CIossirn,[, u,i,l,o,r ct|Iicu'Jt, arronged by

Joseph Harris

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Creotive Concepts
P u bl ish i n g Co rp o roti o n
 -";H"lY
arrange.l by
C{assical Guitar af Bactt Joseph Haruis
ColrreNrs
rypl aqon of ofrm_eDrs ...,....,..............2
txstonca.l Notes & Penomu.e Sugaesdos.,....,.......,.....,.,..,.,...........4
Suite for 6010 flute. Bwv 1013
salabande ........,..........,...............................,.........................,....,........5
helude for lute, Bwv 999 ...............,.....,..6
Suite No.1 for]ute.AWV 996
BoMGe..,.......................-.-.............................,................................12
Partita No.l for solo r.toltn. awv 1oo2
BouEe & Double..,....................,,.,.......................,..,....,................ r 4
seab de & Doub1e........,----.......................,.......................... 24
suite No,3 fororchestsa. Bwv 1068
AL [.Air or the c srd[g_)--....,..........................,....,..............,..,29
suite (ircoEplete) for keyboard, Bwv E23
Grgue ........................,..,....,.....................,..............................,....,....... 32
fteEh suite No.1 Ior kevbodd. Bwv 312
sdabande .............:........,....,.......................,..,.,............................,. .to
1\^io Minuet! fo! kevhoard
Mi!uet ill c Major.........,.......,.-.................,........,........................., 38
Minuet iD c Miior...........................,..,..,............................,.,........ 4o
Cutata No.l4?r za
udMbd u.r rat una L.ba"
Joy 6r Md! Desiria" ........... ..-.. .. ... .............................. ..-.. .._ 42
Chorale: !6,+
Suite No.2Io!lute. Bwv 997
sdabande --.............-........,....,.............................,...................... 4z
French Suite No.6 for keeboard. Bwv 8 r ?
s abdde ....,........:..................,..,..,.......................,....,................... 5o
Gavotte----..............----. .....,.....---------. O2
Sotrata No.I for solo violln. Bwv loor
sicttaE ...........,..........:...............................,..,.,....................,....,..,... 54
Notebook Io! Arna Ma€dalena Ba.h
Mtnuet itr C Mino-r, BWV Alhare l2i ...,....,..,.,..,.,..,.,..,.......... 56
Mu8ede ir D M4ior, Bwv Arlarli 125...............,.......,....,....... 60
MiDuet ilr D Mitrb!, BWV turlEn* 132 ,....,..,..,.....,.,..,.,....,....,.. 57
Suite No.l for solo .ello. BWv 1oo7
Prelude ..,.......,.......-.........................,.........................,.......,.............. 62
Mhuet I & II....................-..,............................,..,..,........................ ?O
suite No.4 for lute. BWV 1006a
BourEe ,..,............,..,..,.,,.,.,..,.,..,....,...,.,..,.,..,....,.......,..,.......,.,..,.,...... 6?
LolE.....,....,.......,..................---..................,..,............,................., ?4
Partita No. 1 Io! kevbo d.Brrv825
sdabarde ...:...............,....,..........................,..............................,..... ?6
Cdtata No. 6?. .rt p,rad.'ti6
cborale .:.....,............................-.........,.................,.....,...................... so

OT9$CRtrATIIECONCEM PUBLISIIINC CORPOIL{TION

CREA?TVE coircEPrrr 2E riJi{;s^.+*t'

 Erplanation o[ Omaments Used in This Book

Ommenrarion i5 a vibi leature nor only olfie music of J.S. Bach but of musi. ihroughout the Barcque
Denod(rpproxim.lyl600-l?50) Baroquo compose^ expect.d the p fom{ ro proride additional mB ro
The main saal or o.namenrarion is not nerelv ro deconie the nusi'' Rathe(
il"* '*iLi"" , tt. ico". ror
t''t. nro' .oa.n..n'o e'i13
''.ipF.L\e.
-",,,,....";,""-.-.O:nrr.-,.rhlTeo'u'..nirc.blrqu.,arn"'u''o''lecu'a'
r.. ,,,,, o x'... ol. r,,ne n.lr oro ndnen,J''o, ' o-'."n F difi 1a \ p'oon8"d dJ
"i...,..
space\ in di musi.al lexture can bc filled in

An in.otrunt considcntion o renenber whsn perloming Bdoque nusic n fiat rhe ommenr should
alnosi al;ys beEii diredly on the downbeat, not before the beat. This is reflecred in the tact fiai o
.- -."..i",.'; r.ana. ?nr.doh\onen.e \t' rrhes'id 6e p'rrome'
"",.d..",
,omeLme- nc 1' oorron or n't's om r"i' on one' nng'*. n on.on ro' r'!\ron or on uo'dl" enr
"i
.'.,p.\\\i'p."';er.od'.-eoieei'i'"on"nenr'holdh"plr)eon.rd'\r'dCto-etuLlr
t
To d cenain extenr, ormmenration is len ihe discrerion orlne plale. Howcver, omamenE de often
,ndi. ed dne.d! in lhe score. ln ordernor to lreadv obscure the notation ofthe nusic B aroque c odposers
i k inbo) o ,Jr.,e he.,'11 onJmen'. h,'r\u'ed. Brorrbnei
'Eo
".f,,: ,",.d,=. ' bo.. 'ornd 1+ boo.rnd u33_ion' rorrneir"r"cr.on.

The r,!l ( soindi.Mdby the
svnhol , )n rn iLtemarion
birr r norc and i's upps
n.jghhor lr should bcaii oD
rhei'DDcr rcte md dneady on
rhe do{nbed The nuinb* of
nots in tr till ma! var]'
deFndLng o, rrmpo a,,l
'l!
The rui,nvolv r norc and it upper rnd
hlq n.irhho TheE arc tro basic
,J|..'d."mJ*...],nd***.d
in. rv oi ,hc d.wrhen, hoscvcr. in an
uDsc;Ed tun, lhe rlnxl .ote of ihe lum
\h.trld$iicide with thc do*nbear
'flre appogEiilura contains a
lnsle auxilidl notc duftd
receives hrlf thc nohtd
value ol rhe main nore.
D$ E tr. norariun.
'I.
iDp;ar,arur. bes,ns d rcctly
oir rhe dotrnbe . nor belorc

.omponnd oman.nl (lurn + trill)

Lhd, .onb,ne two or morc bdc

--;.na rr rlso round r rhe mu$! uf B h rhtr book
tres a ohn.und ommcnr !h .ombins a rur. lith q till.
Likc rhc i,sic omamenb thar rhey ar .omp*ed ol
compoundomament b.gin dnc.dy on rhe downbe{.
 Historical Notes & Peformance Suggestions

AmorgdreNork\olBach,rhemosrnumerousr]'peofcomposirionhyfarirlrca da rbou[*ohuidred
ofwhich have surv,ecdrolho presenlday Thecanraraisamuhi.novem.nred*o.klorsotos\oi.cr..hoosmd
in$tumentandnofienbrsedo.aprc-e\kringn'ne.MoiofBachssacEdcantatas,{hlchserei'nendedror
pedomance duringielig,ous seryice. arebassd on hymrunes. TherypicalBachcmtaraconsnsofaiopenine
.h.fl\.lroornrorepairsolan.sedre.naavesrnda.losiDgchomle BachsfouFpdchoLlesr.ofrenupheld
a\rhenandlrdoipede ion*hcnircofrcsropolyphonic*iin8 ThechoraleotcadraraNo 67, Drr,eddril,
Hs,,Jls!ar,i, tfoundonpageTTolthisbook),cteartydenonstraiesBach'sma$.ryarlh(an.Th.chont!
ofcantah No 1,17, lJ?{ r,.rMrhdlha I.t tkd Lebd" $onnd on page l0) i5 ouch more iexnrntty mrd tormJlr
d.vdloped.HeE.aDin$flmefralrirohello(aEcuringnelod),)sepantesthedrlfarenrtinesotrh.choraletei

Manyolfiepiecesrrhnbookartrrlerfroinlaeersorkscalledsurrs A suile (which rnlghralso !o

6i lhedcsigna(ion panna") isa.ollecrion ol d.n.es uniied by mo'te or kel bur.onraiing inchrrad.r. lempo.
nrererandcou ryolonsin Thedancesofapariculnsuire may be rhetodiicJlyElared. shmn8cedarnmorves
rnd figures (An exceprion isrhe prelude, whi.h nusually$emaiically unrelded ro rhe orher jnovemen$ I Ths
indiyldu.ldm.enovetoe.isioundins!nesarcmonofreninabioaryorrwopxrtorm.\riihea.hh.tfofrhdFie.e
rcpeared ir perlorm.nce The core ofrhe standard Barcque suire consins of four main drnces rhe allemand..
courame, satubande ard gigue ln addition io ihese dan.es, oprional movemer$, collecirelJ, relered io br- fie
EmC,1anJsri.,, aE omerimes foun d The u sual placenei I o f I hese oprional dances i s bs.veen t he srrrbai d.
s

rndthegiBue Cenalndancerype!su.harrhegavo(e,minuerandbourr€ear.ofrsnpr.se ddinpairr Thesecoid

dr.cdoftheD imighrexhibniconrdeingnood,orbeinrcoiraningke)suchasrheparalhlminor AGr
pliyrgthe1*odancesinorder,rheperfomerretumstorhetu daDce Forexample,rpanothiiue(*ould
bepluyediniheorderMinuerl Miiuetll Minuerl Belo*aresomebrieldesciprionsoiiherypesoftrorkslound

The air is rhe iNtrumen6l equilalent olan aia or a solo song md re.hiiclllf nor d
d,nce The chielleatuie olrhe anis de di$inci andflowing melodl in rhe upper voi.e

The bourr6e L d liyely drnce in duDle merr, and bcgff wnh a qu&rer nolr dFb.r

A double is asecond re61on ofa pani.ular dance movemenr Ir.erriNlhe same

hamonic and melodic outlines ol its pnncipd bur erhibt a nore imaled nusic, surf..e.
Through re.hniqucs such as dimi.urioi." nores in the principal are repliced ii (hedoubh
wnhnoiesofsmallerdurrions. IrDBou e and Double ftom rhe Paftita 1tr B Minor for \oto
violin (found on page l2 ofihis bookl oriera Cood.xamplc olrhn dimiiu.ion rechnique.
Bachusesa sllghny diffeftniFroces in rhcS abandc dd Double lrom the lame Peita
Itnund on page 22) heE. he nansfoms rhe chordalte{tu.e ofrhe Sarit,atrdc i.ro a lhear

Ih.gi8ncdcyclopcn inF nce,due1[gelytotheefonsollTlh.ce nry]lreni\rla.ques

Canllier Thegiguekinaqui.kremtoaidconpou mercr, and erhibns r lilelr- chaEcrer.
 The 9.rc1t b a gEcious Fench d&ce in duple ne@r dd bqins with iwo upbea6.
it had ns beginnings in rhe op$a nd ballets of l?$ cenlury FE.ch conpoeft, non .oiably
Lully

The loure is a slow, mjenic lrench dance vifi hearA aeenls, lilring rhyrhm md
doted figuies Like .he musetie. tie louE w4 originally a bigpipe ds.e with a chtuterini.
drc.e, rhich aave the dane a rustic chdacter.

The ninuer n md sate! Fmch

a serene d
ce in tiple mere! ed nodedle &npo.
The fomal oudines of the ninuet @ clerly delineated vith regula four be ph66.

The mN.lt. is a dance inspiEd by an ol the same nmq which is a small

innrnan
Frnch veBion of rhs baepipe. The dost ouhddinA charactei$ic oI the duser@ is the drone,
whlch is a lons sustuned (or epaEd) note. he dmn€ pmvides a simple d monotonous
.eomp iment dd rirves .he music a rustic d pdtohl f@ling.

The p.€lude ofbn seFed a vcry pFgmalic ole in the Beoque suite As wetl as
e$abtishing a sune's mode or key. the prelude prcvided the opPotunity lor ledores to
wam up thet flnges d lo ten the tuning ot tieir insondt. The prelude is technicallv nor
a dance, Hisrodcauy, rhe pElude w6 onginally improvised dd ras rhvrhnlcallv sd neti_
cally rery toose. A Emanl oi this ptutice is rhe so-called 'unn@su€d pElude,' which is
noded vitt no rhythnic indications. I@ving yrhnic considerations solely uP ro rle
perfomels disretion. Unlike the doce ftovebftls of lhe suile. rhich ft
typically in a
binary fom, rhe prelude h6 no !rescdbed tomal $roctlE. The fom of the prelude is oflen a
Fo.rrpi,,ms o! unfolding of a single nusical idea in a $eady and unbrolrd flov

The s.r.bande nnoN md shtely dsce in triple bed md wilh a smng tcent on
a
dle seond bear. It evolved iiom tne aabanda, a doce fron 16ft{en1ury Mexico. The
zabeda w6 in a l6ter iempo th
the sdatrbdc md wd sonetines tucomp ied bv
cdlueis md guihr It s6 also ,ildly erotic and so sexualty su88e$ive tlul ils petfolrme
wd outlawed. Pe*ors can8ht dscing dre aabdda were punisned or evcn exiled

The siciliana originabd in Sicily. I is a dance in a mode6te renPo, cosPound duple

nerei dd exhibits rhe chsacrenstic $ythn of dor@d .i3hth-sixbe.th_eiEhih It is sonaiies
similar in che&ter to a slow gigue but is EoE pa$oral in dood

About the Arrangff . . .

J@lllrrisrseircdhisBachelo!'sddMdreasdesEsinsniraperfom ce ar Nonnem Mzona UniveNnv

as a sNdeni of Tom sheeley. Je nas done additional gddue !tudv in the field ofbusic deory al1be Unive6nv
of lo*a. ]n addni on to hi s w oik wnn thc classical 3! id, his inteuts include ju Eln ar, mu ical aesdretics, dd
s

rhen0sicofrrenchconPo*rOlivie!Me$iad(I9o3_1992) Joe arso cnjovs hikins, oounain bildng dd bck

 5
Sarabande
from Suite forsoloflule, BWY 10ll
; !.! I

13 rllli .
 Prelude
for lute, BWV 999
 9

L:T
l0
,11 --
 Bourr6e
from Suire No. l for lure. BWV 996

Lli r ''. il i t i'

ea;-

lE
i.I-IJ i
;, rl ; , - ! " "
.=r.ar;tflriEl-t=
lr lJ ii r

i'ur- t)
l4
Bouu6e & Double
from Panita No. l for soto liolin. BWV 1002

4"
J'
t5
t6
 17

'f)*:.,-, "

?2
t3

I
20

)
21
 - c-;-"=

)i4
'",=-,,'+---",

tt::-
 21

I
21
Sarabande and Double
from Panih No I for solo !to1in, BWV 1002
: -: i:1-
Double

'a- -a

--a al
 )1

I
l3
 Air ("On the c Srring")
from Suire No. I for or.hesrra Bwv 1068
l0

r--+
;; ,._ +
l---: 1

:-+-*
 ll

In

"LJ [_r t-
 Gigue
ftom Suite (incomplete) forkeyboard. BWV 823

--Tt

t'
l4
 ,
I

F !
--.
l6
Sarabande
from French Suite No. 1 for keyboard, BWV 812
l'1
Minuet in C Major

r _' i

l
.r0
Minuet in G Minor
lL:;,. a lr
 Choralc: Je\u.:i-:Joy ol Man's De\irin""
rrom .". ,",c \o. qj. ,i) i;,)i ,"iii'*,iLt ""

---- li r
-:r?,:-

la t 1-
tl

fl")
---l

LT
cA-.6

1r,l C ! ,l
 i?

---a t

-rr--
it - --
 Sarabande
from Sulte No.2 for 1ute. BWV 997

ffili i*rF
[,?

4r+

=: =
J8
 1

#=t-bi
4 '- It ffiLF
'rr'n i 1a

6 Li"
-
t0
Sarabande
from French Suite No.6 for keybodd, Bwv 817

I,T .l{1 a

lN! L 6i,)-

t?t
cZ-_l
L:l
 Gavotte
from French Su te No 6 fo. keyboard, BWv 817
 Siciliana
from Sonata No. 1 forsolo violir. BwV1001

r-

.,.,.
't"

i -r1

t-.tl
-

"l =
 i]1 ,

/
 5')

Minuet in D Minor
riom rhe Notebook for Arma Magdalena Bach

€)=D

_-|_-|
.ti l

lr a lil

l1lLt f- tl
 Minuet in C Minor
From the Notebook ibr Anna Maedalena Bach
il
 Musette in D Major
tiom the NolebookforAnna Ma!d,lera Br, h

11" ,4 <
,'.-

t-
6l
 Prelude
from Suile No. 1 for solo cel1o. BW1/ 1007

6=D
6l
,==
 6l

"[=,-
! ".] iL "
 ,::::
t t'. h'. !! d! laa)aa
 67
Bourr6e
f.om suire No. 4 for lute- BwV 1006a
1\- !i'u I
F
1A
Minuet I & II
from Suite No. I for rolo.ello. BwV 1007
6 =D
Minuet lI
 ,7:

lt,
 Loure
from Suite No. 4 for lute, BWV 1006a

i
1,

-D !t , it-" ,

. t\, !].:
1l

. :: !f-'l'tr

.r-
76
Sarabande
from Partita No. I for keyboard, BWV825
 -11 ,ll !

tli

r
ltr
'19
 Chorale
from Cantata No. 67, 'D, r'rpdenfiirst, Hen Jesu Chtist,