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J. S. Bach is the most sought after composers of all time. He is everybody's favorite! Best selling author Ben Bolt has inked 12 solos for guitar in this book. Included are moderate to advanced solos in notation and tablature. All 12 solos are recorded in order like the book. the recording can easily stand on it's own for your listening pleasure, or can be used as an instructional tool. Professor Bolt also includes a copy of Bach's original manuscript of Partita No. 1 for cross-reference purposes. Includes the following pieces: Sleepers Awake! (from Cantata No. 140), Gavotte, Prelude (from 3rd Cello Suite), Courante (from 3rd Cello Suite), Corrente (from 1st Violin Partita), Bourrée (from 1st Violin Parita), Prelude in D (from 1st Cello Suite), Gigue (from 1st Cello Suite), Sarabande (from 2nd Lute Suite), Gigue (from 2nd Lute Suite), Courante (from 1st Lute Suite) and Fugue.
This edition contains 10 of J.S. Bach's finest compositions scored in notation and tablature. Works include: Two Part Invention in C Major; Gavotte, from the 3rd Lute Suite; Prelude in D Minor; Bouree in E Minor, from the 1st Lute Suite; and others. the CD is a stereo listening CD and on it each selection is played at both a slow and performance tempo. All songs from the book are on the CD.
These arrangements of many pieces by J.S. Bach make a great composer's works accessible to the mandolinist. Since the bulk of the music has been adapted from various suites, sonatas, and partitas, the authors provides an explanation of each dance form and other similar pieces. Includes: 'Bauree Angloise' from Partita in A Minor for solo flute; 'Marche' from Anna Magdalena Back Book; 'Fantasie' from Partita No. 3 in A Minor; and more. In notation and tablature. Includes a CD which contains 13 of the 26 solos.
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
The primary aim of this book is to help the reader to understand the language of music and how it works in relation to the guitar. It is not intended as a substitute for all other lines of study, but it will provide a basic knowledge that can be expanded and developed. the reader is urged to read as wide a range of books as possible and to examine whatever music he or she possesses to identify further examples of the points discussed. the examples should be played and carefully listened to. the study of music is sterile if confined to making marks on paper, no matter how well understood intellectually; no real value attaches to a theoretical study of music unless it is directly related to aural experience and its value is reduced further if it is not related to the music of one's instrument.Contents include Musical Sounds and Their Origins, the Organization of single notes, Melody, Intervals, the Beginning of Harmony-Triads, Functional Harmony and Cadences, Primary Harmony and Cadences, Primary Triads and Substitution, Modulation and Transition, Secondary Sevenths, Other Diatonic Secondary Sevenths, the Cadential Six-four, the Dominant Ninth, Secondary Ninths, Chords of the Eleventh and Thirteenth, Chromatic Alteration of Diatonic Chords, chromatic Harmony, Remote Modulation, Pedal Points, and Steps Beyond
This comprehensive edition brings together all of the standard pieces in the adopted Albeniz guitar repertoire along with additional pieces that complete many of the suites and other groupings as published during the composer's lifetime. These solo arrangements were made while consulting the earliest editions of the piano originals, and are faithful to Albeniz tempo indications, dynamics, phrasing slurs, and other expression markings. the selections are: Pavana-Capriccio, Op. 12 (1992); Suite espanola, Op. 47 (1886); Recuerdos de viaje, Op. 92 (1888); Doce piezas espanolas, Op. 164 (1889); Espana, seis hojas de album, Op. 165 (1890); Serenata espanola (Cadiz, cancion), Op. 181 (1890); Mallorca, barcarola, Op. 202 (1890); Zambra granadina, danse orientale, WoO (1891); Cadiz-gaditana, WoO (1891); and Chants d'Espagne, Op. 232 (1891-1894). Carefully researched and meticulously fingered in the scholarly manner one would expect from Stanley Yates.
This collection includes a preface and table of embellishments by William Mason.
The complete six Sonatas and Partitas for solo Violin (BWV 1001-1006) by Johann Sebastian Bach transcribed for guitar in standard notation and tablature. Composed between 1714 and 1720 but not published until 1802, Bach's Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded. The pieces often served as archetypes for solo violin pieces by later generations of composers. Sonata No.1 in G minor BWV 1001 Partita No.1 in B minor BWV 1002 Sonata No.2 in A minor BWV 1003 Partita No.2 in D minor BWV 1004 Sonata No.3 in C major BWV 1005 Partita No.3 in E major BWV 1006
Bach's masterpieces transcribed for classical guitar.