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. B�hm
Aria, So oft ich meine Tobackspfeife, BWV 515a

"Jesu, Joy of Man's Desiring" (or simply "Joy") is the most common English title of a piece of music derived from a chorale setting of the cantata Herz und Mund und Tat und Leben, BWV 147 ("Heart and Mouth and Deed and Life"), composed by Johann Sebastian Bach in 1723. The same music on different stanzas of a chorale closes both parts of the cantata.

A transcription by the English pianist Myra Hess (1890?1965) was published in 1926 for piano solo and in 1934 for piano duet. It is often performed slowly and reverently at wedding ceremonies, as well as during Christian festive seasons like Christmas and Easter.Jesus joy of men (Jesus bleibet meine Freude, in German) is the final choir of the cantata "Herz und Mund und Tat und Leben" ("Heart and Mouth and Actions and Life", in a free translation), written by Johann Sebastian Bach in Leipzig, Germany in the year 1716.

Although it is the 32nd cantata composed by Bach, of those that survived, it was given the number BWV 147 in the complete catalog of his works. Contrary to what is supposed, Johann Schop (1590-1664), and not Bach, composed the melodic line of the choir Werde munter, mein Gem�the (1641), which gave rise to the sixth and tenth movements of Cantata 147, being the tenth Jesus bleibet meine Freude. Bach gave him harmonization and an instrumental accompaniment. In this composition, the choir is superimposed on a great succession of triplets, "one of the Bachian symbols to indicate the Trinity.