ISBN 9781619118249.

Johann Sebastian Bach most likely composed the Chromatic Fantasia and Fugue during his stay in Kothen between 1717 and 1723. Originally written for the harpsichord, the work was duly recognized as a masterpiece within its own era.Nestor Ausqui has taken extraordinary measures in creating a guitar transcription of this monumental piece. The fundamental tonality of D minor was retained to preserve the workas sonority, and the 6th string of the guitar had to be lowered to D to expand the guitaras range and adhere to the original key.The articulation of the piece often requires the use of the slur technique to maintain and enhance the legato effect in the melodic line. As the guitar has a more percussive character than the harpsichord, various inconveniences occur in the management or execution of the legato, but the transcriber has done his best to preserve the character of the original piece.Ausqui admits that the most arduous task was the fingering of the piece. He had to familiarize himself with Bachas intentions and avoid shortcuts and aberrations which would have depleted the original harmonies and melodies. In the process, he discovered that utilization of the open strings can subtly enhance the balance of right and left-hand duties to achieve the timbre the original score mandates.Written in standard notation only, with each line of music forming only one measure, this piece is meant for the classical guitarist willing to accept an interpretive challenge to reap enormous musical benefits.

Song List: Suite I - Prelude (Bach, arr Pirtle) Suite I - Courante (Bach, arr Pirtle) Suite I - Minuets I and II (Bach, arr Pirtle) Suite I - Gigue (Bach, arr Pirtle) Suite II - Prelude (Bach, arr Pirtle) Suite II - Gigue (Bach, arr Pirtle) Suite III - Allemande (Bach, arr Pirtle) Suite III - Bourees I and II (Bach, arr Pirtle) Suite III - Courante (Bach, arr Pirtle) Suite III - Gigue (Bach, arr Pirtle) Suite IV - Prelude (Bach, arr Pirtle) Suite IV - Allemande (Bach, arr Pirtle) Suite IV - Courante (Bach, arr Pirtle) Suite IV - Bourees I and II (Bach, arr Pirtle) Suite IV - Gigue (Bach, arr Pirtle) Suite VI - Courante (Bach, arr Pirtle) Suite VI - Gigue (Bach, arr Pirtle) Partita in B Minor - Corrente (Bach, arr Pirtle) Partita in B Minor - Double 9/8 (Bach, arr Pirtle) Partita in B Minor - Double 2/2 (Bach, arr Pirtle) Sonate II in A Major - Allegro (Bach, arr Pirtle) Second Little Prelude - Moderato (Bach, arr Pirtle)

This album contains 5 of Johann Sebastian Bach\'s most famous and versatile pieces for saxophone quintet, all very well suited for the beginners who want to get to know the baroque repertoire. They are also suitable for performances at events such as: weddings, Christian and church ceremonies, Easter, and academic recitals or concerts. They can be used in music institutions and by teachers as repertoire material and study methods, either for performance or instrumental technique. This collection includes a totally free bonus for you to enjoy: Martin Luther\'s A Mighty Fortress is Our God, a Renaissance sacred song for choir, which has been adapted for this set. You can also buy each one individually by checking right at the end of each description of each work.

1: Air on the G String - The original piece is part of Johann Sebastian Bach\'s Suite No. 3 for orchestra, in D Major, BWV 1068, written for Prince Leopold of Anhalt. The so-called \"Air on the G String\" dates from one of these latter employments. In the service of the Prince of Cöthen, Bach composed not only the famous Brandenburg Concertos, but also several orchestral suites, from the third of which comes the \"Air on the G String\". This curious title derives from a later arrangement of this piece for violin solo, in which the melody is played entirely on the lower, higher string of the instrument. ID: S0.1189781

2: Arioso - The Cantata 156 (BWV 156) was written for the third Sunday after Epiphany in 1729, and was first performed on January 23 of that year. The text is by Picander, one of Bach\'s favorite librettists. Of the four cantatas written by Bach for the feast, it was the last and only one scored for solo voice. This is a choral cantata, employing a choral melody in several movements. Cantata 156, in fact, employs two different choral melodies and texts in the second and sixth movements. A cantata is a sung symphony consisting of several parts, one of which is the Arioso, which is the initial instrumental part. ID: S0.1189985

3: Jesu, joy of man\'s desiring - This is one of Bach\'s most beautiful cantatas, made famous by the Jesus the Joy of Men chorus. It was originally composed for Advent 1716 in Weimar. Years later, already in Leipzig, Advent was tempus clausum, there was no music in the churches. Bach then reworked it for the Feast of Mary\'s Visitation. It is the final chorale of the cantata \"Herz und Mund und Tat und Leben\". Although it is the 32nd cantata composed by Bach, of those that have survived, it was given BWV 147 in the complete catalog of his works. ID: S0.1190041

4: O Jesulein süss, o Jesulein mild - The Jesulein süß, the Jesulein mild is an original traditional German choral melody for voice and continuous bass arranged by Johann Sebastian Bach around 1735. With lyrics by Valentin Thilo, O Jesulein süss is a sacred melody adapted and catalogued as BWV 493. The first translation is by Dirk van Hogendorp, who made it more of a song for the time of suffering. ID: S0.1190181

5: Minuet in G major - This famous piece has traditionally been attributed to Johann Sebastian Bach, as it appears in the Notebook for Anna Magdalena , a notebook that Bach gave to his wife Anna Magdalena in 1725 and which was to be filled with the favorite selections of Bach family members. However, recent research has concluded that this minuet, sometimes referred to as BWV Anhang 114. was probably composed by Christian Petzold, a German composer and organist contemporary with Bach. ID: S0.1190377

Bonuses: A Mighty Fortress is Our God, by Martin Luther - Ein feste Burg ist unser Gott is a hymn written by Martin Luther probably before 1529. The melody was also considered his work for a long time, but it was created at least with the collaboration of Johann Walter. The song is of great symbolic power for Protestantism.

Prelude to the Ratswahl Cantata, J.S.Bach
Aria "Zerfliesse mein Herze" №63, J.S.Bach
Das Dreyblatt, W.F.E.Bach

German - English.

Learning to play the piano with Bach
Easy to intermediate pieces by the master

* Bach as a teacher
* Easy piano pieces
* For beginners with basic knowledge

Learn from the master. Johann Sebastian Bach composed countless pieces specifically for his many students. My First Bach contains many of these educational pieces which are, for the most part, arranged in increasing difficulty. Easy two-part chorales and dances are followed by more demanding little preludes, two-part inventions and the first Prelude from the Well-Tempered Clavier.

Item Number: S0.976609

"Air on a G String" is the popular nickname for the "Air" from Orchestral Suite #3 in D Major, BWV 1068 by J. S. Bach. Duration: 5:53 (taking both repeats). Level: Intermediate and up. Programming: Great choice for recitals and very useful for almost any church service, reception, wedding or any event where insightful meditation is desired. This music is very well known and admired by nearly everyone, so you will have an advantage in providing something familiar and well cherished for your audience. This is the piece to demonstrate dynamic control, tone quality and strategic phrasing of long melodic lines.
Air on a G String
Bach: Air on a G String -
Bach: Air on a G String - ~ Bach composed three noteworthy Orchestral Suites. He wrote his third orchestral suite, BWV 1068 in D, for his Collegium Musicum. The Overture of the suite features a double-dotted rhythm in the French style and employs the entire ensemble: trumpet trio, timpani, oboe duet, and strings. The strings were the typical 2 violin parts, viola part, and continuo of cello and harpsichord. ?Air? - the title of the second movement, is, by contrast, scored only for the strings. It seems like this work was entitled ?Air on a G String? not by Bach, but by a nineteenth-century violinist named August Wilhelmj. He arranged the Air such that the first violin part was performed by a single soloist ? and entirely on the G String.

This ever-popular piece is often performed at weddings, funerals and many other solemn

ceremonial events. It has always been a favorite among instrumental players and often used in

recitals or concert encores. In 1853, the well-known French composer Charles Gounod added his

own melody over a rippling keyboard accompaniment which was a slightly adapted version of the

Prelude No. 1 in C major, BWV846, from Book I of J. S. Bach's The Well-Tempered Clavier,

published in 1722. The title of the ?combined? piece was Méditation sur le Premier Prélude de

Piano de S. Bach. Gounod?s original arrangement transposed Bach?s keyboard part from C major

into F major and it was scored for violin (or cello), organ and piano. In 1859, the French

music publishing company Jacques-Léopold Heugel brought out a vocal version based on the

familiar Latin text. Ave Maria (Hail Mary) is a traditional Catholic prayer addressed to the

Virgin Mary, the mother of Jesus.
The version of Bach's prelude which Gounod used included the so-called "Schwencke measure" (m.

27 in this arrangement), a measure (bar) allegedly added by the German composer and pianist

Christian Friedrich Gottlieb Schwencke (1767-1822) in an attempt to correct what was considered

a harmonic weakness in the original. Whether there actually was a ?harmonic weakness? (or

possibly an error in the manuscript) remains a matter of conjecture but the fact remains that

the most familiar-sounding version of this piece, recorded countless times by both singers and

instrumentalists includes this Schwencke measure. It is therefore included in this arrangement.
Some published arrangements show minor inconsistencies in the rhythm of the melody. This

arrangement uses the familiar rhythm of the Ave Maria version as it appeared in the 1859

edition.

This ever-popular piece is often performed at weddings, funerals and many other solemn ceremonial events. It has always been a favourite among instrumental players and often used in recitals or concert encores. In 1853, the well-known French composer Charles Gounod added his own melody over a rippling keyboard accompaniment which was a slightly adapted version of the Prelude No. 1 in C major, BWV846, from Book I of J. S. Bach's The Well-Tempered Clavier, published in 1722. The title of the ?combined? piece was Méditation sur le Premier Prélude de Piano de S. Bach. Gounod?s original arrangement transposed Bach?s keyboard part from C major into F major and it was scored for violin (or cello), organ and piano. In 1859, the French music publishing company Jacques-Léopold Heugel brought out a vocal version based on the familiar Latin text. Ave Maria (Hail Mary) is a traditional Catholic prayer addressed to the Virgin Mary, the mother of Jesus.
The version of Bach's prelude which Gounod used included the so-called "Schwencke measure" (m. 27 in this arrangement), a measure (bar) allegedly added by the German composer and pianist Christian Friedrich Gottlieb Schwencke (1767-1822) in an attempt to correct what was considered a harmonic weakness in the original. Whether there actually was a ?harmonic weakness? (or possibly an error in the manuscript) remains a matter of conjecture but the fact remains that the most familiar-sounding version of this piece, recorded countless times by both singers and instrumentalists includes this Schwencke measure. It is therefore included in this arrangement.
Some published arrangements show minor inconsistencies in the rhythm of the melody. This arrangement uses the familiar rhythm of the Ave Maria version as it appeared in the 1859 edition.

This ever-popular piece is often performed at weddings, funerals and many other solemn

ceremonial events. It has always been a favorite among instrumental players and often used in

recitals or concert encores. This arrangement by Colin Kirkpatrick has been transposed into B

flat to feature the middle to upper range of the saxophone. In is ideal for the intermediate

player who can manage a top ?b? with confidence.
In 1853, the well-known French composer Charles Gounod added his own melody over a rippling

keyboard accompaniment which was a slightly adapted version of the Prelude No. 1 in C major,

BWV846, from Book I of J. S. Bach's The Well-Tempered Clavier, published in 1722. The title of

the ?combined? piece was Méditation sur le Premier Prélude de Piano de S. Bach. Gounod?s

original arrangement transposed Bach?s keyboard part from C major into F major and it was

scored for violin (or cello), organ and piano. In 1859, the French music publishing company

Jacques-Léopold Heugel brought out a vocal version based on the familiar Latin text. Ave Maria

(Hail Mary) is a traditional Catholic prayer addressed to the Virgin Mary, the mother of Jesus.
The version of Bach's prelude which Gounod used included the so-called "Schwencke measure" (m.

27 in this arrangement), a measure (bar) allegedly added by the German composer and pianist

Christian Friedrich Gottlieb Schwencke (1767-1822) in an attempt to correct what was considered

a harmonic weakness in the original. Whether there actually was a ?harmonic weakness? (or

possibly an error in the manuscript) remains a matter of conjecture but the fact remains that

the most familiar-sounding version of this piece, recorded countless times by both singers and

instrumentalists includes this Schwencke measure. It is therefore included in this arrangement.
Some published arrangements show minor inconsistencies in the rhythm of the melody. This

arrangement uses the familiar rhythm of the Ave Maria version as it appeared in the 1859

edition.

This ever-popular piece is often performed at weddings, funerals and many other solemn ceremonial events. It has always been a favorite among instrumental players and often used in recitals or concert encores. In 1853, the well-known French composer Charles Gounod added his own melody over a rippling keyboard accompaniment which was a slightly adapted version of the Prelude No. 1 in C major, BWV846, from Book I of J. S. Bach's The Well-Tempered Clavier, published in 1722. The title of the ?combined? piece was Méditation sur le Premier Prélude de Piano de S. Bach. Gounod?s original arrangement transposed Bach?s keyboard part from C major into F major and it was scored for violin (or cello), organ and piano. In 1859, the French music publishing company Jacques-Léopold Heugel brought out a vocal version based on the familiar Latin text. Ave Maria (Hail Mary) is a traditional Catholic prayer addressed to the Virgin Mary, the mother of Jesus.
The version of Bach's prelude which Gounod used included the so-called "Schwencke measure" (m. 27 in this arrangement), a measure (bar) allegedly added by the German composer and pianist Christian Friedrich Gottlieb Schwencke (1767-1822) in an attempt to correct what was considered a harmonic weakness in the original. Whether there actually was a ?harmonic weakness? (or possibly an error in the manuscript) remains a matter of conjecture but the fact remains that the most familiar-sounding version of this piece, recorded countless times by both singers and instrumentalists includes this Schwencke measure. It is therefore included in this arrangement.
Some published arrangements show minor inconsistencies in the rhythm of the melody. This arrangement uses the familiar rhythm of the Ave Maria version as it appeared in the 1859 edition.

This ever-popular piece is often performed at weddings, funerals and many other solemn ceremonial events. It has always been a favorite among instrumental players and often used in recitals or concert encores. In 1853, the well-known French composer Charles Gounod added his own melody over a rippling keyboard accompaniment which was a slightly adapted version of the Prelude No. 1 in C major, BWV846, from Book I of J. S. Bach's The Well-Tempered Clavier, published in 1722. The title of the ?combined? piece was Méditation sur le Premier Prélude de Piano de S. Bach. Gounod?s original arrangement transposed Bach?s keyboard part from C major into F major and it was scored for violin (or cello), organ and piano. In 1859, the French music publishing company Jacques-Léopold Heugel brought out a vocal version based on the familiar Latin text. Ave Maria (Hail Mary) is a traditional Catholic prayer addressed to the Virgin Mary, the mother of Jesus.
The version of Bach's prelude which Gounod used included the so-called "Schwencke measure" (m. 27 in this arrangement), a measure (bar) allegedly added by the German composer and pianist Christian Friedrich Gottlieb Schwencke (1767-1822) in an attempt to correct what was considered a harmonic weakness in the original. Whether there actually was a ?harmonic weakness? (or possibly an error in the manuscript) remains a matter of conjecture but the fact remains that the most familiar-sounding version of this piece, recorded countless times by both singers and instrumentalists includes this Schwencke measure. It is therefore included in this arrangement.
Some published arrangements show minor inconsistencies in the rhythm of the melody. This arrangement uses the familiar rhythm of the Ave Maria version as it appeared in the 1859 edition.

Song List: Our Father Who Art In H (Bach) Entrust Thy Ways (Bach) Unto Us A Child Is Born (Bach) Old Year Has Passed Away (Bach)

Song List: From Deepest Need I Cry (Bach) Glorious Day Has Dawned (Bach) Before Thy Throne I Come (Bach) Be Glad, My Soul (Bach)

An easy arrangement of Bach\'s \'Aria\' from the Goldberg Variations. The voices have been reduced whilst still retaining the melody, and ornaments written out in full to simplify. About the arranger: I have been playing and teaching piano for over 20 years, and hold a degree in music from Oxford University. I\'m on a mission to make piano accessible to everyone who wants to enjoy the beauty of playing.

Selections from Notebook for Anna Magdalena Bach for Guitar features 10 pieces from Bach's famous notebook arranged for guitar. The Notebook itself provides a glimpse of German music of the 18th century and provides a glimpse into the traditions of Baroque style. The selected pieces engage the beginner/intermediate guitarist in the art of two-voice counterpoint and develop a foundation for effectively interpreting the music of J.S. Bach. Includes 17-page score with tablature, plus 10-page guitar part without tab.

Contents

Menuet, BWV Anh. 114
Menuet, BWV Anh. 115
Menuet, BWV Anh. 118
Polonaise, BWV Anh. 119
Menuet, BWV Anh. 120
Menuet, BWV Anh. 121
Marche, BWV Anh. 122
Menuet, BWV Anh. 132
Menuet fait par Mons. Böhm
Aria, So oft ich meine Tobackspfeife, BWV 515a

With this piano sheet music, you can play Johann Sebastian Bach's "Air on the G String".

It's an accurate piano transcription of the whole piece which is not too hard to play, and sounds fantastic!

"Air on the G String" is one of the most famous classical compositions.
It was written by J. S. Bach (1685-1750) as the second movement of his orchestral Suite No. 3 in D major (BWV 1068).

While the piece was just titled "Air" in Bach's original composition, the German violinist August Wilhelmj wrote a new arrangement of the piece in the 19th century. In this version, the first violin was transposed so that it only had to use the G string (the lowest string on a violin).
Since his arrangement contributed in a major way to the piece's fame and popularity, it became known as "Air on the G String" or "Air on a G String".

In any way, it is certainly one of the most beautiful pieces from the Baroque era, and sounds wonderful when played on a piano, too!

This is a collection of 2 preludes written by Johann Sebastian Bach, arranged for the 22-string lever harp with range from A below the small C (C3) to A above the treble staff (A2-A5)

It includes:

- The well-known Prelude in C from Johann Sebastian Bach's "Das wohltemperierte Klavier" is arranged especially for the 22-string travel harp. It contains lever changes. This arrangement includes a version with lever notations (diamond note method) and fingering suggestions. Charles Gounod used this prelude to compose his beautiful Ave Maria melody.

- The soothing Prelude in G from Johann Sebastian Bach's Suite No. 1 for Cello is arranged for the 22-string harp. It contains lever changes. These lever changes are indicated by diamond notes.


Both pieces are wonderful to play on several emotional occasions, including weddings

This is a new transcription for piano of the third movement (Largo e spiccato) of J.S. Bach's Concerto in D minor, BWV 596. Bach's original organ concerto was itself a transcription of Vivaldi's Concerto in D minor for two violins and obbligato violoncello (RV 565, Op.3 No. 11). It has been arranged to bring out the best qualities of this hauntingly beautiful melody.

The popular Latin prayer Ave Maria, originally published as Méditation sur le Premier Prélude de Piano de S. Bach by the French Romantic composer Charles Gounod is arranged here for pedal harp. The piece consists of a melody that he superimposed over an only very slightly changed version of the Prelude No. 1 in C major, BWV 846, from J. S. Bach's The Well-Tempered Clavier. Both a version with annotated fingering and pedals and a blank version are included. The piece consists of 3 pages.

A PDF collection of 10 of my most popular classical music arrangements. Composition listing:


1 Air on the G String [Bach]

2 Arioso [Bach]

3 Ave Verum Corpus [Mozart]

4 Lakmé/Flower Duet [Delibes]

5 Jerusalem [Parry]

6 Land of Hope and Glory [Elgar]

7 Lascia ch?io pianga [Handel]

8 Laudate Dominum [Mozart]

9 Romanze, from Eine Kleine Nachtmusik [Mozart]

10 Voi Che Sapete [Mozart]

Please see the accompanying YouTube video!

Selections from Bach Cello Suites (BWV 1007-1011) transcribed and arranged for solo guitar. A great introduction to Bach's cello music for intermediate guitarists. (Tablature available separately.)

Contents:

Cello Suite No. 1 (BWV 1007): Prelude, Menuet I and II, Sarabande**
Cello Suite No. 2 (BWV 1008): Sarabande*, Menuet I and II
Cello Suite No. 3 (BWV 1009): Sarabande*, Bourreé I and II
Cello Suite No. 4 (BWV 1010): Sarabande*, Bourreé II
Cello Suite No. 5 (BWV 1011): Sarabande*

*Transposed from the original
**Retuning required: 6=D

Kenneth Pasciak Music Publishing, ASCAP
kenpasciak.com

This arrangement of Menuet I & II from Cello Suite I, by Johann Sebastian Bach, for solo guitar, incorporates slurs (hammer-ons, pull-offs) to simulate aspects of the cello. Four-page score with tablature, plus two-page individual guitar part without tabs. Fingerings and string designations included.

Also available here:

S0.964429 - Selections from Bach Cello Suites (for Solo Guitar)

Kenneth Pasciak Music Publishing, ASCAP
kenpasciak.com

Arioso is part of Johann Sebastian Bach's Cantata 156 which corresponds to the same number in his B.W.V. catalog. The symphony was probably derived from an earlier oboe concerto and was later adapted as part of Bach's Concerto for harpsichord in F minor. This instrumental quartet version was created with ensemble practice in mind for beginning music school students who want more contact with Baroque music, ideal also for liturgical performance in churches, as it is a sacred work. This version lasts 2:25 minutes with the original melody adapted with the harmony divided between the voices of the performers.

Arioso is part of Johann Sebastian Bach's Cantata 156 which corresponds to the same number in his B.W.V. catalog. The symphony was probably derived from an earlier oboe concerto and was later adapted as part of Bach's Concerto for harpsichord in F minor. This instrumental quartet version was created with ensemble practice in mind for beginning music school students who want more contact with Baroque music, ideal also for liturgical performance in churches, as it is a sacred work. This version lasts 2:25 minutes with the original melody adapted with the harmony divided between the voices of the performers.

Arioso is part of Johann Sebastian Bach's Cantata 156 which corresponds to the same number in his B.W.V. catalog. The symphony was probably derived from an earlier oboe concerto and was later adapted as part of Bach's Concerto for harpsichord in F minor. This instrumental quartet version was created with ensemble practice in mind for beginning music school students who want more contact with Baroque music, ideal also for liturgical performance in churches, as it is a sacred work. This version lasts 2:25 minutes with the original melody adapted with the harmony divided between the voices of the performers.