![]() Perhaps this is partly due to expectations formed by familiarity with other guitar repertoire. ![]() Playing the piece as a straight transcription on guitar can sound somehow incomplete, like an outline that hasn’t been coloured in. Though the plucked guitar isn’t capable of the continuously powerful sonority of the bowed cello, it does grant the possibility of adding further accompaniment. But the cello and guitar are instruments with different characteristics. Playing the piece unmodified, other than to transpose into the guitar’s range, is certainly an option. The process of making decisions about each detail necessarily prompts further investigation and consideration. This is a challenging piece for me - my playing ability is modest - but working on an arrangement has let me get to know the work a little better. Please visit my contact page for more information.There are plenty of fine guitar arrangements of the Bach Cello Suite No.1, but I decided to try and make a version for myself, one that feels friendly to me. If anyone wishes to have an edition of a suite prepared in a different key, I’m happy to make a transposition that meets your needs. The suites are arranged in the following keys: Each movement is laid out so there are no problems with page turns. Only treble and bass clef are used, so there are no issues with tenor clef. Every key that’s considered a standard option for performing the cello suites on the double bass has been covered (even the 5th and 6th suites at pitch are included). I’ve left this up to the performer to decide what they wish to do. Past editions transcribed for the double bass almost always contain simplified chords so that they work better on the bass. With any note discrepancies that exist between manuscripts, I’ve gone with what the Anna Magdalena Bach manuscript shows believing that this manuscript is closest to Bach’s original intensions. ![]() Many editions are riddled with wrong notes, but this edition has been carefully prepared so that there are no errors. There are no changes from the original cello part, including chords. ![]() This edition gives the following advantages to players: Studying the two sets of bowings from the manuscripts gives players a variety of possibilities for performance. The third part has bowings that are a combination of the manuscripts by Johann Peter Kellner and Anna Magdalena Bach and includes the manuscript by Kellner. The second part is a literal interpretation of the Anna Magdalena Bach manuscript’s bowings for the player to look over and includes the manuscript to compare. The first part is a blank copy of the music, so that it’s easy to write in whatever markings the player wishes to put in. Since these pieces have become standard repertoire to perform (and required for most orchestral auditions in the US), it’s important that a reliable edition is available to players.Īs no manuscript survives in Bach’s own hand, it’s hard to point to any single manuscript as being a definitive source for an Urtext edition of the cello suites. Bach - Suites I-VI, The Complete Bach Edition for Double BassĪfter studying the Barenreiter edition of Bach’s cello suites, I realized that there are no editions for the double bass that meets our current standards for performing these works.
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