classical guitar of bach (joseph harris)

byarrongedu,i,l,o,r ct|Iicu'Jt,CIossirn,[,Joseph Harris

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Creotive ConceptsP u bl ish i n g Co rp o roti o n

-";H"lYarrange.l byC{assical Guitar af Bactt Joseph Haruis

ColrreNrsrypl aqon of ofrm_eDrs ...,....,..............2txstonca.l Notes & Penomu.e Sugaesdos.,....,.......,.....,.,..,.,...........4Suite for 6010 flute. Bwv 1013

salabande ........,..........,...............................,.........................,....,........5helude for lute, Bwv 999 ...............,.....,..6Suite No.1 for]ute.AWV 996

BoMGe..,.......................-.-.............................,................................12Partita No.l for solo r.toltn. awv 1oo2

BouEe & Double..,....................,,.,.......................,..,....,................ r 4seab de & Doub1e........,----.......................,.......................... 24suite No,3 fororchestsa. Bwv 1068

AL [.Air or the c srd[g_)--....,..........................,....,..............,..,29suite (ircoEplete) for keyboard, Bwv E23

Grgue ........................,..,....,.....................,..............................,....,....... 32fteEh suite No.1 Ior kevbodd. Bwv 312

sdabande .............:........,....,.......................,..,.,............................,. .to1\^io Minuet! fo! kevhoard

Mi!uet ill c Major.........,.......,.-.................,........,........................., 38Minuet iD c Miior...........................,..,..,............................,.,........ 4o

Cutata No.l4?r za udMbd u.r rat una L.ba"Chorale: !6,+ Joy 6r Md! Desiria" ........... ..-.. .. ... .............................. ..-.. .._ 42

Suite No.2Io!lute. Bwv 997sdabande --.............-........,....,.............................,...................... 4z

French Suite No.6 for keeboard. Bwv 8 r ?s abdde ....,........:..................,..,..,.......................,....,................... 5oGavotte----..............----. .....,.....---------. O2Sotrata No.I for solo violln. Bwv loor

sicttaE ...........,..........:...............................,..,.,....................,....,..,... 54Notebook Io! Arna Ma€dalena Ba.h

Mtnuet itr C Mino-r, BWV Alhare l2i ...,....,..,.,..,.,..,.,..,.......... 56Mu8ede ir D M4ior, Bwv Arlarli 125...............,.......,....,....... 60MiDuet ilr D Mitrb!, BWV turlEn* 132 ,....,..,..,.....,.,..,.,....,....,.. 57

Suite No.l for solo .ello. BWv 1oo7Prelude ..,.......,.......-.........................,.........................,.......,.............. 62Mhuet I & II....................-..,............................,..,..,........................ ?O

suite No.4 for lute. BWV 1006aBourEe ,..,............,..,..,.,,.,.,..,.,..,....,...,.,..,.,..,....,.......,..,.......,.,..,.,...... 6?LolE.....,....,.......,..................---..................,..,............,................., ?4

Partita No. 1 Io! kevbo d.Brrv825sdabarde ...:...............,....,..........................,..............................,..... ?6

Cdtata No. 6?. .rt p,rad.'ti6cborale .:.....,............................-.........,.................,.....,...................... so

OT9$CRtrATIIECONCEM PUBLISIIINC CORPOIL{TION

CREA?TVE coircEPrrr 2E riJi{;s^.+*t'

Erplanation o[ Omaments Used in This Book

Ommenrarion i5 a vibi leature nor only olfie music of J.S. Bach but of musi. ihroughout the Barcque

Denod(rpproxim.lyl600-l?50) Baroquo compose^ expect.d the p fom{ ro proride additional mB ro

il"* '*iLi"" , tt. ico". The main saal or o.namenrarion is not nerelv ro deconie the nusi'' Rathe(

t''t. ror nro' ''.ipF.L\e. .oa.n..n'o e'i13

-",,,,....";,""-.-.O:nrr.-,.rhlTeo'u'..nirc.blrqu.,arn"'u''o''lecu'a'"i...,.. r.. ,,,,, o x'... ol. r,,ne n.lr oro ndnen,J''o,

' o-'."n F difi 1a \ p'oon8"d dJ

space\ in di musi.al lexture can bc filled in

An in.otrunt considcntion o renenber whsn perloming Bdoque nusic n fiat rhe ommenr should

alnosi al;ys beEii diredly on the downbeat, not before the beat. This is reflecred in the tact fiai o.- -."..i",.'; "",.d..",

r.ana. ?nr.doh\onen.e \t' rrhes'id 6e p'rrome',omeLme- nc 1' oorron or n't's "i om r"i' on one' nng'*. n on.on ro' r'!\ron or on uo'dl" enr

.'.,p.\\\i'p."';er.od'.-eoieei'i'"on"nenr'holdh"plr)eon.rd'\r'dCto-etuLlrTo d cenain extenr, ormmenration is len t ihe discrerion orlne plale. Howcver, omamenE de often

,ndi. ed dne.d! in lhe score. ln ordernor to lreadv obscure the notation ofthe nusic B aroque c odposers

'Eo i k inbo) o ,Jr.,e he.,'11 onJmen'. h,'r\u'ed. Brorrbnei".f,,: ,",.d,=.

' bo.. 'ornd

1+ boo.rnd u33_ion' rorrneir"r"cr.on.

The r,!l ( soindi.Mdby thesvnhol , )n rn iLtemarionbirr r norc and i's uppsn.jghhor lr should bcaii oD

rhei'DDcr rcte md dneady onrhe do{nbed The nuinb* ofnots in tr till ma! var]'deFndLng o, rrmpo a,,l 'l!

The rui,nvolv r norc and it upper rndhlq n.irhho TheE arc tro basic,J|..'d."mJ*...],nd***.din. rv oi ,hc d.wrhen, hoscvcr. in anuDsc;Ed tun, lhe rlnxl .ote of ihe lum\h.trld$iicide with thc do*nbear

'flre appogEiilura contains alnsle auxilidl notc duftd

receives hrlf thc nohtdvalue ol rhe main nore.D$ E tr. norariun. 'I.iDp;ar,arur. bes,ns d rcctlyoir rhe dotrnbe . nor belorc

.omponnd oman.nl (lurn + trill)

Lhd, .onb,ne two or morc bdc--;.na rr rlso round r rhe mu$! uf B h rhtr booktres a ohn.und ommcnr !h .ombins a rur. lith q till.Likc rhc i,sic omamenb thar rhey ar .omp*ed olcompoundomament b.gin dnc.dy on rhe downbe{.

Historical Notes & Peformance Suggestions

AmorgdreNork\olBach,rhemosrnumerousr]'peofcomposirionhyfarirlrca da rbou[*ohuidredofwhich have surv,ecdrolho presenlday Thecanraraisamuhi.novem.nred*o.klorsotos\oi.cr..hoosmdin$tumentandnofienbrsedo.aprc-e\kringn'ne.MoiofBachssacEdcantatas,{hlchserei'nendedrorpedomance duringielig,ous seryice. arebassd on hymrunes. TherypicalBachcmtaraconsnsofaiopenine.h.fl\.lroornrorepairsolan.sedre.naavesrnda.losiDgchomle BachsfouFpdchoLlesr.ofrenuphelda\rhenandlrdoipede ion*hcnircofrcsropolyphonic*iin8 ThechoraleotcadraraNo 67, Drr,eddril,Hs,,Jls!ar,i, tfoundonpageTTolthisbook),cteartydenonstraiesBach'sma$.ryarlh(an.Th.chont!ofcantah No 1,17, lJ?{ r,.rMrhdlha I.t tkd Lebd" $onnd on page l0) i5 ouch more iexnrntty mrd tormJlrd.vdloped.HeE.aDin$flmefralrirohello(aEcuringnelod),)sepantesthedrlfarenrtinesotrh.choraletei

Manyolfiepiecesrrhnbookartrrlerfroinlaeersorkscalledsurrs A suile (which rnlghralso !o6i lhedcsigna(ion panna") isa.ollecrion ol d.n.es uniied by mo'te or kel bur.onraiing inchrrad.r. lempo.nrererandcou ryolonsin Thedancesofapariculnsuire may be rhetodiicJlyElared. shmn8cedarnmorvesrnd figures (An exceprion isrhe prelude, whi.h nusually$emaiically unrelded ro rhe orher jnovemen$ I Thsindiyldu.ldm.enovetoe.isioundins!nesarcmonofreninabioaryorrwopxrtorm.\riihea.hh.tfofrhdFie.ercpeared ir perlorm.nce The core ofrhe standard Barcque suire consins of four main drnces rhe allemand..courame, satubande ard gigue ln addition io ihese dan.es, oprional movemer$, collecirelJ, relered io br- fieEmC,1anJsri.,, aE s omerimes foun d The u sual placenei I o f I hese oprional dances i s bs.veen t he srrrbai d.rndthegiBue Cenalndancerype!su.harrhegavo(e,minuerandbourr€ear.ofrsnpr.se ddinpairr Thesecoiddr.cdoftheD imighrexhibniconrdeingnood,orbeinrcoiraningke)suchasrheparalhlminor AGrpliyrgthe1*odancesinorder,rheperfomerretumstorhetu daDce Forexample,rpanothiiue(*ouldbepluyediniheorderMinuerl Miiuetll Minuerl Belo*aresomebrieldesciprionsoiiherypesoftrorkslound

The air is rhe iNtrumen6l equilalent olan aia or a solo song md re.hiiclllf nor dd,nce The chielleatuie olrhe anis de di$inci andflowing melodl in rhe upper voi.e

The bourr6e L d liyely drnce in duDle merr, and bcgff wnh a qu&rer nolr dFb.r

A double is asecond re61on ofa pani.ular dance movemenr Ir.erriNlhe same

hamonic and melodic outlines ol its pnncipd bur erhibt a nore imaled nusic, surf..e.Through re.hniqucs such as dimi.urioi." nores in the principal are repliced ii (hedoubh

wnhnoiesofsmallerdurrions. IrDBou e and Double ftom rhe Paftita 1tr B Minor for \otoviolin (found on page l2 ofihis bookl oriera Cood.xamplc olrhn dimiiu.ion rechnique.Bachusesa sllghny diffeftniFroces in rhcS abandc dd Double lrom the lame PeitaItnund on page 22) heE. he nansfoms rhe chordalte{tu.e ofrhe Sarit,atrdc i.ro a lhear

Ih.gi8ncdcyclopcn inF nce,due1[gelytotheefonsollTlh.ce nry]lreni\rla.quesCanllier Thegiguekinaqui.kremtoaidconpou mercr, and erhibns r lilelr- chaEcrer.

The 9.rc1t b a gEcious Fench d&ce in duple ne@r dd bqins with iwo upbea6.

it had ns beginnings in rhe op$a nd ballets of l?$ cenlury FE.ch conpoeft, non .oiably

Lully

The loure is a slow, mjenic lrench dance vifi hearA aeenls, lilring rhyrhm mddoted figuies Like .he musetie. tie louE w4 originally a bigpipe ds.e with a chtuterini.drc.e, rhich aave the dane a rustic chdacter.

The ninuer n a serene md sate! Fmch d ce in tiple mere! ed nodedle &npo.The fomal oudines of the ninuet @ clerly delineated vith regula four be ph66.

The mN.lt. is a dance inspiEd by an innrnan ol the same nmq which is a small

Frnch veBion of rhs baepipe. The dost ouhddinA charactei$ic oI the duser@ is the drone,

whlch is a lons sustuned (or epaEd) note. he dmn€ pmvides a simple d monotonous

.eomp iment dd rirves .he music a rustic d pdtohl f@ling.

The p.€lude ofbn seFed a vcry pFgmalic ole in the Beoque suite As wetl as

e$abtishing a sune's mode or key. the prelude prcvided the opPotunity lor ledores to

wam up thet flnges d lo ten the tuning ot tieir insondt. The prelude is technicallv nor

a dance, Hisrodcauy, rhe pElude w6 onginally improvised dd ras rhvrhnlcallv sd neti_

cally rery toose. A Emanl oi this ptutice is rhe so-called 'unn@su€d pElude,' which is

noded vitt no rhythnic indications. I@ving yrhnic considerations solely uP ro rleperfomels disretion. Unlike the doce ftovebftls of lhe suile. rhich ft typically in a

binary fom, rhe prelude h6 no !rescdbed tomal $roctlE. The fom of the prelude is oflen a

Fo.rrpi,,ms o! unfolding of a single nusical idea in a $eady and unbrolrd flov

The s.r.bande n a noN md shtely dsce in triple bed md wilh a smng tcent on

dle seond bear. It evolved iiom tne aabanda, a doce fron 16ft{en1ury Mexico. The

zabeda w6 in a l6ter iempo th the sdatrbdc md wd sonetines tucomp ied bv

cdlueis md guihr It s6 also ,ildly erotic and so sexualty su88e$ive tlul ils petfolrmewd outlawed. Pe*ors can8ht dscing dre aabdda were punisned or evcn exiled

The siciliana originabd in Sicily. I is a dance in a mode6te renPo, cosPound duple

nerei dd exhibits rhe chsacrenstic $ythn of dor@d .i3hth-sixbe.th_eiEhih It is sonaiiessimilar in che&ter to a slow gigue but is EoE pa$oral in dood

About the Arrangff . . .

J@lllrrisrseircdhisBachelo!'sddMdreasdesEsinsniraperfom ce ar Nonnem Mzona UniveNnv

as a sNdeni of Tom sheeley. Je nas done additional gddue !tudv in the field ofbusic deory al1be Unive6nv

of lo*a. ]n addni on to hi s w oik wnn thc classical 3! id, his inteuts include ju Eln ar, mu s ical aesdretics, ddrhen0sicofrrenchconPo*rOlivie!Me$iad(I9o3_1992) Joe arso cnjovs hikins, oounain bildng dd bck

Sarabandefrom Suite forsoloflule, BWY 10ll

5

; !.! I

13 rllli .

Preludefor lute, BWV 999

9

L:T

,11 --

Bourr6efrom Suire No. l for lure. BWV 996

il i t i'Lli r ''.

ea;-

lE i.I-IJ i

;, rl ; , - ! " "

.=r.ar;tflriEl-t=lr lJ ii r

i'ur- t)

l4Bouu6e & Double

from Panita No. l for soto liolin. BWV 1002

4"J'

17

'f)*:.,-, "

?2

- c-;-"=

)i4

'",=-,,'+---",

tt::-

21 Sarabandefrom Panih No I for

and Doublesolo !to1in, BWV 1002

: -: i:1-

Double

'a- -a

--a al

)1

-

I

Air ("On the c Srring")from Suire No. I for or.hesrra Bwv 1068

l0

r--+ +l---: 1 ;; ,._

:-+-*

ll

In

"LJ [_r t-

Gigueftom Suite (incomplete) forkeyboard. BWV 823

--Tt

t'

,I

F !

--.

l6Sarabande

from French Suite No. 1 for keyboard, BWV 812

Minuet in C Major

r _' i

?

l

.r0 Minuet in G Minor

lL:;,. lra

Choralc: Je\u. Joy ol Man's De\irin""rrom .". ,",c \o. qj. :i-: ,i) i;,)i ,"iii'*,iLt ""

i

---- li r-:r?,:-

t 1-la

tl

---lfl")

LT

cA-.6

1r,l C ! ,l

i?

---a t

-rr--it - --

Sarabandefrom Sulte No.2 for 1ute. BWV 997

ffili i*rF[,?

4r+

+

=: =

1

#=4 '- t-bi I t

'rr'n iffiLF

1a

Li"-

6

t0Sarabande

from French Suite No.6 for keybodd, Bwv 817

a.l{1I,T

lN! L 6i,)-

t?t

cZ-_lL:l

Gavottefrom French Su te No 6 fo. keyboard, BWv 817

Sicilianafrom Sonata No. 1 forsolo violir. BwV1001

r-

.,.,.'t"

i -r1

t-.tl

-

"l =

i]1 ,

/

Minuet in D Minorriom rhe Notebook for Arma Magdalena Bach

5')

€)=D

_-|_-|.ti l

a lillr

l1lLt f- tl

Minuet in C MinorFrom the Notebook ibr Anna Maedalena Bach

Musette in D Majortiom the NolebookforAnna Ma!d,lera Br, h

11" <,4,'.-

t-

6=D

Preludefrom Suile No. 1 for solo cel1o. BW1/ 1007

6l

"[=,- ! ".] iL

"

t t'. h'. !! d!,::::laa)aa

Bourr6ef.om suire No. 4 for lute- BwV 1006a

67

1\- !i'u I

1A

6 =D

Minuet I & IIfrom Suite No. I for rolo.ello. BwV 1007

Minuet lI

,7:

lt,

Lourefrom Suite No. 4 for lute, BWV 1006a

i1,

-D !t , it-" ,

. t\, !].:

1l

. :: !f-'l'tr

.r-

76Sarabande

from Partita No. I for keyboard, BWV825

-11 ,ll !

tli

r

Choralefrom Cantata No. 67, 'D, r'rpdenfiirst, Hen Jesu Chtist,

I

classical guitar of bach (joseph harris)

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