Release on 2005-05-03 | by Johann Sebastian Bach,Judith K. Linder Schneider
Author: Johann Sebastian Bach,Judith K. Linder Schneider
Pubpsher: Alfred Music
In this volume, which contains six suites and seven supplementary pieces for intermediate to advanced level pianists, Judith Schneider has provided detailed biographical and historical information about the pieces, as well as suggestions to achieve a proper interpretation of these works. Bach's table of ornaments is also discussed. This volume beautifully prepares students to perform Bach's more advanced English Suites.
Release on 1996-02-01 | by Johann Sebastian Bach,Hans Bischoff
Author: Johann Sebastian Bach,Hans Bischoff
Pubpsher: Alfred Music
Each of Bach's six French suites is written in a different key with no harmonic relationship to one another, unlike most of his other works. Within each suite, all of the movements are in the same key and follow standard binary form. In the traditional Baroque suite, there are four movements: Allemande, Courante, Sarabande, and Gigue. However, Bach also includes lesser-used dances such as the Polonaise, Bourée, and Air. Noted Bach expert Dr. Hans Bischoff edited this collection. Titles: * No. 1 in D Minor * No. 2 in C Minor * No. 3 in B Minor * No. 4 in E-flat Major * No. 5 in G Major * No. 6 in E Major * Suite in A Minor * Suite in E-flat Major
The much anticipated 5th French Suite by J.S. Bach has finally been published inits entirety for classical guitar by internationally acclaimed Argentinian virtuoso Nestor Ausqui. This sui generis collection has been widely sought after by guitarists, whom for many years only could attain fragmented pieces of the suite. Now the entire suite is available for the first time! The transcriber must understand the essence and intent of the original, and then in the transcription, create the impression that the music was indeed originallywritten for the guitar. In this transcription of the 5th French Suite, Nestor Ausqui has accomplished this brilliantly. Dr. William Toutant Professor Emeritus and former Dean of Music at California State University Northridge
The Keyboard Music of J.S. Bach provides an introduction to and comprehensive discussion of all the music for harpsichord and other stringed keyboard instruments by Johann Sebastian Bach (1685-1750). Often played today on the modern piano, these works are central not only to the Western concert repertory but to musical pedagogy and study throughout the world. Intended as both a practical guide and an interpretive study, the book consists of three introductory chapters on general matters of historical context, style, and performance practice, followed by fifteen chapters on the individual works, treated in roughly chronological order. The works discussed include all of Bach's individual keyboard compositions as well as those comprising his famous collections, such as the Well-Tempered Clavier, the English and French Suites, and the Art of Fugue.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Release on 2001 | by Meredith Little,Natalie Jenne
Author: Meredith Little,Natalie Jenne
Pubpsher: Indiana University Press
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 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 principals 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. 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.