BACH CELLO SUITES ORGAN -...

Movements from the Bach Cello Suites

Realized for

Harpsichord ~

Organ~

Piano

Realizations ~ noel Jones

dedicated to Fred & Janet Schweitzer.

PLAYING NOTESFor pieces which include repeats, enjoy playing the repeat differently from the way you played the first time through. It is common practice to freely add ornaments the second time through.

Playing a repeat softly, with increased ornamen-tation, and a slight ‘give and take’ of tempo, is introspective, permitting you to display what you have found in the music.

HARPSICHORDA harpsichordist may change registrations and move between manuals, using the instrument to its fullest when playing these works.

ORGANThe organ has a multitude of possible stop reg-istrations. The question is not which stops to choose, but which stop combinations suit the building in which you are playing, and which combinations fit the performance of the music for those who are listening.

While practicing, experiment with different stop combinations, and you will find yourself drawn to the right setting. Do not hesitate to try outland-ish settings, as beautiful sounds may be found in somewhat “strange” stop combinations.

PIANOWhen playing the repeated sections on the Piano, press and hold the Soft Pedal throughout the second time. This will change the timbre of the piano, especially on a grand piano.

Note that the sustain pedal, too, can be effective at times - a good example might be sustaining the notes of the first beat on the first page Suite 2, Movement 1 - while being careful not to let the pedaling “blur” the music. While the resonance of the Cello and Harpsichord sustains these notes, the Piano sustain pedal may also be used to create the same fullness of sound.

Noel Jones, 2018

Fifteen Movements from the Bach Cello Suites Realized for Keyboard

Bach was a teacher, a theorist, a performer, a composer, and an arranger. His jobs required creating new music, and writing arrangements of his own music, as well as arrangements of music by great composers of his time, including Antonio Vivaldi. His Six Suites for the Unaccompanied Cello were built upon the style of earlier composers. Gabrieli, and others, explored the concept of low strings not providing a Bass, but playing their own melo-dy, alone, and bits and pieces of harmony as well. Other instruments, and voices, supported them, each in its own part above the Bass.

Bach is said to have written the Fifth Cello Suite first, later arranging it for the Lute, though others feel it was first written for the Lute. Regardless, this seems to indicate that Bach did not feel that the Cello Suites were written only for the cello, or that they should not be arranged.

The Cello has the range of the male voice. Most keyboard composers fail to write melodies in that range so the instrument you perform these on will have a different timbre, a richness different from the organ, piano, harpsichord or clavichord.

This is created for keyboard musicians who love the Cello Suites and also for students interested in expanding their familiarity with the Bass Clef.

These fifteen movements lend themselves nicely for realization and perfor-mance on a keyboard.

The realization is based upon study of four early copies of the original vio-loncello manuscript - which, itself, has never been found.

These copies vary and have been submitted to meticulous examination by learned scholars in an attempt to determine what the original score may have been. There are differing bowings and ornamentations in these four hand-written scores that challenge interpretations of one over another. Are these original intentions of Bach or just markings made by teachers for the benefit of a student?

There are even different notes in passages between the four copies.

The fifteen movements selected for this collection are displayed in black type on the opposite page, which lists all the movements of the six suites.

Notes with parentheses in this score ( !) indicate a melodic note being played in the other hand already and need not be played.

Realization ©2018 Noel Jones ~ www.sacredmusiclibrary.com

No. Title Page

Suite No. 1 1 Prelude 22 Allemande3 Courante4 Sarabande 64 Menuet 85 Gigue

Suite No. 26 Prelude 107 Allemande8 Courante8 Sarabande 158 Menuet 179 Gigue

Suite No.310 Prelude12 Allemande13 Courante14 Sarabande 1914 Bourrée 2115 Gigue

Suite No. 416 Prelude18 Allemande19 Courante 20 Sarabande 2320 Bourree 2622 Gigue

Suite No. 523 Prelude26 Allemande26 Courante 2727 Sarabande 2927 Gavotte28 Gigue

Suite No. 629 Prelude32 Allemande33 Courante34 Sarabande 3146 Gavotte 1 33 Gavotte 2 3536 Gigue Realization ©2018 Noel Jones ~ www.sacredmusiclibrary.com

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©2018 Noel Jones ~ www.sacredmusiclibrary.com

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Violoncello Suite 1

Realized for Keyboard

©Noel Jones • www.sacredmusiclibrary.com

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©2018 Noel Jones • www.sacredmusiclibrary.com

Cello Suite No. 2


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Violoncello Suite 2



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Violoncello Suite 6



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Violoncello Suite 6



35

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