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Classical guitarists---both students and professional performers---require the same high-quality editions that their pianist colleagues have come to expect from Alfred Music. Our Classical Guitar Masterworks Editions continue the Alfred Music tradition of providing carefully edited, beautifully presented music for practice and performance. This edition of J. S. Bach's masterpieces for solo violin, artfully transcribed for classical guitar by renowned performer, recording artist, and pedagogue Nicholas Goluses, is an essential addition to any classical guitarist's library. Including a thoughtful, scholarly preface on the art of transcribing Bach for the guitar, drawn from Goluses' doctoral dissertation, studying this edition will be edifying for any serious classical guitarist. Goluses' approach to putting these pieces on the guitar, and his thoughtful fingerings, will help overcome the complexities of playing this important and challenging music.
A unique study of dance forms and rhythms in the Baroque composer’s repertoire. Stylized dance music and music based on dance rhythms pervade Bach’s compositions. Although the music of this very special genre has long been a part of every serious musician’s repertoire, little has been written about it. The original edition of this book addressed works that bore the names of dances—a considerable corpus. In this expanded version of their practical and insightful study, Meredith Little and Natalie Jenne apply the same principles to the study of a great number of Bach’s works that use identifiable dance rhythms but do not bear dance-specific titles. Part I describes French dance practices in the cities and courts most familiar to Bach. The terminology and analytical tools necessary for discussing dance music of Bach’s time are laid out. Part II presents the dance forms that Bach used, annotating all of his named dances. Little and Jenne draw on choreographies, harmony, theorists’ writings, and the music of many seventeenth- and eighteenth-century composers in order to arrive at a model for each dance type. Additionally, in Appendix A all of Bach’s named dances are listed in convenient tabular form; included are the BWV number for each piece, the date of composition, the larger work in which it appears, the instrumentation, and the meter. Appendix B supplies the same data for pieces recognizable as dance types but not named as such. More than ever, this book will stimulate both the musical scholar and the performer with a new perspective at the rhythmic workings of Bach’s remarkable repertoire of dance-based music.
"Recent scholarship has shown that performers who understand dance characteristics in Johann Sebastian Bach's music can apply a more nuanced approach to the performance of that music. Though many performers would likely welcome the opportunity to learn more about expressing dance qualities in performance of Bach's music, few resources exist to guide them. This dissertation aims to encourage performers of Bach's cantatas to explore the richness of the dance elements in them. Investigation into the context of the dances, the technical details of the dance steps, and their qualities of momentum, helps build a vocabulary with which to discuss specific instances of dance characteristics in Bach's cantatas When the performer can identify ways in which a dance influences a musical composition, he has gained an array of specific musical insights about the piece, which will help him make expressive decisions about articulations, ornamentation, affect, and other musical issues. Interpretations gain greater clarity and shape, and the infectious kinesthetic quality of the dance comes to the fore in the music. The dissertation focuses specifically on the impact on Germany and Bach's music of French Baroque dances popularized in the court of Louis XIV. Study of French Baroque cultural influence on Germany will also expose a practice in musicology of dismissing and suppressing French influence on German music and culture, especially in the works of Bach. Bach's titled dances have prompted fruitful discussions on the significance of the dance in performance of Bach's dance-influenced music, and this paper will closely examine this topic. The dissertation will focus most intently on Bach's sarabande- and minuet-influenced titled dances and cantata movements. Several dances and movements will be explored for their dance characteristics, and implications for dance-inflected performance will be discussed."--Preliminary leaves.