's great feats of compositional resourcefulness, created contrapuntal textures through implication in his solo music for these instruments. Given the relatively greater polyphonic capabilities of the guitar, these implications can be made explicit through transcription. In fact, satisfactory transcription can almost be achieved by simple transposition and even the most uninformed reading of such a transcription on the guitar will yield a richer, more fully realized texture than is possible with the original instruments. The process in this case is often one primarily characterized by expansion and clarification; notes are easily added and implied voices clarified in the notation to create textures more in alignment with the polyphonic resources of the guitar.
