Bach cello suite 1

[Olof Johansson]

In the "What did you practice last week" thread some time ago, it seemed
to me that a lot of people were playing Bach´s cello suite 1. I just had
to do it too! Prevoiusly I'd played the prelude in D and the courante in
C (fingered/arranged by Stanley Yates). The courante in C had had me
catched for some time, but I'd always played the prelude in D, so I'd
reached a point of decision : C or D for the whole suite? It seemed more
playable and giving more room for muscality and ornaments in C, but I
just couldn't resist the dropped 6th string i D. Now, I play the John W
Duarte arrangement in D which is great - maybe I should've played
Stanley Yates' or Richard F Sayage's arr, but anyways - there are a lot
of things to this music I'm working on, and I've only just begun...for
those who have the time and the inclination, I've got some questions:

1. The right hand fingering in the prelude, measure 20-21. I do it
piamiam-piamiam (measure 20, the last m is a slur) and pimamiam-pimamiam
(measure 21). That change in pattern is driving me crazy. Solution for
sanity?

2. Overall, there are a lot of places where a full barré can be placed
over the strings, but the need for the full barré really occurs later.
Take measure 3 in the allemande or measure 12 in the first menuet - is
it preferrable to place the full barré already at the first pulse, or
can it be considered good technique to move the barré up to the sixth
string when the low E is needed?

3. In the sarabande, the Duarte version has a lot of bass notes. Do you
play them all? I find I must really pay attention to make the top melody
stand out, and maybe the bass notes should be played a bit softly. I
don't have a recording of this (I think John williams recorded it) but
for those who do - what does it sound like? Help is very much appreciated!

4. Duarte has a small variation in fingering in the second menuet
(compare measure 1 and 2 with measure 5 and 6). He must have something
in mind - but what? I mean, if it were for tone color, one might just as
well do the first statement tastiero and the second ponticello to add
variation. I like the fingering better with less open strings, that is
to repeat the first fingering. But what can be accomplished by this
variation in fingering, how does it all become a "good thing"? I must be
missing something.

All technical and boring questions - but I'd sure like to discuss
dynamics and expression too! I found Stanley Yates' performance notes
very helpful, especially in determining the relative tempi of the pieces
in a suite. Too bad I don't play it in C ;-)

I've played this suite so much my left hand hurts like ****, figure it's
time for coffee now!

Olof

[Alain Reiher]

Post by Olof Johansson
In the "What did you practice last week" thread some time ago, it seemed
to me that a lot of people were playing BachŽs cello suite 1. I just had
to do it too! Prevoiusly I'd played the prelude in D and the courante in
C (fingered/arranged by Stanley Yates). The courante in C had had me
catched for some time, but I'd always played the prelude in D, so I'd
reached a point of decision : C or D for the whole suite? It seemed more
playable and giving more room for muscality and ornaments in C, but I
just couldn't resist the dropped 6th string i D. Now, I play the John W
Duarte arrangement in D which is great - maybe I should've played
Stanley Yates' or Richard F Sayage's arr, but anyways - there are a lot
of things to this music I'm working on, and I've only just begun...for
1. The right hand fingering in the prelude, measure 20-21. I do it
piamiam-piamiam (measure 20, the last m is a slur) and pimamiam-pimamiam
(measure 21). That change in pattern is driving me crazy. Solution for
sanity?
2. Overall, there are a lot of places where a full barré can be placed
over the strings, but the need for the full barré really occurs later.
Take measure 3 in the allemande or measure 12 in the first menuet - is
it preferrable to place the full barré already at the first pulse, or
can it be considered good technique to move the barré up to the sixth
string when the low E is needed?
3. In the sarabande, the Duarte version has a lot of bass notes. Do you
play them all? I find I must really pay attention to make the top melody
stand out, and maybe the bass notes should be played a bit softly. I
don't have a recording of this (I think John williams recorded it) but
for those who do - what does it sound like? Help is very much appreciated!
4. Duarte has a small variation in fingering in the second menuet
(compare measure 1 and 2 with measure 5 and 6). He must have something
in mind - but what? I mean, if it were for tone color, one might just as
well do the first statement tastiero and the second ponticello to add
variation. I like the fingering better with less open strings, that is
to repeat the first fingering. But what can be accomplished by this
variation in fingering, how does it all become a "good thing"? I must be
missing something.
All technical and boring questions - but I'd sure like to discuss
dynamics and expression too! I found Stanley Yates' performance notes
very helpful, especially in determining the relative tempi of the pieces
in a suite. Too bad I don't play it in C ;-)
I've played this suite so much my left hand hurts like ****, figure it's
time for coffee now!
Olof

Hi Olof!

A V of V situation.
Well as it is important to define the LH fingering first to get a clear
idea ... mine is MM 20 [G# (1) E (3) B(0) C# (2) closing to the D with (4)]
and MM 21 G natural (1) E(3) A(4) B(0) C# (2) .
MM 20 RH is [PP ami ami] [PP ami ami]
MM 21 " " [ PP iam iam] [PP iam iam]

{:o)

Alain

[Olof Johansson]

Post by Alain Reiher

Post by Olof Johansson
In the "What did you practice last week" thread some time ago, it seemed
to me that a lot of people were playing Bach´s cello suite 1. I just had
to do it too! Prevoiusly I'd played the prelude in D and the courante in
C (fingered/arranged by Stanley Yates). The courante in C had had me
catched for some time, but I'd always played the prelude in D, so I'd
reached a point of decision : C or D for the whole suite? It seemed more
playable and giving more room for muscality and ornaments in C, but I
just couldn't resist the dropped 6th string i D. Now, I play the John W
Duarte arrangement in D which is great - maybe I should've played
Stanley Yates' or Richard F Sayage's arr, but anyways - there are a lot
of things to this music I'm working on, and I've only just begun...for
1. The right hand fingering in the prelude, measure 20-21. I do it
piamiam-piamiam (measure 20, the last m is a slur) and pimamiam-pimamiam
(measure 21). That change in pattern is driving me crazy. Solution for
sanity?
2. Overall, there are a lot of places where a full barré can be placed
over the strings, but the need for the full barré really occurs later.
Take measure 3 in the allemande or measure 12 in the first menuet - is
it preferrable to place the full barré already at the first pulse, or
can it be considered good technique to move the barré up to the sixth
string when the low E is needed?
3. In the sarabande, the Duarte version has a lot of bass notes. Do you
play them all? I find I must really pay attention to make the top melody
stand out, and maybe the bass notes should be played a bit softly. I
don't have a recording of this (I think John williams recorded it) but
for those who do - what does it sound like? Help is very much appreciated!
4. Duarte has a small variation in fingering in the second menuet
(compare measure 1 and 2 with measure 5 and 6). He must have something
in mind - but what? I mean, if it were for tone color, one might just as
well do the first statement tastiero and the second ponticello to add
variation. I like the fingering better with less open strings, that is
to repeat the first fingering. But what can be accomplished by this
variation in fingering, how does it all become a "good thing"? I must be
missing something.
All technical and boring questions - but I'd sure like to discuss
dynamics and expression too! I found Stanley Yates' performance notes
very helpful, especially in determining the relative tempi of the pieces
in a suite. Too bad I don't play it in C ;-)
I've played this suite so much my left hand hurts like ****, figure it's
time for coffee now!
Olof

Hi Olof!
A V of V situation.
Well as it is important to define the LH fingering first to get a clear
idea ... mine is MM 20 [G# (1) E (3) B(0) C# (2) closing to the D with (4)]
and MM 21 G natural (1) E(3) A(4) B(0) C# (2) .
MM 20 RH is [PP ami ami] [PP ami ami]
MM 21 " " [ PP iam iam] [PP iam iam]
{:o)
Alain

Beautiful! Keeps the fingers all in place! Thanks Alain! LH fingering
was the same as mine. Thing is, I've been playing a slur to the 2nd and
4th D:s in measure 20, that is,

here!
MM 20 [G# (1) E (3) B(0) C# (2) closing to the D with (4)]


which might be thrown out of the window (it isn't repeated in meas 21,
either). Whoosh there she goes.

V of V siuation? Didn't get that one, the finer expressions of the
english language always escapes me :-(

Olof

[Olof Johansson]

Post by Olof Johansson

Post by Alain Reiher

Post by Olof Johansson
In the "What did you practice last week" thread some time ago, it seemed
to me that a lot of people were playing Bach´s cello suite 1. I just had
to do it too! Prevoiusly I'd played the prelude in D and the courante in
C (fingered/arranged by Stanley Yates). The courante in C had had me
catched for some time, but I'd always played the prelude in D, so I'd
reached a point of decision : C or D for the whole suite? It seemed more
playable and giving more room for muscality and ornaments in C, but I
just couldn't resist the dropped 6th string i D. Now, I play the John W
Duarte arrangement in D which is great - maybe I should've played
Stanley Yates' or Richard F Sayage's arr, but anyways - there are a lot
of things to this music I'm working on, and I've only just begun...for
1. The right hand fingering in the prelude, measure 20-21. I do it
piamiam-piamiam (measure 20, the last m is a slur) and pimamiam-pimamiam
(measure 21). That change in pattern is driving me crazy. Solution for
sanity?
2. Overall, there are a lot of places where a full barré can be placed
over the strings, but the need for the full barré really occurs later.
Take measure 3 in the allemande or measure 12 in the first menuet - is
it preferrable to place the full barré already at the first pulse, or
can it be considered good technique to move the barré up to the sixth
string when the low E is needed?
3. In the sarabande, the Duarte version has a lot of bass notes. Do you
play them all? I find I must really pay attention to make the top melody
stand out, and maybe the bass notes should be played a bit softly. I
don't have a recording of this (I think John williams recorded it) but
for those who do - what does it sound like? Help is very much appreciated!
4. Duarte has a small variation in fingering in the second menuet
(compare measure 1 and 2 with measure 5 and 6). He must have something
in mind - but what? I mean, if it were for tone color, one might just as
well do the first statement tastiero and the second ponticello to add
variation. I like the fingering better with less open strings, that is
to repeat the first fingering. But what can be accomplished by this
variation in fingering, how does it all become a "good thing"? I must be
missing something.
All technical and boring questions - but I'd sure like to discuss
dynamics and expression too! I found Stanley Yates' performance notes
very helpful, especially in determining the relative tempi of the pieces
in a suite. Too bad I don't play it in C ;-)
I've played this suite so much my left hand hurts like ****, figure it's
time for coffee now!
Olof

Hi Olof!
A V of V situation.
Well as it is important to define the LH fingering first to get a clear
idea ... mine is MM 20 [G# (1) E (3) B(0) C# (2) closing to the D with (4)]
and MM 21 G natural (1) E(3) A(4) B(0) C# (2) .
MM 20 RH is [PP ami ami] [PP ami ami]
MM 21 " " [ PP iam iam] [PP iam iam]
{:o)
Alain

Beautiful! Keeps the fingers all in place! Thanks Alain! LH fingering
was the same as mine. Thing is, I've been playing a slur to the 2nd and
4th D:s in measure 20, that is,
here!
MM 20 [G# (1) E (3) B(0) C# (2) closing to the D with (4)]
which might be thrown out of the window (it isn't repeated in meas 21,
either). Whoosh there she goes.
V of V siuation? Didn't get that one, the finer expressions of the
english language always escapes me :-(
Olof

And so does apparantly the harmonic language - you must mean the
dominant of the dominant - E7!
Thanks Ag(l)ain!
Olof

[Alain Reiher]

Post by Olof Johansson

Post by Olof Johansson
Beautiful! Keeps the fingers all in place! Thanks Alain! LH fingering
was the same as mine. Thing is, I've been playing a slur to the 2nd and
4th D:s in measure 20, that is,
here!
MM 20 [G# (1) E (3) B(0) C# (2) closing to the D with (4)]
which might be thrown out of the window (it isn't repeated in meas 21,
either). Whoosh there she goes.
V of V siuation? Didn't get that one, the finer expressions of the
english language always escapes me :-(
Olof

And so does apparantly the harmonic language - you must mean the
dominant of the dominant - E7!
Thanks Ag(l)ain!
Olof

The slur is OK there too! [;o)
Yup! E7 (first inversion!) moving to A7 (third inversion). I like the low D
version too.
Good choice. Have fun with it. I have learned the Allemande a long time ago
... I still have to learn the entire suite though! One day for sure! [I am
still not done yet, wrestling with the PFA [:o)

Alain

[Sarn Dyer]

Post by Olof Johansson
Now, I play the John W
Duarte arrangement in D which is great - maybe I should've played
Stanley Yates' or Richard F Sayage's arr, but anyways - there are a lot
of things to this music I'm working on, and I've only just begun...for

I'm not yet familiar with Richard Sayage's arrangement, but, I agree
with you: perhaps you should! John Duarte's arrangements of the first
and third cello suites show very little understanding of Bach's
compositional style but, unfortunately, guitarists have become used to
them over time.

The octave alternation of the D is certainly seductive but it isn't
coherent with the treatment of the prelude as a whole and, not
surprisingly, I have never found a similar use in Bach's other works.

Sarn Dyer

[Edward Bridge]

Post by Olof Johansson
It seemed more

playable and giving more room for muscality and ornaments in C,

So is this the reason why Yates has it in "C." Does Richard F Sayage's play
it in C .Why is it in "C" Are a lot of people playing in C now in days ?

I like playing the cello parts of the "Comparison score " in Yeat's book .
I have to use reading glasses because the cello parts are printed soooo
small.

Is there a book with just the cello parts with no fingering , no " IMO"
bass notes but in guitar friendly keys ? This would be a good book to
have and to sell .

Peace,
Ed Bridge
Brooklyn N.Y.
www.bridgeclassicalguitars.com

[Richard Yates]

Post by Edward Bridge
Is there a book with just the cello parts with no fingering , no " IMO"
bass notes but in guitar friendly keys ? This would be a good book to
have and to sell . Ed Bridge

Such a score would be pretty easy to put together starting with MIDI files.
What movements and keys would you like to see?

Richard Yates

[Scott Daughtrey]

Post by Richard Yates

Post by Edward Bridge
Is there a book with just the cello parts with no fingering , no " IMO"
bass notes but in guitar friendly keys ? This would be a good book to
have and to sell . Ed Bridge

Such a score would be pretty easy to put together starting with MIDI files.
What movements and keys would you like to see?
Richard Yates

http://icking-music-archive.org/scores/bach/cello_suites/
http://icking-music-archive.org/ByComposer/J.S.Bach.html

Scott

[Richard Yates]

Post by Richard Yates

Post by Edward Bridge
Is there a book with just the cello parts with no fingering , no " IMO"
bass notes but in guitar friendly keys ? This would be a good book to
have and to sell . Ed Bridge

Such a score would be pretty easy to put together starting with MIDI files.
What movements and keys would you like to see?

For instance:

http://www.yatesguitar.com/misc/Cello01prelude.pdf

RY

[Richard Yates]

Post by Richard Yates

Post by Richard Yates

Post by Edward Bridge
Is there a book with just the cello parts with no fingering , no " IMO"
bass notes but in guitar friendly keys ? This would be a good book

to

Post by Richard Yates

Post by Richard Yates

Post by Edward Bridge
have and to sell . Ed Bridge

Such a score would be pretty easy to put together starting with MIDI

files.

Post by Richard Yates
What movements and keys would you like to see?

http://www.yatesguitar.com/misc/Cello01prelude.pdf

and http://www.yatesguitar.com/misc/Cello01preludeDmajor.pdf

RY

[Richard Yates]

Here are four versions of the Allemande. Lots of possible keys.

http://www.yatesguitar.com/misc/Cello01AllemandeC.pdf

http://www.yatesguitar.com/misc/Cello01AllemandeD.pdf

http://www.yatesguitar.com/misc/Cello01AllemandeE.pdf

http://www.yatesguitar.com/misc/Cello01AllemandeG.pdf

RY

[Olof Johansson]

Post by Richard Yates
Here are four versions of the Allemande. Lots of possible keys.
http://www.yatesguitar.com/misc/Cello01AllemandeC.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeD.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeE.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeG.pdf
RY

Thanks! First time I've played it in E or G, I really like it in G, it
sounds so calm in the lower register.
Olof

[Edward Bridge]

Richard Yates
Thank you and that's really great. I think it helps the students when
they see wonderful music in different keys but they have to nail their own
fingering . Now imagine a book with just the Bach Cello studies, each one
in few keys. No fingering, no add bass notes , think how that wonderful
music could be a good performance /teaching tool, IMO.

The reason why I'm against the add bass notes is that should be each person
" trip."

So I order 10 copies to start , who's doing the book ?

Peace,
Ed Bridge
Brooklyn N.Y.
www.bridgeclassicalguitars.com

Post by Richard Yates
Here are four versions of the Allemande. Lots of possible keys.
http://www.yatesguitar.com/misc/Cello01AllemandeC.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeD.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeE.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeG.pdf
RY

[Alain Reiher]

Post by Richard Yates
Richard Yates
Thank you and that's really great. I think it helps the students when
they see wonderful music in different keys but they have to nail their own
fingering . Now imagine a book with just the Bach Cello studies, each one
in few keys. No fingering, no add bass notes , think how that wonderful
music could be a good performance /teaching tool, IMO.
The reason why I'm against the add bass notes is that should be each person
" trip."
So I order 10 copies to start , who's doing the book ?
Peace,
Ed Bridge
Brooklyn N.Y.
www.bridgeclassicalguitars.com

Post by Richard Yates
Here are four versions of the Allemande. Lots of possible keys.
http://www.yatesguitar.com/misc/Cello01AllemandeC.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeD.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeE.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeG.pdf
RY

I like Ponce "trip" on the prelude! [;o)

Alain

[Carlos Barrientos]

Post by Edward Bridge

Post by Richard Yates
Richard Yates
Thank you and that's really great. I think it helps the students when
they see wonderful music in different keys but they have to nail their

own

Post by Richard Yates
fingering . Now imagine a book with just the Bach Cello studies, each one
in few keys. No fingering, no add bass notes , think how that wonderful
music could be a good performance /teaching tool, IMO.
The reason why I'm against the add bass notes is that should be each

person

Post by Richard Yates
" trip."
So I order 10 copies to start , who's doing the book ?
Peace,
Ed Bridge
Brooklyn N.Y.
www.bridgeclassicalguitars.com

Post by Richard Yates
Here are four versions of the Allemande. Lots of possible keys.
http://www.yatesguitar.com/misc/Cello01AllemandeC.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeD.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeE.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeG.pdf
RY

I like Ponce "trip" on the prelude! [;o)
Alain

Please explain this more clearly... Thanx

2) David Tannenbaum wrote a pretty interesting article on guitar
Player magazine that I enjoyed very much on the prelude... perhaps one
can persuade him to post? I think it was VERY helpful and I found it
important at that time.

Once upon a time , I played the suite as part of my work and you guys
had me sight reading Duarte, version 1 and 2 (there have been 2, I
think) and Yates.

Maestro Yates, BOLD, I shall enjoy this work in it's new guise (C )
very much, Thanx!

You guys, Bach in my life again, a very inspiring thread this one!!
Carlos Barrientos
"mailto:***@sprintmail.com"
Phone: [phone]

"It is easier to lead men to combat, stirring up their
passion, than to restrain them and direct them toward
the patient labors of peace."-- André Gide (1869-1951),
French writer, "The Immoralist"

[Alain Reiher]

Post by Carlos Barrientos

Post by Edward Bridge

Post by Richard Yates
Richard Yates
Thank you and that's really great. I think it helps the students when
they see wonderful music in different keys but they have to nail their

own

Post by Richard Yates
fingering . Now imagine a book with just the Bach Cello studies, each one
in few keys. No fingering, no add bass notes , think how that

wonderful

Post by Carlos Barrientos

Post by Edward Bridge

Post by Richard Yates
music could be a good performance /teaching tool, IMO.
The reason why I'm against the add bass notes is that should be each

person

Post by Richard Yates
" trip."
So I order 10 copies to start , who's doing the book ?
Peace,
Ed Bridge
Brooklyn N.Y.
www.bridgeclassicalguitars.com

Post by Richard Yates
Here are four versions of the Allemande. Lots of possible keys.
http://www.yatesguitar.com/misc/Cello01AllemandeC.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeD.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeE.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeG.pdf
RY

I like Ponce "trip" on the prelude! [;o)
Alain

The only thing that would make it clearer is to listen to the version Ponce
has created with that prelude! There are a lot of treasures inside Bach! And
the way Ponce thread is own voice within the prelude is simply remarkable.
[Hope he had done the entire suite!]
Voilà! hope its clear!

[;o)

Alain

Post by Carlos Barrientos
Please explain this more clearly... Thanx
2) David Tannenbaum wrote a pretty interesting article on guitar
Player magazine that I enjoyed very much on the prelude... perhaps one
can persuade him to post? I think it was VERY helpful and I found it
important at that time.
Once upon a time , I played the suite as part of my work and you guys
had me sight reading Duarte, version 1 and 2 (there have been 2, I
think) and Yates.
Maestro Yates, BOLD, I shall enjoy this work in it's new guise (C )
very much, Thanx!
You guys, Bach in my life again, a very inspiring thread this one!!
Carlos Barrientos
Phone: [phone]
"It is easier to lead men to combat, stirring up their
passion, than to restrain them and direct them toward
the patient labors of peace."-- André Gide (1869-1951),
French writer, "The Immoralist"

[Richard Yates]

The total of two downloads for each version of the Courante in the first day
and none the second suggest that the market is not yet eager for this book.
RY

Post by Edward Bridge
So I order 10 copies to start , who's doing the book ?
Ed Bridge

Post by Richard Yates
There are six versions (A, C, D, E, F, G) of the Courante from the First

Cello Suite at:
http://www.yatesguitar.com/misc/CelloSuites <<

[Edward Bridge]

I have a feeling you may be right. Still I print the suites and see how it
goes with a few students today.

Peace,
Ed Bridge
Brooklyn N.Y.
www.bridgeclassicalguitars.com

Post by Richard Yates
The total of two downloads for each version of the Courante in the first day
and none the second suggest that the market is not yet eager for this book.
RY

Post by Edward Bridge
So I order 10 copies to start , who's doing the book ?
Ed Bridge

Post by Richard Yates
There are six versions (A, C, D, E, F, G) of the Courante from the First

http://www.yatesguitar.com/misc/CelloSuites <<

[Richard F. Sayage]

Post by Richard Yates
Here are four versions of the Allemande. Lots of possible keys.
http://www.yatesguitar.com/misc/Cello01AllemandeC.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeD.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeE.pdf
http://www.yatesguitar.com/misc/Cello01AllemandeG.pdf
RY

Hey Richard,

That was a lot of fun! The E and the G sounded real good. I remember
wanting to do it in G real bad, but it just didn't really work as a whole,
if I remember right.
So...you gonna do the friendly key book? If not, I'll do it in my spare
"I don't know what to do with myself right now" time from my original
sketches. Let me know. :-)

Rich

[William D Clinger]

I put a rough recording of the prelude in its original key of G on
my web site: http://www.ccs.neu.edu/home/will/Music/samples.html

You'll have to imagine how this would sound if someone like El McMeen
were playing it. Among the many fine players who post here, I mention
El because this version of the prelude uses his favorite scordatura,
CGDGAD. That tuning includes the CGDA strings of a cello's standard
tuning, so my left hand fingerings resemble a cellist's.

Post by Richard F. Sayage
That was a lot of fun! The E and the G sounded real good. I remember
wanting to do it in G real bad, but it just didn't really work as a whole,
if I remember right.

I don't play the entire suite yet, but I've read through it several
times in the original key of G without encountering any difficulties.
Technically, the prelude appears to be the most difficult movement,
although some of the other movements pose more problems with respect
to interpretation.

Will

[Richard F. Sayage]

Post by William D Clinger
I put a rough recording of the prelude in its original key of G on
my web site: http://www.ccs.neu.edu/home/will/Music/samples.html
You'll have to imagine how this would sound if someone like El McMeen
were playing it. Among the many fine players who post here, I mention
El because this version of the prelude uses his favorite scordatura,
CGDGAD. That tuning includes the CGDA strings of a cello's standard
tuning, so my left hand fingerings resemble a cellist's.

Post by Richard F. Sayage
That was a lot of fun! The E and the G sounded real good. I remember
wanting to do it in G real bad, but it just didn't really work as a whole,
if I remember right.

I don't play the entire suite yet, but I've read through it several
times in the original key of G without encountering any difficulties.
Technically, the prelude appears to be the most difficult movement,
although some of the other movements pose more problems with respect
to interpretation.
Will

Hey Will,

Yes I remember you doing this...it sounded great in that particular
tuning. For some reason, I'm remembering that in standard tuning, it posed
too many difficulties for the guitarist through all of the movements. I
might be wrong in this remembrance! My standard operating procedure is to
bring the piece to life (for the guitar) in its original key, much like
anyone else of course. The only reason I would bring it away from the
original key is for reasons associated with the above. Then again, maybe I
didn't look at it with the same eyes that I have now after so many years!?
:-)

Rich

[Richard Yates]

There are six versions (A, C, D, E, F, G) of the Courante from the First
Cello Suite at:

http://www.yatesguitar.com/misc/CelloSuites

Richard Yates

[Richard F. Sayage]

Post by Olof Johansson

Post by Olof Johansson
It seemed more

playable and giving more room for muscality and ornaments in C,
So is this the reason why Yates has it in "C." Does Richard F Sayage's

play

Post by Olof Johansson
it in C .Why is it in "C" Are a lot of people playing in C now in days ?
I like playing the cello parts of the "Comparison score " in Yeat's book .
I have to use reading glasses because the cello parts are printed soooo
small.
Is there a book with just the cello parts with no fingering , no " IMO"
bass notes but in guitar friendly keys ? This would be a good book to
have and to sell .
Peace,
Ed Bridge
Brooklyn N.Y.
www.bridgeclassicalguitars.com

Hi Ed,

Yes, I originally did this first Cello Suite in C. Found it to be very
playable and to sound great.

Richard Yates' posted transcription of the cello score (a good looking
one, I might add :-) in guitar friendly keys is a great comparison for
those who wish to see/hear the difference between what the original score
and a worked up score, such as Stanley's, Lorimer's, Duarte's or mine for
that matter, sound like. The Prelude from the First Suite comes off very
well this way, because the guitarist will naturally hold the position laid
out measure to measure. The other associated pieces of the Suite will not
play or sound the same unfortunately, at least for the most part and for
obvious reasons.

Ah, but it's all written by Bach, so...how bad could it be? The cello
suites have a very special place in my heart. As a whole, they are simply
superb pieces of solo music, highlighting the mastery and boldness of a
single voice within one man's musical ear and mind.

Clearly, any of us who have done this work for guitar, have these solo
lines available. I have my entire completed sketch and workups of the 6
Suites, including the completed works of Suite 1 and 2 (for classical
guitar). Quite frankly, other priorities and Dr. Yates' highly regarded
work have led me to believe that I would better serve the community by
working on other projects, as the engraving and the time involved to
complete the project of the remaining 4 Suites is simply too expensive at
this point. I may get around to completing the engravings of these works
one of these days.

Gotdam...I almost sound normal :-)

Rich

[Olof Johansson]

Post by Olof Johansson

Post by Olof Johansson
It seemed more

playable and giving more room for muscality and ornaments in C,
So is this the reason why Yates has it in "C."

I think there's room for experimentation in both, but in C major (as in
Yates') it doesn't occupy the LH and wear it out with a lot of barrés
over long times, so there's more room and strength left for playing around!

Does Richard F Sayage's play

Post by Olof Johansson
it in C .Why is it in "C" Are a lot of people playing in C now in days ?
I like playing the cello parts of the "Comparison score " in Yeat's book .
I have to use reading glasses because the cello parts are printed soooo
small.
Is there a book with just the cello parts with no fingering , no " IMO"
bass notes but in guitar friendly keys ? This would be a good book to
have and to sell .

I'd like that too - preferrably with a G-clef!
/Olof

Post by Olof Johansson
Peace,
Ed Bridge
Brooklyn N.Y.
www.bridgeclassicalguitars.com

[David Raleigh Arnold]

Post by Olof Johansson
In the "What did you practice last week" thread some time ago, it seemed
to me that a lot of people were playing Bach´s cello suite 1.

Play it in A, with the 6th tuned to D. It retains its character as a solo
bass part in that key. Transposing up to C or D creates something that is
not Bach, especially if the arranger is arrogant enough to write another
bass part below Bach's bass part.

The other suites are somewhat less so, but they nevertheless have bass
parts, so they should not be transposed more than a third, IMHO.

I know that someone has recorded the prelude in A, but I never heard
the name of the artist. daveA