CIossirn,[,

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

arronged by

Joseph Harris

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p
a,

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o

ID

P u bl

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

C{assical Guitar af Bactt

ColrreNrs
Suite for 6010 flute.

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

...,....,..............2 rypl aqon of ofrm_eDrs Sugaesdos.,....,.......,.....,.,..,.,...........4 txstonca.l Notes & Penomu.e

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

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

Bwv 1013

seab

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,+

Cutata No.l4?r

za

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

Bwv loor
...........,..........:...............................,..,.,....................,....,..,...

5o
O2

Sotrata No.I for solo violln.

sicttaE

Notebook Io! Arna Madalena 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

54 56 60 57 62
?O

6? ?4

sdabarde ...:...............,....,..........................,..............................,..... ?6 Cdtata No. 6?. .rt p,rad.'ti6

cborale .:.....,............................-.........,.................,.....,......................
OT9$CRtrATIIECONCEM PUBLISIIINC CORPOIL{TION

so

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

''.ipF.L\e. -",,,,....";,""-.-.O:nrr.-,.rhlTeo'u'..nirc.blrqu.,arn"'u''o''lecu'a' p'oon8"d dJ r.. ,,,,, o x'... ol. r,,ne n.lr oro ndnen,J''o, ' o-'."n F difi 1a \ "i...,.. di musi.al lexture can bc filled in space\ 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

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

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

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

The

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

'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

till

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

'l!

.omponnd oman.nl (lurn + trill)

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

Lhd, .onb,ne two

or morc bdc

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,minuerandbourrear.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

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
The loure is a slow,

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

The

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

chdacter.

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

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

mN.lt.

is a dance inspiEd by an

innrnan

.eomp

iment

dd

rirves .he music a

rustic

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@sud 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

th

The siciliana originabd in Sicily.

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

Sarabande
from Suite forsoloflule, BWY

10ll

; !.!

13

rllli

Prelude
for lute, BWV 999

L:T

l0

,11

--

from

Bourr6e Suire No. l for lure. BWV

996

Lli r ''.

il i t i'

ea;-

lE

i.I-IJ i

;,

rl ; ,

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

! "

"

ii

i'ur-

t)

l4

from Panita No. l for soto liolin. BWV 1002

Bouu6e & Double

4"
J'

t5

t6

17

'f)*:.,-,

"

?2

t3

20

21

c-;-"=

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

21

21

from Panih No I for solo !to1in, BWV 1002

Sarabande and Double

-:

i:1-

Double

'a- -a

--a al

)1

l3

from Suire No. I for or.hesrra

Air ("On the c Srring")

Bwv

1068

l0

l---: 1

r--+ ;;

,._

:-+-*

ll

In

"LJ

[_r

t-

Gigue
ftom Suite (incomplete) forkeyboard. BWV 823

--Tt

t'

l4

--.

l6

Sarabande
from French Suite No.
1

for keyboard, BWV 812

l'1

Minuet in C Major

r _' i

.r0

Minuet in G Minor

lL:;,.

lr

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

""

----

li

-:r?,:-

la

t 1-

tl

---l

fl")

LT

cA-.6

1r,l C !

,l

i?

---a

-rr--

it -

--

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

ffili
[,?

i*rF

4r+

=:

J8

#=t-bi
'-

It

'rr'n

ffiLF 1a

6
-

Li"

t0

Sarabande
from French Suite No.6 for keybodd,

Bwv

817

I,T

.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

a lil

l1lLt

f-

tl

Minuet in C Minor
From the Notebook ibr Anna Maedalena Bach

il

tiom

the

NolebookforAnna Ma!d,lera Br,

Musette in D Major

11"

,4
,'.-

<

t-

6l

Prelude
from Suile No.
1

for solo cel1o. BW1/ 1007

6=D

6l

,==

6l

"[=,-

".] iL "

t t'. h'. !!

d!

,:::: laa)aa

67

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

Bourr6e

1\-

!i'u I

1A

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

Minuet I &

II

6 =D

Minuet

lI

,7:

lt,

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

1,

-D !t

it-"

t\,

!].:

1l

. ::

!f-'l'tr

.r-

76

Sarabande
from Partita No. I for keyboard, BWV825

-11 ,ll

tli

ltr

'19

from Cantata No.

Chorale 67, 'D, r'rpdenfiirst, Hen

Jesu Chtist,