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