The well-known soothing Prelude in G from Johann Sebastian Bach's Suite No. 1 for Cello is arranged for the 22-string harp, with range from A below the small C (C3) to A above the treble staff (A2-A5) It contains lever changes. These lever changes are indicated by diamond notes. This piece is perfect to play on several emotional occasions, including weddings.

The well-known soothing 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. The range is from A below the small C (C3) to A above the treble staff (A2-A5).

The arrangement remains true to the original, but includes the "Schwencke measure" = m. 23 and some necessary octaviations to accommodate the smaller 22-string travel harp. Charles Gounod used this version to compose his beautiful Ave Maria melody. .

The well-known soothing Prelude in C from Johann Sebastian Bach's "Das wohltemperierte Klavier" is arranged for the Pedal harp. It contains pedal changes. This arrangement includes a version with pedal notations and fingering suggestions and another blank version. This piece is perfect to play on several occasions, including weddings.

The arrangement remains true to the original, but includes the "Schwencke measure" = m. 23. Charles Gounod used this version to compose his beautiful Ave Maria melody.

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 M�ditation sur le Premier Pr�lude 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-L�opold 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 M�ditation sur le Premier Pr�lude 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-L�opold 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 arrangement features the controversial "Schwencke measure" (ms. 27) that was originally introduced in 1783 by Christian Friedrich Gottlieb Schwencke. The convenient 1st & 2nd endings provide an option for extended performance. Duration with repeat - 4:50. Score: 7 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores.

Ave Maria
Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach?s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert?s version, have become essential items at weddings, masses, and funerals.