(Easy Piano Composer Collection). A collection of 20 familiar Bach pieces arranged for the beginning pianist. Includes: Adagio * Air on the G String * Aria * Brandenburg Concerto No. 3 * Brandenburg Concerto No. 5 * Gavotte 1 * Jesu, Joy of Man's Desiring * Rondeau * Sheep May Safely Graze * Sleepers, Awake (Wachet Auf) * and more.
These arrangements of many pieces by J.S. Bach make a great composer's works accessible to the mandolinist. Since the bulk of the music has been adapted from various suites, sonatas, and partitas, the authors provides an explanation of each dance form and other similar pieces. Includes: 'Bauree Angloise' from Partita in A Minor for solo flute; 'Marche' from Anna Magdalena Back Book; 'Fantasie' from Partita No. 3 in A Minor; and more. In notation and tablature. Includes a CD which contains 13 of the 26 solos.
(Easy Piano Songbook). A grand collection of 46 classical favorites arranged for the early intermediate-level player: Air on the G String (Bach) * Ave Maria (Bach/Gounod & Schubert versions) * Canon in D (Pachelbel) * Jesu, Joy of Man's Desiring (Bach) * Panis Angelicus (O Lord Most Holy) (Franck) * Pomp and Circumstance (Elgar) * Tales from the Vienna Woods (Strauss) * Wedding March (Mendelssohn) * and more.
(Recorder). 18 classic Bach compositions arranged for recorder solo or duet peformance with another instrument: Allemande * Gavotte * Jesu, Joy of Man's Desiring * Musette * Polonaise * Sinfonia * Sleepers, Wake * and more. Includes a fingering chart for reference. Great material for students to study!
This collection of 28 short, melodious pieces by J. S. Bach was compiled and edited by Walter Carroll in order to provide a varied set of easier compositions for study by pianists first being introduced to Bach's work. Includes 11 Minuets, 4 Polonaises, 3 Marches, 2 Musettes, a Bourree, 4 Gavottes, a Scherzo, a Sarabande, and a Prelude.
Now appearing in an English translation, this book by Szymon Paczkowski is the first in-depth exploration of the Polish style in the music of Johann Sebastian Bach. Bach spent almost thirty years living and working in Leipzig in Saxony, a country ruled by Friedrich August I and his son Friedrich August II, who were also kings of Poland (as August II and August III). This period of close Polish-Saxon relations left a significant imprint on Bach’s music. Paczkowski’s meticulous account of this complex political and cultural dynamic sheds new light on many of Bach’s familiar pieces. The book explores the semantic and rhetorical functions that undergird the symbolism of the Polish style in Baroque music. It demonstrates how the notion of a Polish style in music was developed in German music theory, and conjectures that Bach’s successful application for the title of Court Composer at the court of the Elector of Saxony and King of Poland would induce the composer to deliberately use elements of the Polish style. This comprehensive study of the way Bach used the Polish style in his music moves beyond technical analysis to place the pieces within the context of Baroque customs and discourse. This ambitious and inspiring study is an original contribution to the scholarly conversation concerning Bach’s music, focusing on the symbolism of the polonaise, the most popular and recognizable Polish dance in 18th-century Saxony. In Saxony at this time the polonaise was associated with the ceremonies of the royal-electoral court in Dresden, and Saxon musicians regarded it as a musical symbol of royalty. Paczkowski explores this symbolism of the Polish royal dance in Bach’s instrumental music and, which is also to be found to an even greater extent, in his vocal works. The Polish Style in the Music of Johann Sebastian Bach provides wide-ranging interpretations based on a careful analysis of the sources explored within historical and theological context. The book is a valuable source for both teaching and further research, and will find readers not only among musicologists, but also historians, art historians, and readers in cultural studies. All lovers of Bach’s music will appreciate this lucid and intriguing study.
Bach's Well-tempered Clavier (or the 48 Preludes and Fugues) stands at the core of baroque keyboard music and has been a model and inspiration for performers and composers ever since it was written. This invaluable guide to the 96 pieces explains Bach's various purposes in compiling the music, describes the rich traditions on which he drew, and provides commentaries for each prelude and fugue. In his text, David Ledbetter addresses the main focal points mentioned by Bach in his original 1722 title page. Drawing on Bach literature over the past three hundred years, he explores German traditions of composition types and Bach's novel expansion of them; explains Bach's instruments and innovations in keyboard technique in the general context of early eighteenth-century developments; reviews instructive and theoretical literature relating to keyboard temperaments from 1680 to 1750; and discusses Bach's pedagogical intent when composing the Well-tempered Clavier. Ledbetter's commentaries on individual preludes and fugues equip readers with the concepts necessary to make their own assessment and include information about the sources when details of notation, ornaments, and fingerings have a bearing on performance.
(Piano/Vocal/Guitar Songbook). This huge songbook (672 pages!) features 151 standards that every musician should know! Each song is arranged for piano and voice with guitar chord frames. Songs include: All the Things You Are * At Last * Bridge over Troubled Water * City of Stars * Constant Craving * Crazy * Gabriel's Oboe * Hallelujah * Imagine * La Vie En Rose (Take Me to Your Heart Again) * My Heart Will Go on (Love Theme from 'Titanic') * Over the Rainbow * Perfect * River Flows in You * Shallow * Somewhere * Summertime * This Is Me * Time After Time * Wonderful Tonight * You Raise Me Up * and more. Listen to a Spotify playlist of all the songs from this book!
While many electric bassists study the Bach cello suites at some point, fewer attempt the sonatas and partitas for un- accompanied violin (BWV 1001-1006). Composed around 1720, the sonatas and partitas display rich polyphonic writing, unlike the simpler monophonic cello suites. This collection features a challenging but rewarding transcription of the complete A minor Violin Sonata (BWV 1002), which fits particularly well on the bass. Also included are the well-known gavotte en rondeau from the E major violin partita (BWV1006) and the complete A minor partita for solo flute (BWV 1013), transposed here to D minor. Finally, an arrangement of the familiar chorale Jesu, Joy of Man's Desiring (from BWV 147) takes advantage of the bass's natural and artificial harmonics. Performance notes are included. Written in notation and tablature for the 4-string electric bass.
