CUA HOeLarUahg im BMRA Poy V2 HEAR FEBBOR- BBS HH J.S.BAGH (© 1999 by ZEN-ON MUSIC CO., LTD. SeaWUwBIC ARMICMLND S Hs IS. 19 7» (16854 ~ 175048) OES Id, RORIETS ( OBI EA At L LITO MRO FF PBA DNYOLADNTHET. OU TSR THOT CM TOETOT BH SHhMBL TELE BET. T.NINOYTAAYY, $20, ELT aWb REORDOPEIS HMDA DART, Zh, wat DONEC LOBRSENEVAT LEA, OHMS L OMLDVADHI A, NOy 7 PROBE, FB TAY VIVO CRBENS DENS BoTORE Fo Van ROTA RTE 6 EROS RE EF RLTVBAAI Lo TRB MB SNH YET BW, BCT Hts COMER BEES NEO RHILA TOT Y III ZW (Hy hRERD, Yar hORFCMEF x70) ORO Bene Sdn aE, RMOWRIHH TR, SKRH BACBSRENTEOET. ERBOIERY a— hCHDRSS ENORMEBE BOOTH Y BEAM, FI - THK ME, BLOF FI VOBHR ER, MET SREVSE LBV ED. PUY PURE CHBENSCLIBL RCE SRORDO RM, SRIEABE ES (ko TH BEV bY CHBCERAIETOHN ETA. ERYTAAY 7, Fr IOP ROMM MA THY E FOL DNS, Fx CARMI TPE ) 2 — FL BI ITAA YY AUF RE a BA AM LTB SEA, HI-ANOBLERO KIGHRIOTHET. NEE OEE HES ED, HORII OHIO SAREERT SOE GEA WE LC Smee ett WE LBs FIC NOME ERRT SS EDM T DMIs TORE, AEARAME L CROCE eOVET. 19994811 PRB ARIE Parma PREFACE, ‘The works of Bach (1685~1750) assembled in this present edition are those thought to have been written when he was with the Céthen Ducal Court. There already exists a great ‘wealth of literature devoted to the study of the life and works of Bach, and knowledge of these form a necessary background, in my opinion, to a study of his compositions. In the 18th and 19th centuries, the violin, cello, and lute works of Bach were neglected, but along with the revival of interest in Renaissance and Baroque music of this century, came also a revived interest in his music, which has come to be performed in an entirely original fashion. ‘There are numerous ‘musicians and scholars who give their attention to the proper historically accurate method of lute music performance, but as regards the fugues, and other works involving counterpoint and the pieces Bach wrote for the instrument he himself invented - the lute harpsichord (a harpsichord using gut strings like a lute) - there still remain a great many unclarified points sto how the music should actually be performed. It is not my intention to take issue with any points dealing with performance on the lute, but when the pieces are done on the guitar, a certain reduction and shortening of octave reaches, and the addition of certain notes are unavoidable, in ‘my opinion. It goes without saying that these pieces which are very seldom played on the instruments for which they ‘were originally intended, are a very valuable addition to the repertory of the guitar, the instrument most resembling the lute. I have taken the liberty of arranging pieces originally ‘composed for cello and violin, just as Bach himself edited for lute the Cello Suite No.5, which became the No.3 and the Violin Partita No.3, which became the No.4. have made an overall revision of this edition, which was first Published a quarter-century ago, mainly to reduce the technical difficulties in playing. Now that the Bach's works are commonly played with the guitar, it is my hope that this revision will be of use as a practical edition. November, 1999 Yasuo Abe Yasushi AbeCONTENTS Partita [for Unaccompanied Violin BWV 1002 BNI TAB Y VF 17 BLA FUGA CHACONNE — PRELUDE ‘SARABANDE, Double PINTER 5 Partita I for Unaccompanied Violin BWV 1002 RMSE APY FA 9 BDS BOURREE, Double To. Bou 8 Sonata I for Unaccompanied Violin BWV 1001 REBT ABD IF2 B B 7-H. 14 Partita Ifor Unaccompanied Violin BWV 104 SARITA RIY UT I—T RDP vray PRELUDE FOR LUTE swv 999 Ya-hOROOTVa—k —————32 PRELUDE, FUGA, & ALLEGRO Bwv 88 TVi)a-k, 7-H, TL ———34 SUITE I FOR LUTE Bwv9s6 Ya hie 1a 44 SUITE It FOR LUTE swv997 Ya— hala 98 2a ————_————s2 SUITE Il FOR LUTE wv 995 —————— Ja— Nii 3a SUITE IV FOR LUTE BWV 1006 Ya Na 4 78 Suite I for Unaccompanied Violoncello BWV 1007 WRF = ALD Tak 92 SUITE Il FOR UNACCOMPANIED VIOLONCELLO swv 1009 — s&fF#F 3.128038 3% Suite VI for Unaccompanied Violoncello BWV 1012 SESE OMG HO WHR LAL 109 GAVOTTE 1,IRAE DVI LESRIAT 99 ARL INTE ANE CHER 0 PHL. CRBLE RIDERS, SIV INCA THE‘ IECOL—. TAIL FORA ORSICATS cam NOTATION ‘Slur or Ligado Glissando or Arrastre Actually pluck the notes instead of slur. However, play them as if they were slurred, Halfbar, i. ., for Ist to 3rd strings across the Sth fret. The bar for 2 strings is indicated as follows. ee C2 27LINTERETORE-N, HEL, TL PETI/MESE—NBSBSERMPSEO BUCKS. Fe, KOLIC MEO CHS DU BD, SORIDBRE E—NE MAL TEBE, ER, KOKI, UOT BL HED AHS) TREE MER, BORO MEET BS ORS. ra PAR £=07 21, BRORROMIELO FIZ, TVR ECRT. HW NE 77 Aid, arm, 8dos #27. DITO IGGL, HO LATO HERTS Re rh8 FO IMRE-C— Hee TERS ILIV HE MQ if CBM SESE ALA FCT AL EE, ge fy Full bar for whole 6 strings across the 2nd fret. This also applies to the halfbar which transforms into the succeeding full barat the same fret. Furtheremore, this applies to the single note in the case that it prepares the succeeding full bar. is also applies to the note which is pressed by the root of index finger (or index fingertip vice versa) for playing open note of other string and will form the succeeding full bar. Natural harmonic i indicated with both the diamone/-headed note of open ing and with the fret number to be touched. Artificial harmonic is indicated with arm. Sdos, etc ‘The rest in parenthesis shows that the full value ofthe preceding note ‘cannot be held. ‘The indicated left finger should be moved on the same string as a guide for the next fingering. However, do not take this for Glissando. ORNAMENTAL NOTES Pralltriller - MordentPartita I for Unaccompanied Violin BWV 1002 SARABANDE J.S. BachDouble Ko-7uPartita I for Unaccompanied Violin BWV 1002 , BOURREE T-v— JS. Bach Tempo di Bourrée cr see Tr- © Pier) ait cx, e SESS.Double Ko-7u1213Sonata I for Unaccompanied Violin BWV 1001 FUGA BOTT AVY IPF BL BS 7-H J.S. Bach Originaltonart:g-moll a Me eewe ‘hubg dL SS @- - @. coh. + C5: cs. nt wile Se od ad a o16 com. ° 2 C5 Meee :C7. 1: OS: 7 ca. 7 csi {03%Wwcr toe Chey 4 C4 CSe-sgp C5. ILPartita II for Unaccompanied Violin BWV 1004 CHACONNE MITT AA Y UF 4-9 BAS YAR JS. Bach ® s ” * r ie cs C221 csm.22x s = —_ = - =i jeere se" “ cee:C5u.cs. ; Ch Meeesceeceenyot t* o oto p— statin,30? = AAA AAA AAA AAA AAR or 3) . "a32 PRELUDE FOR LUTE BWV 999 Originaltonart : ¢-moll Ja-hORBOTVIA—K J.S.Bachcsh Original or D cePRELUDE, FUGA , & ALLEGRO BWV 998 TVVa-K. 7-W. 77 Prelude Originaltonart : Es-dur ld 3.8. Bach @=D ‘ —s da Je : a Foro aT Fork - Yh rh TE Gg GIA Sn ol ag ST - yh Fob T ry Th Poe ForkFuga TAH Codey CIs Cab, C3-, C2L a LSi T iF ¥ = - Cale 7 ea42OriginalSUITE I FOR LUTE BWV 996 Ya ball aS 1 Prelude Tya-k Passaggio Crk. J.S. BachAllemande TUTE J a wf Qi c * te OriginalSarabande HORBourrée Tob “1 a4 aR, 4 I “ ™ I: ‘1 a | 1 ¢ MII I ‘ 450 cs. . C8e.C2%eSUITE II FOR LUTE BWV 997 Ya ban oS 23 Prelude (Fantasia) TUYa-K (ITY PT) Originaltonart : c-moll ‘J.S.Bach Bad = I toss Wong Pn yee ae a Aes Fra Tee aT Pees ae, sipene ec Peas es i 7 ¥ “Tr53 o Loy su-1s42 roa Qe ° bir Foe Row Ts wens stoi, Abas oat tou, 442 aod ~128 ; rap FS rT a cam. Gai) 42d 2a28 a1 oss god Sige (aay tas oteet he? 2g, wey = aero Gis Pig are ‘eho? reo gCae c. : Len ay © 2 Bos 1211 ttt tos eetoteg 1d 7 = Pt ° ceo Tete Ot ? Ty rT o7ab glalsfeled hgh ae a re + ret LL tte? a 7 ws Ff otCab.Sarabande HII cm. : CAM Cs. saat . ert to oy et ee tor zt be FoR PF FF FP OFT62Double KoaySUITE II FOR LUTE BWV 995, Ya bath 5 3 Prelude Originaltonart :-moll ale J.8.Bach \ J67 CB pF (Tres viste") z . Presto (,rres vist Cates cz. comCate Pim dimqominmi mica70 C3RCSHCAM, Cg ca. Sei tayy CAM eo nney ca + CSM. 7 cnAllemande TU + R__* — es SoG5. bith bo c po r ob Courante 2-97 re? 7 FO. oF OP ? ¥ 7 Ca Cag. a rorady. ow o74 Gavotte I AK IPLGavotte II (Gavotte en Rondeau) Wyb WAY EBROW Kb) =z = =a xa oz r aoe 7 FP 7 ca r __ diy) JSG = rors Tree a8 SUITE IV FOR LUTE BWV 1006a Ya ALANS 4 Prelude Fya-¥ 7 impi Pmdi Pmdi J.-S. Bach9 ® a6. rope Fh to Fob ry i eo oe opamp é 6 . Chess Chessy + Sie =F: oteseoTaa, Freddi & oa = fe ap lteSsy rk eee 2 OF r et 2 Ch : cx. op) eb Fk PROM RDNSME, ( ) ADEE 149 YROMICAML TBM. ‘The note in parenthesis can be omitted just lke the original violin version,80Caress Ca. aLoure vwGavotte en Rondeau UY EFBRON Yt yb sda tren Pad f T AHI) || pieced r oFcau (tr) 4, ca } « iv) - C2 Vieng ® on ad pide jade s = eee 7 z rE = rf Pf ? t pil Chey Ca ea Ys Tad : Py 7 tT eee or pe er) ca m fie 2, 4 woe 7 d= Fp - ® (i ca (8M Coe tyby — Ca 7 cam. ; cum coe ir C2 (@r) “a Me 4 did° cr. : 2% ca Go" bg C2 Mang cam. 7 cr. dig hey A, ge C2 Me. CA 2 Original87 Menuett I AREIELMenuett II Axtyb Tl Cat C7, : Ca. 102 7 € origin GPRS HEOL a i TSuite I for Unaccompanied Violoncello BWV 1007 Prelude SIRES = ONL LS Originaltonart :G-dur Tvya- J.S, Bach, ov495 SUITE IIT FOR UNACCOMPANIED VIOLONCELLO BWV 1009 MARS x ALUN OE Prelude Originaltonart : C-dur Tia J.S.Bach Ca. C257! ron or en Se re101 Courante I-97102103 Sarabande PONTE104 Bourée I J-U-1105 Bourée II 7-0Cake ca. 103 C2,Originaltonart : D-dur Ca. Suite VI for Unaccompanied Violoncello Hb I JS. Bach110 GAVOTTE II Ab I ° Bos PPT TR Fu da CapoRAR Cty ¥9—-51 75 — ROR BL Ky NER RAR eens ner P yr ASME wane L957 T DD TT RILEY E BAO BL I9F PMONIT AR Bo FLT: TU RTAN OTR Ca ONO y 7S eee wie lr (ai TARP YI IAL IURINWIL SIF URINUI LR BEI IFE LIP P Wie 2 7 OH a RD AO ih y Vena ee “112 (8) MIRO TR DY VF 5 LOGIT, aU, 7H, Ve 37a a— bi 1 B/S 2 Ch Beet Cy pea wins 128 Fees 5s / REDE SERBS ZY RUT F/O DEMIS ERE RR AMET OSL Hee wien som EAT RRB TENT 7 FOBT 9 LT Se ae | ~ TR/MAERRIT 79 97 (YS) ANCA O7 ex LAFF EAB MRE wee 6H (ai) S9 Ime TAR OITA INO FIP Fk Sec 50, NH 29 Da PIAF4 NIAAA TIAL FS TER ARRAS-F2 ONYAA DAL XSI mie “oom KEDB GRD TY /S YAR AHS WIND TTA TR/ TRIB 3 BELO 20 / KER /EZI ONYAR VAL ¥9—(eRM 2 mie 70H FAR P OR BONH Y b/7 YR ROB, LEB BA/BS EDL R LEU I IBA RB RS WEI ONUAR VLA Fa —1eBIR 3 wie oun TIT 2B) YIP IRN ROED AROS LED ARE 2 RR 2B BORE BOTT ae25m, DNYAR IV LAL XS NRE A wee aon REM 9 EEO ERA E I RI IPFR (BBS) / DB LOL ERCP RAY EO) MEE ¥5- HM HWE <3 HME LARS LODHI BEE 7 1 TAY REL CM CORRCAT BEE) EMO. 2008 CRBIE (085 T URRFAGTEREPIL f=) BARHGIS LOOP OR 1S wie 00K FIV IR IWS h/ARA REBOOT RLY AY IYIT WIL YB DD POET ERP ITA R/ LOIS ONTY ARP UHT OTT IDB / MEE CR 2% mien FLRDPYRRLI TA KAT 8 Y BLAVARIIWI 3. AERA WD SOTA ERRM/7 IF EAR 7 7b bY 10088 1, IL LIAB SCIPS 4m Y Nuestra REM ¥9—-LFa-KR SE ERR SUTIRERRTS 7 ADtmRIELS=Fa— FED. RERLALHG RM EMS LO (2) 8B HLH Y BUTS /T 77 FIBA 7 2 8/32 60/9 7) SCRE RTOS. TRICK LREM. RMR LOT LE K94 7. MEME, AED F7 EE. MAL 152 mine s— yo-aLayay — (sem CDA mine “or ARO Bacto, wan gowiees ick sKEcDt. HTP 10k 9 = BRL) MRM 7) ~ 729727 26 OE RIBS GPREORDEK/ FF (BERL AE HODDIVA R94 RAID, WH LORI— CRW Re CACM WOE FMLMM OBR, Oso REBT et AUD YFRENT 4 — 2 eee wine 20m SecA. 7771 BNL BWVIOI~ 807 93 PM BWV 1006, 26.8 Oy 1) HRS x ONAN S RNA wie 104m Ems UWS EMAL ST SARL EM. M1 & BWVI007~ 586 HF BWVI0I2 46 Br CVS y VERS ft 56% HAOMNR I eb oG7 ¢— PBWVIOIS, F749) 7-7F2 BWV 1023, BAO EI e Mic = ORCA LID A RF 2HBWVI0Ss, MUROELY 7 9 3 HBWVIOGS “4 BELO = hOW/ ¥S—f BSE wn sat20 mate Se aT PHZARDA—7 Xb OMICEIA, RRMOMN EME Ce FFL RIN bo LH—) ER CMM [AAT 7 DM) OF Toh Fim OUT 7 PEAR Ca EY BI) EAA Bxs-OLBO DIY 1D RABP IIS Le seh 888 AgA= RWB BEM, UT 7 he Lowe, BL CRETE EIIEL Pedal, Wh IRA, LORIE MEE BOOK HORA AWRLORIZ/ IEE HERAT MASON MAUI PL SY > £5 TBE te U8 AUDI IID CK PELE FS NT AY AOMECRR EL, BMAD {YZ RED EBM FT, TAY Yak RLY ERO LADK/ER, ADGADEEE/ 772-72 ALE MAyTPeeoyy XB KA DBIS SIT min PPV ATI WDOE CRRA TFN MM, 7 7A BORG OY Ao PAK EAMB/ TAIZ ERIE RIAD ABE RIAA LTA AMEE HROEATSYS—LEP/ OR LUT a4 CDF HACDAD GU~ ER -ARO Be L~ HREM EMRE MAS Fe=0C Wa BY a —A) RSE wie sasei6R BRIT MRR DPF) ERM ELF] ERLE FOLAWTH DEMS, RUMAMRIES 1329 Mil BP VA= ABE wen or6R ZIRT. ED{—) 4, DUERELT) REIN—OI OCR MCRVAT MEMES EMA RM, MELET OL, WN Fr NOB RAK waH roto Fa Kumi EY 2 BWV IOSSE #5 BBVV 106% Hi TRA IELTHE EHS BB LRRD INTE EE, MEL-J=hO-N FT 4H EH s2H6R FEWER ROE I — LAKME LEI HC. BRAMMER RS EF MMLIEEO, BaP -= FFE wwe £7 19h 11 BON IDE? B4 MODE, NL FORE CTRL. WEERML TREMRE RT BT FPTs Yo a ASE wine swe FF ~QRE-KRE ADRS IF oh. FI — WAR ERE GOES HIE NEB, BADD S MOBO bre 3 he B79 > FI BBOBUK <> weR6eiH PI IFVERDONT JOE, UTD OBE ABE OM Mami. U7 7 OEE LEM.BIER & — AAA je: Ba SEGRE (MEP 5 SPIRE T) 7160-0011 RAM ABR 2-5 Tel.03-3351-7523 BF!) ER & RMR: SHAOAR- SHAR MS=TH : BHAONR FR He SR: ESRB BEIT H: BENZ ZEN-ON GUITAR LIBRARY edited by Yasuo Abe/ Yasushi Abe 239105 Renaissance Anthology “Madarr: Fantasia Milan:Pavana / Dowland:Lachrimse Pavan ‘tal 69 pes, 239110 Baroque Anthology -revised version- ‘Wis:Famasi / Frescobald:La Frescobalda/SearatiSonats ttl 60 pos 239111 Bach Anthology -evisedversion- Lute Sites No. to 4/ Chaconne / Fuga from Vilin Sonata No. Ital 42 pes 239101 Sor Anthology ‘Andante Largo Grand Solo Variations on the Movarts Theme / 0a 33 pes 239104 Térsega Anthology Estudio Brillante /Capicho Arab /Preludios No.! No.5 total 64 pes 239113 Albénie/ Granados Anthology revised verso Albéniz Sevilla, Asturias, Cdoba Granados DanzasEspalolas tal 17 ps. AGUSTIN BARRIOS MANGORE ALBUM edited by Jesus Benites 240271 Barrios Mangore Album Not [La Catedral/ Vals No.3 / Cha da Saudade / Confess toa 23 pes 2240272 Barrios Mangore Album No2 ‘Vale Nos / Un Suet ea la Floresta El Ukimmo Trémalo tal 25 pos. 240273 Barrios Mangore Album No3 ‘Mazurka Apasionada / Aconguij/Flia Foi Las Abas total 25 ps 240274 Barrios Mangore Album Not Pepita/Maxise/ Vidalia / Moonlight (Claro de Lun) ttl 14 ps. Definitive Edition THE GUITAR ETUDES edited by Kazutaka Ogawa “This book contains 96 studies by 7 major classic guitar composers representing the period from the Clascal tothe Romani; Carl, Sor, Gian, Aguado, Carcass, Cote, Térega. The plrasing st ariculation lines are writen. The laying notes for al the studies re listed in the appendix for advice. ronan wen 81 ew wie o e 61 neRLOBL FF 4J.S. BACH SELECTION edited by Tadashi Sasaki -— with orginal phrasing and bowings shown above saves wth varios suggenstions for ommamenttions liste 238500 JS. Bach i Sonatas & Parttas for Violin Solo ‘HWVI001-1006 238501 JS. Bach: Six Suites for Calo Solo BWV 1007-1012 238503 JS. Bach: Partita for Fate Solo BWVI013 Sonata for Violin and Thorough Bass BWV1023 ‘Sonata I for Flute and Thorough Bass BWVI034 Sonata Il for Fate and Thorough Bass BWVI03S arranged by Katsubito Inoue ww eating both instrament with equal importance — exchanging dialog and paying counterpoint ating new tension and excitement [240506 F.P. Schubert Selected Works | /Arpesgione Sonata D821 beloved led "Serenade D9S7-4° [240s 1. albénir Selected Works {Granada op 47-1 Sevilla op 47-30 Céedoba op 232-4 | |240sos JS, Bach: Cembalo Concertos No2 & Nos |coocerto No? BWVI0S3/ No.S BW'VI06 containing famous “Arisa” |240S03 F. Moreno-Torroba: Sonatina [arranged from the orchestral version which the origin! componer wre |240so2 M. Giliani: Guitar Concerts No & No |Weil-known Concer No.1 9.30 / the refined Concerto No2 9.36 [240so1 A. Vivaldi: Lute Concerto & 2 Trios {concen in D major RVD3 Trio in C major RVS2 / Ti in G minor RV8S |240s00 Recuerdos De La Alhambra |New introduction and middle section added for piano, while the gute pant kept same a original. Te orchestral materia are availabe for hie ‘ti — menor em eoRmRE . ORM LZ TELSHSE T1610 mmm me ‘TEL RtA9-2227-6270 geasen1 R20) ——— iezog-s227-8290 amie 9 A108 URL bipy/www2enoncojp/ —— sanore-t-n-2ooitt-9 A5-MMLERTRR Frain od