Classical Guitar of Bach (Joseph Harris)

CIossirn,[,

u,i,l,o,r ct|Iicu'Jt,

arronged by

Joseph Harris

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n

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o

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P u bl

Creotive Concepts ish i n g Co rp o roti o n

C{assical Guitar af Bactt

-";H"lY arrange.l by Joseph Haruis

ColrreNrs

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

Bwv 1013

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

BoMGe..,.......................-.-.............................,................................12 Partita No.l for solo r.toltn. awv 1oo2 BouEe & Double..,....................,,.,.......................,..,....,................ r 4 de & Doub1e........,----.......................,.......................... 24 suite No,3 fororchestsa. Bwv 1068 AL [.Air or the c srd[g_)--....,..........................,....,..............,..,29 suite (ircoEplete) for keyboard, Bwv E23 Grgue ........................,..,....,.....................,..............................,....,....... 32 fteEh suite No.1 Ior kevbodd. Bwv 312 sdabande .............:........,....,.......................,..,.,............................,. .to 1\^io Minuet! fo! kevhoard Mi!uet ill c Major.........,.......,.-.................,........,........................., 38 Minuet iD c Miior...........................,..,..,............................,.,........ 4o

seab

Cutata No.l4?r

za

udMbd u.r rat una L.ba" Joy 6r Md! Desiria" ........... ..-.. .. ... .............................. ..-.. .._ 42 Suite No.2Io!lute. Bwv 997 sdabande --.............-........,....,.............................,...................... 4z French Suite No.6 for keeboard. Bwv 8 r ? Chorale: !6,+

s abdde ....,........:..................,..,..,.......................,....,................... Gavotte----..............----. .....,.....---------.

Sotrata No.I for solo violln.

sicttaE

Bwv loor

...........,..........:...............................,..,.,....................,....,..,...

Notebook Io! Arna Ma€dalena Ba.h Mtnuet itr C Mino-r, BWV Alhare l2i ...,....,..,.,..,.,..,.,..,.......... Mu8ede ir D M4ior, Bwv Arlarli 125...............,.......,....,....... MiDuet ilr D Mitrb!, BWV turlEn* 132 ,....,..,..,.....,.,..,.,....,....,.. Suite No.l for solo .ello. BWv 1oo7 Prelude ..,.......,.......-.........................,.........................,.......,.............. Mhuet I & II....................-..,............................,..,..,........................ suite No.4 for lute. BWV 1006a BourEe ,..,............,..,..,.,,.,.,..,.,..,....,...,.,..,.,..,....,.......,..,.......,.,..,.,...... LolE.....,....,.......,..................---..................,..,............,................., Partita No. 1 Io! kevbo d.Brrv825

5o O2

54 56 60 57 62 ?O

6? ?4

sdabarde ...:...............,....,..........................,..............................,..... ?6 Cdtata No. 6?. .rt p,rad.'ti6 cborale .:.....,............................-.........,.................,.....,...................... OT9$CRtrATIIECONCEM PUBLISIIINC CORPOIL{TION

CREA?TVE

coircEPrrr 2E

riJi{;s^.+*t'

so

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 The main saal or o.namenrarion is not nerelv ro deconie the nusi'' Rathe( il"* '*iLi"" , tt. ico". ror .oa.n..n'o e'i13 t''t. nro'

''.ipF.L\e. -",,,,....";,""-.-.O:nrr.-,.rhlTeo'u'..nirc.blrqu.,arn"'u''o''lecu'a' r.. ,,,,, o x'... ol. r,,ne n.lr oro ndnen,J''o, ' o-'."n F difi 1a \ p'oon8"d dJ "i...,.. 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 r.ana. ?nr.doh\onen.e \t' rrhes'id 6e p'rrome' .- -."..i",.'; "",.d..", om r"i' on one' nng'*. n on.on ro' r'!\ron or on uo'dl" enr ,omeLme- nc 1' oorron or n't's

"i .'.,p.\\\i'p."';er.od'.-eoieei'i'"on"nenr'holdh"plr)eon.rd'\r'dCto-etuLlr

t onJmen'. h,'r\u'ed. Brorrbnei i k inbo) o ,Jr.,e he.,'11 'Eo ".f,,: ,",.d,=. ' bo.. 'ornd 1+ boo.rnd u33_ion' rorrneir"r"cr.on.

ihe discrerion orlne plale. Howcver, omamenE de often To d cenain extenr, ormmenration is len ,ndi. ed dne.d! in lhe score. ln ordernor to lreadv obscure the notation ofthe nusic B aroque c odposers

r,!l ( soindi.Mdby the svnhol , )n rn iLtemarion birr r norc and i's upps n.jghhor lr should bcaii oD The

rhei'DDcr rcte md dneady on rhe do{nbed The nuinb* of nots in tr ma! var]' deFndLng o, rrmpo a,,l

till

'l!

rui,nvolv r norc and it upper rnd hlq n.irhho TheE arc tro basic ,J|..'d."mJ*...],nd***.d in. rv oi ,hc d.wrhen, hoscvcr. in an

The

uDsc;Ed tun, lhe rlnxl .ote of ihe lum \h.trld$iicide with thc do*nbear

'flre appogEiilura contains a lnsle auxilidl notc duftd receives hrlf thc nohtd value ol rhe main nore. D$ E tr. norariun. 'I. iDp;ar,arur. bes,ns d rcctly dotrnbe nor belorc oir rhe .

.omponnd oman.nl (lurn + trill)

Lhd, .onb,ne two

or morc bdc

rr rlso round r rhe mu$! uf B h rhtr book --;.na tres a ohn.und ommcnr !h .ombins a rur. lith q till. Likc rhc i,sic omamenb thar rhey ar .omp*ed ol compoundomament b.gin dnc.dy on rhe downbe{.

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

Manyolfiepiecesrrhnbookartrrlerfroinlaeersorkscalledsurrs A suile (which rnlghralso !o 6i 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. shmn8cedarnmorves rnd figures (An exceprion isrhe prelude, whi.h nusually$emaiically unrelded ro rhe orher jnovemen$ I Ths indiyldu.ldm.enovetoe.isioundins!nesarcmonofreninabioaryorrwopxrtorm.\riihea.hh.tfofrhdFie.e rcpeared 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- fie EmC,1anJsri.,, aE 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 Thesecoid dr.cdoftheD imighrexhibniconrdeingnood,orbeinrcoiraningke)suchasrheparalhlminor AGr pliyrgthe1*odancesinorder,rheperfomerretumstorhetu daDce Forexample,rpanothiiue(*ould bepluyediniheorderMinuerl Miiuetll Minuerl Belo*aresomebrieldesciprionsoiiherypesoftrorkslound s

d,nce

The air is rhe iNtrumen6l equilalent olan aia or a solo song md re.hiiclllf nor d 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 \oto violin (found on page l2 ofihis bookl oriera Cood.xamplc olrhn dimiiu.ion rechnique. Bachusesa sllghny diffeftniFroces in rhcS abandc dd Double lrom the lame Peita Itnund 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.ques Canllier Thegiguekinaqui.kremtoaidconpou mercr, and erhibns r lilelr- chaEcrer.

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 The

Lully

mjenic lrench dance vifi hearA aeenls, lilring rhyrhm md musetie. tie louE w4 originally a bigpipe ds.e with a chtuterini.

The loure is a slow,

doted figuies Like .he drc.e, rhich aave the dane

a rustic

chdacter.

d

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

The

ninuer n

a serene

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 The

.eomp

mN.lt.

iment

dd

is a dance inspiEd by an

rirves .he music a

rustic

innrnan

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

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 rle typically in a perfomels disretion. Unlike the doce ftovebftls of lhe suile. rhich binary fom, rhe prelude h6 no !rescdbed tomal $roctlE. The fom of the prelude is oflen a a

ft

Fo.rrpi,,ms

o! unfolding of a single nusical idea in a $eady and

unbrolrd flov

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 the sdatrbdc md wd sonetines tucomp ied bv zabeda w6 in a l6ter iempo cdlueis md guihr It s6 also ,ildly erotic and so sexualty su88e$ive tlul ils petfolrme wd outlawed. Pe*ors can8ht dscing dre aabdda were punisned or evcn exiled The s.r.bande

n

a

th

The siciliana originabd in Sicily.

I

is a dance in a mode6te renPo, cosPound duple

nerei dd exhibits rhe chsacrenstic $ythn of dor@d .i3hth-sixbe.th_eiEhih It is sonaiies similar in che&ter to a slow gigue but is EoE pa$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 ical aesdretics, dd rhen0sicofrrenchconPo*rOlivie!Me$iad(I9o3_1992) Joe arso cnjovs hikins, oounain bildng dd bck s

5

Sarabande from Suite forsoloflule, BWY

10ll

; !.!

13

rllli

.

I

Prelude for lute, BWV 999

9

L:T

l0

,11

--

from

Bourr6e Suire No. l for lure. BWV

Lli r ''.

996

il i t i'

ea;-

lE

i.I-IJ i

;,

rl ; ,

-

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

! "

"

ii

i'ur-

r

t)

l4

Bouu6e & Double

from Panita No. l for soto liolin. BWV 1002

4" J'

t5

t6

17

'f)*:.,-,

?2

"

t3

I

20

)

21

-

c-;-"=

)i4 '",=-,,'+---", tt::-

21

I

21

Sarabande and Double

from Panih No I for solo !to1in, BWV 1002

:

-:

i:1-

Double

'a- -a

--a al

)1

I

l3

Air ("On the c Srring")

from Suire No. I for or.hesrra

Bwv

1068

l0

r--+ ;;

l---: 1

:-+-*

,._

+

ll

In

"LJ

[_r

t-

Gigue ftom Suite (incomplete) forkeyboard. BWV 823

--Tt

t'

l4

,

I

F

!

--.

l6

Sarabande from French Suite No.

1

for keyboard, BWV 812

l'1

Minuet in C Major

r _' i

?

l

.r0

Minuet in G Minor

lL:;,.

a

lr

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

""

i

----

la

li

r

-:r?,:-

t 1-

tl

fl")

---l

LT

cA-.6

1r,l C !

,l

i?

---a

-rr--

it -

--

t

Sarabande from Sulte No.2 for 1ute. BWV 997

ffili

i*rF

[,?

4r+

+

=:

=

J8

1

4

#=t-bi '-

'rr'n

ffiLF 1a

It

i

6 -

Li"

t0

Sarabande from French Suite No.6 for keybodd,

Bwv

817

I,T

a

.l{1

lN! L 6i,)-

t?t

cZ-_l

L:l

Gavotte from French Su te No 6 fo. keyboard, BWv 817

Siciliana from Sonata No.

1

forsolo violir. BwV1001

r-

.,.,.

't"

i -r1

t-.tl

-

"l

=

/

i]1

,

5')

Minuet in D Minor riom rhe Notebook for Arma Magdalena Bach

€)=D

_-|_-|

.ti l lr

l1lLt

f-

a lil

tl

Minuet in C Minor From the Notebook ibr Anna Maedalena Bach

il

tiom

Musette in D Major

the

NolebookforAnna Ma!d,lera Br,

,4

11"

,'.-

t-

h

<

6l

Prelude from Suile No.

6=D

1

for solo cel1o. BW1/ 1007

6l

,==

6l

"[=,-

!

".] iL "

t t'. h'. !!

d!

,:::: laa)aa

67

Bourr6e

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

1\-

!i'u I

F

1A

Minuet I &

II

from Suite No. I for rolo.ello. BwV 1007

6 =D

Minuet

lI

,7:

lt,

Loure from Suite No. 4 for lute, BWV 1006a

i

1,

-D !t

.

t\,

!].:

,

it-"

,

1l

. ::

.r-

!f-'l'tr

76

Sarabande from Partita No. I for keyboard, BWV825

-11 ,ll

!

tli

r

ltr

'19

from Cantata No.

Chorale 67, 'D, r'rpdenfiirst, Hen

Jesu Chtist,

I