The Jazz Guitar Chord Dictionary
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  1. #26

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    In my introduction I mention the didactic nature of the complete six suites, going from technically and musically (relatively) simple to complex. This seems to have been Bach’s plan. It was thought that just standard notation would reflect this best. Despite that, I play baroque lute music from tablature, as it was written, so I do not look down on tablature. And, of course, it would have doubled the amount of pages in what was already a large book.

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  3. #27

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    Hi Rob, thank you!

    Before I try may I ask what was your conception of arrangemnet: I mean since it is for plectrum guitar I believe that probably your transcritpion could be more like choosing anothe key for guitar rather than intensive harmonization of the pieces? So is it more about single-note playing as in orginal?

    I am asking because recently I played through two complete arrangements for classical guitar - Yeats and Despajl (Despajl transcriptio was brilliantly performed by Petrit Cieku).
    I would say that Yeats seems more conventional for classical guitar and Despajl is quite curious, he seems to approach an instrument from non-guitarist point of view using a lot of unxpected sonorities, impolying unsual range (mostly high range) and often quite uncommon fingerings (he is cellist forst of all).
    Especially interesting his high range solutions which supposedly should change the colour completely but as a result the effect sometimes seems to me much closer to original than more conventional transcritions... he really hears guitar's sonic qualities in his own way and opens up something in the instrument. His transcritions also require very subtle resonance and dynamics control in my opinion otherwise they may sound awkward occasionally.

    However I also played through original score and I found that both transcriptions have often very strange and very arguable solutions in respect of harmonization.

    Besides, I noticed that Cello suites texture is predominantly linear and as it happens with melodic instruments (like flutes e.g) the harmony is realized mostly in lines (jumps from one voice to another, 'consequent' voice polyphony instead of simultaneous etc.), not in vertical constructions.
    And in my opinion that makes transcriptions for harmonic instrument very challenging and in some cases even impossible: like famous Prelude form the 1st Suite that many guitarists and lutists play, to me it seems that despite seemingle simple arpeggio texture transcrition to lute and guitar dramatically changes the character of the prelude, first of all because of longer sustain of chordal notes that ruins very subtle and ambivalent motivic and plyphonic idea that is quite audible on cello even in poor performance and impossible to deliver on guitar even in great perfomance. Guitar makes this piece much simpler than it really is.
    But in other separate cases the music fits guitar quite well.

    It is also interesting that Violine Sonatas and Partitas are composed mostle using harmonic/polyphonic texture and therefore (maybe a bit paradoxally) they are easier to transribe to harmonic instruments - the texture involves in original a lot of vertical harmonic solutions.

    At the same time I find that Cello suites fit guitar tone and range very well even in orginal with no changes except the key sometimes and sone transpositions.
    Guitar baritone range can be very expressive in single note lines in my opinion and becomes somewhat similar to cello even.

    Yeats transcription contains 'comparison score' after every suite where he put the original cello part trasposed in the guitar transcription key above the guitar arrangement.
    That helps to see the arrangement changes very clearly but..... finally I ended up playing just playing the orginal in more comfortable key)

  4. #28

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    As I mention in the introduction, I've played these suites on a variety of instruments over 30+ years. In that time I have seen many editions which are subjected to a personal aesthetic of the editor, which is plastered over all six suites, and not one of those editions did I agree with all the choices made. I also noted that over the years my own understanding of the works has changed as I grew as a musician, and I often would re-finger my early choices.

    So, I had two main thoughts in mind when approaching my own edition: 1) do not impose a 'system' that I myself would inevitably disagree with in years to come, and 2) keep to the forefront Bach's didactic development over the span of the six suites. One of the most impressive things I have come to appreciate more and more over decades of returning to this music, is how Bach clearly conceived an increase in difficulty with each suite. You are meant to start with the entire first suite, then the entire second suite, etc, developing your technique and interpretive depth as you proceed to the final suite.

    Also, an editor has to deal with the history and variety of interpretive editions by cellists and others over the entire span of sound recordings, and also an audience's expectations. In short, I could only please "some of the people, some of the time". But you can't let that influence your decisions.

    So, to get to the point: I did choose keys that would work best on a regularly-tuned guitar. In the early suites I added a little fingering at key points, but that fades out by the end of the 4th suite. The point being that you might need a minimum of help early on, but should soon be making your own decisions - and those decisions will probably change when you return to the suites in a future year. This chimes, I think, with Bach's didactic plan and my personal experience of playing these works. There is no 'system'! These are living, breathing musical works that you can live with for decades, changing as you grow.

    For those who take a stance that these works should only be played in their original key, I can only say that Bach certainly wouldn't agree with you. There is plenty of evidence that he changed keys when arranging this and other music for a different instrument.

  5. #29

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    Thank you for detailed answer, Rob!