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Movements from the Bach Cello Suites • Realized for Solo Harpsichord, Organ or Piano
Sacred Music Library 636 Old 19 • Augusta, KY 41002
www.sacredmusiclibrary.com • [email protected]
Committed to the
Music of the
Catholic Church
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 di!erently from the way you played the "rst 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.
ORGAN#e organ has a multitude of possible stop reg-istrations. #e question is not which stops to choose, but which stop combinations suit the building in which you are playing, and which combinations "t the performance of the music for those who are listening.
While practicing, experiment with di!erent stop combinations, and you will "nd 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. #is will change the timbre of the piano, especially on a grand piano.
Note that the sustain pedal, too, can be e!ective at times - a good example might be sustaining the notes of the "rst beat on the "rst 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 "rst, later arranging it for the Lute, though others feel it was "rst 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.
#e 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 di!erent timbre, a richness di!erent from the organ, piano, harpsichord or clavichord.
#is is created for keyboard musicians who love the Cello Suites and also for students interested in expanding their familiarity with the Bass Clef.
#ese "fteen movements lend themselves nicely for realization and perfor-mance on a keyboard.
#e realization is based upon study of four early copies of the original vio-loncello manuscript - which, itself, has never been found.
#ese copies vary and have been submitted to meticulous examination by learned scholars in an attempt to determine what the original score may have been. #ere are di!ering 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 bene"t of a student?
#ere are even di!erent notes in passages between the four copies.
#e "fteen 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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Violoncello Suite 1
Realized for Keyboard
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Realized for Keyboard
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Violoncello Suite 1
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©2018 Noel Jones • www.sacredmusiclibrary.com
Cello Suite No. 2
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Violoncello Suite 2
Realized for Keyboard
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Violoncello Suite 2
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
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Violoncello Suite 2
Realized for Keyboard
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Menuet 1Johann Sebastian Bach
Violoncello Suite 2
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
17
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SarabandeJohann Sebastian Bach
Violoncello Suite 3
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
18
©2018 Noel Jones ~ www.sacredmusiclibrary.com
!
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SarabandeJohann Sebastian Bach
Violoncello Suite 3
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
19
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Bourée 2Johann Sebastian Bach
Violoncello Suite 3
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
20
©2018 Noel Jones ~ www.sacredmusiclibrary.com
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Bourée 2Johann Sebastian Bach
Violoncello Suite 3
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
21
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SarabandeJohann Sebastian Bach
Violoncello Suite 4
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
22
©2018 Noel Jones ~ www.sacredmusiclibrary.com
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SarabandeJohann Sebastian Bach
Violoncello Suite 4
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
23
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28 $ $ $ $ $ $ $
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25
©2018 Noel Jones ~ www.sacredmusiclibrary.com
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BourréeJohann Sebastian Bach
Violoncello Suite 4
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
!
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6 (& )& & & & & & & (&+ &
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CouranteJohann Sebastian Bach
Violoncello Suite 5
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
26
©2018 Noel Jones ~ www.sacredmusiclibrary.com
!
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CouranteJohann Sebastian Bach
Violoncello Suite 5
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
27
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SarabandeJohann Sebastian Bach
Violoncello Suite 5
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
!
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12 $ $ $ $ $ #$ $ %
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15 #$ ($ $ $ $ $" $ $
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18 $ $ $ $ $ $" $ $ $ $ $ $
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21 #$ ($ $ $ $ $ $ $
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24 #$ ($ $- $ $ #$- ,$
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28
©2018 Noel Jones ~ www.sacredmusiclibrary.com
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SarabandeJohann Sebastian Bach
Violoncello Suite 5
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
29
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SarabandeJohann Sebastian Bach
Violoncello Suite 6
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
30
©2018 Noel Jones ~ www.sacredmusiclibrary.com
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SarabandeJohann Sebastian Bach
Violoncello Suite 6
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
31
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20 # # # # # #
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Gavotte 1Johann Sebastian Bach
Violoncello Suite 6
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
32
©2018 Noel Jones ~ www.sacredmusiclibrary.com
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Gavotte 1Johann Sebastian Bach
Violoncello Suite 6
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
33
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Gavotte 2Johann Sebastian Bach
Violoncello Suite 6
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
34
©2018 Noel Jones ~ www.sacredmusiclibrary.com
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Gavotte 2Johann Sebastian Bach
Violoncello Suite 6
Realized for Keyboard
©Noel Jones • www.sacredmusiclibrary.com
35
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