BWV1007

CELLO SUITE 1
ARRANGED FOR CLASSICAL GUITAR
WITH ANNOTATED COMPARISON SCORES

by JOHANN SEBASTIAN BACH

Original Cello scores transposed by Guilherme Barbosa
Guitar arrangement by Andr
e Barbosa

Autumn 2008

Cello Suite 1 - Prelude (Johann Sebastian Bach)

Cello Suite 1 - Pr
elude
Johann Sebastian Bach
(1685-1750)

Guitar arrangement and transcription by Andre Barbosa

Cello score transposed to Cmajor by Guilherme Barbosa

Cello

TAB

T
A
B

fi
fi

T
A
B

S3

0
0

fi

1 0 1

1 0 1

c Autumn 2008
MusiXTEX

>
@
fi
G+7

fifi
0

1 0 1
2

3 2 3

>
@
>
> 4
Am
Cmaj7

fififi

fi
fifi

1 0 1

1 0 1

4 2

> @ >
@
Asus4

fi

>
Gsus4
fi

3 1 3 0 3 1 3

1
2

fi
fi

G 4@ > 4@ >
T
A
B

1 0 1

@
@
>
>
Cmaj7

F#6

fififi

0
0

fi
fi

G 4

@
@
>
>
Cmaj7

@
@
>
>
Cm6

S @

@
>
>
Cmaj7

Guitar

1 0 1

2 0
0

1
2

1 0 1
2

1
2

Ver. 1.0

Cello Suite 1 - Prelude (Johann Sebastian Bach)

12

G
8

T
A
B

2
1

15

0 1

3 1

2 0

18

0 3

0 2

0 3 1 0

2 0

0 3 2

0 1

3 0

1 4 0

0 3

4 0

14

0 4

Ver. 1.0

1 0 1

1
3

1 0

1 0 1 3 0 1 0

fififi

1 0 1

1
3

3 2

19

3 2 0

fifi

2 0

@ > @ >
F

fififi

2

> @ >
@
C7
Cmaj7

16 17

4
>
>
>
>
>

E
E
A
A/C

fi

fi

13

@
? @
?
C

fi

2 0

T
A
B

3 2 0

3 2 0

> @ > 4 2 > >
fi
fi
fi
Am

Gfi

D7

@ > @ >
fi
B

fifi

Gfi

1 0

114



2

0 2 0

>
@
fi

Cfi
fifi

T
A
B

10

Dm

Am

fififi

> >
@ 4

G
T
A
B

2 0 2

2 0 2

20

@
>
@ @ ? > >
@
@ >
4 fi
F#7

fi

fiC

0
3

1 0

2 0

3 2 0

3 2 0

0
3

0 1

0 1

0 1

0 1

Cello Suite 1 - Prelude (Johann Sebastian Bach)

21

T
A
B

0 2

0 2

0 2

0 2

T
A
B

4 3 2 3

3 1 0 1 1

3 1 0 1 1
1 3
2
2
0
4 2 0 3

28

2 3 1

0 3

0 1

30

G
8

0
3

3 1 0

2 0

3 2

3 1 0

2 0

3 2

3 0

0 3

4 2 4

>
@ ?
-

Gsus4
fi

fi
fifi

0 2
3

1 3

2 0
0
1 3
3 4
3 2 3

1 0

4 2 0

3 2 0

Dm

1 0
0

0 1 3
0

29

@
>
>
@ ) @ ? ?
>
@
fi
fi
Dm
Dm
D+

fi

fi

E6
fi

3 0 1 3

31

@
> @ @
> @

F6
fi

0 1

0 1 3

2 4
4

26

0 3 2

0 2

0 2 3
3

T
A
B

T
A
B

> 4 @ ?

Dmaj7

fi

2 0

3 0

>
@ >
fi
Gsus4
G7
fi
fi
fi

27
4
G

3 0

3
3
0 1
4
0 2
5 0 2 3
5
3

25

2 4
)
>
>
@ @ ?

Gsus4
fi

2 3
3
4
5
5
3

0 3

24

23

4 FFF ((

>
@
?
FFFF ( @ ? >
.

F+
Gmaj7
F
G
G5

fi

fi

fi

fi

fifi3. .
fi

2 4

>
@
@ >
Fmaj7

fi

22

0
0

1
0

32

3 1 0

2 0

@ @ @
@

0
0

1 0

3 1 0

1
0

0
0

1
0

Ver. 1.0

Cello Suite 1 - Prelude (Johann Sebastian Bach)

33

G
8

T
A
B

@ @ @ @

8 D7sus4

0
0

0
0

1
0

0
0

1
0

G
8

T
A
B

? ?
G6

fi5

8
8
8
8
8
8
5
5
5
5
5
5
5
5
0
0
0
0
0
0

3
0

2
@
D+7

fi

0
0

40

0
0

1
0

3
0

0 2 3

Dm

fi

8
8
8
8
8
8
3
3
3
3
3
3
3
3
0
0
0
0
0
0

38

@ 4 @ 2

? ?
G7sus4

fifi-

@ @ @ @

0
0

2 4 2

37

fi

@ @ @

@ @ @

Dm

3
0

fi

39

1
0

36

Dm

35

T
A
B

34

1
0

4 2 2
@ @
@
@
0

4 3 5 3 6 3 7 5
0
0
0

4 2 2

0 3 1 3 2 3 3

41

3
0

? ?
Gmaj7

fifi5

42

FFF
FF
FF
Cmaj7

fi

fi

7
7
7
7
7
7
6
6
6
6
6
6
6
6
0
0
0
0
0
0

7
5
5
8

The essence of the first Cello Suite is one of improvisatory effect through idiomatic display and although no standard
form exists for the Prelude, a few general characteristics are worth mentioning. Repeated arpeggio and scale figures, sequences, slow harmonic rythm, irregular phrase-lenghts and weak or avoided cadences all combine to give the impression
that the composition of the Suite is unfolding as it is being performed. Many of these features invite a rapide delivery,
although too brilliant a tempo can destroy the intended improvisatory effect. F ermatas and short cadenza-like passages
appear after the mid-point and act as emphatic infrastructural markers, helping to extend the movement and preparing
the concluding section. Another important characterisitc of the Prelude is that sets the overall character or Af f ect of
the Suite, providing a cohesiveness that unifies the subsequent dance movements initiated by the leading Allemande.
While preparing these scores, the original Cello movement written by Johann Sebastian Bach in Gmajor was initially
transposed to Cmajor and subsequently arranged for classical guitar, following the baroque translation method proposed
by Stanley Yates. This method substantiates the original verses around well rounded basslines, leveraging the melodical
progression with the unique poliphonic texture provided by the extra strings found on the guitar. This exercise inccurs
on interpretational risk since implies adding notes to the original score. Often, however, a pitch needed to complete the
lower voice may be sounding elsewhere in the movement. To allow for a strong contrapuntal structure in such cases it is
sometimes necessary to change the leading note where it appears. Completion of the poliphony may also result in addition
to the upper registry thus creating a temporary rise in tension. These techniques provide a wide array of interpretative
combinations most suitable for bringing across the original unaccompained Cello scores into the classical Guitar realm.
4

Cello Suite 1 - Courante (Johann Sebastian Bach)

Cello Suite 1 - Courante

Johann Sebastian Bach
(1685-1750)

Guitar arrangement and transcription by Andre Barbosa

Cello score transposed to Cmajor by Guilherme Barbosa

Cello

3
4

Guitar

3
4

T 31
A
B 4

TAB

G
8

T
A
B

2
3
4

?
? ?
? ?
>
? ?
- - - Cmaj7
- fi
-
G7
Cmaj7
Fmaj7

fi

fi

fi

fi
fi

fi
fi

fi

-
-
1

Dm7

fi
3

1 0 1

` ( 4

T
A
B

1 3

5 2
1

A7

0 1 3
1 0

1 0
0

fi
fifi

G7

fifi
3

3
2

3 1

3 1

0 1 3

`
0

` (

G9
fi

fifi

1
0
0
3 2 3
3

`

-

fiC7
fi

3 1 0

3 3

12

1 0
0

1 0

>
@

Am7

fi

2
0

11

10

3 2 0

c Autumn 2008
MusiXTEX

>
@
C7

2 0

3 1 0

@
>

1 0 1

0 1

1 0 1

1 0
0

>
@
fi
G7

fi

0
3

2 0

Ver. 1.0

Cello Suite 1 - Courante (Johann Sebastian Bach)

13

14

4

G >

B
8

T
A
B

fi

fi

3 2 0

T
A
B

3 1
2

22

G
8

G
8

G
8

T
A
B

3 1 0
2
0

1 0
3

0 2 0

19

(
-

2 0 0
0 4

0 2 0

fi
G

0 2 0

0 0

3 3

1 0

3 1

fi
G

fifi
-
4

0 2 4

4 2

1 0

3 1 0

2 1
0

0
2
3

3 1 0

3 2 3

1 0

28

`
4 (

fi
fifi

3
3

1 0

4 2 0

2
3

E7

F7fi
0

1 3
3 2 0

0 3 1 0

0 1 0

3 1 0
0

2 2 1
3

1 2

Am

fifi

1 3

0 1

Dm

fi

3 0

0 3

30
2

29

0
0
2
0

D7

fi

4 3
0
0

0 1 0

27

1 0

20

21

26

) `
4

Am

0 2 0

25
23
24

4

-
- A7
-
B7

fiC

fi

fi

fi

fi
-

-
-

`
4

16

0 2 0

18

Ver. 1.0

0 2 0

4
Cmaj7

fi

T
A
B

> >
fi

Gfi

17

3 1 0
2

15

2 2
- - Am

fifi

1 0

2 0

1 0 1

fi
fi

0 1

Cello Suite 1 - Courante (Johann Sebastian Bach)

31

T
A
B

1 3

C
fifi

1 3 1

35

T
A
B

38

fi

1 0

3 0

fifi

1 0

39

3 1 3

0 3 1 3 0

3 1 0
2

2
4

1
3

40

Dm

fifi

1 0 1

37

0
3

1 0
0

2
3

fi
fifi

1 0 1

3
2

fi
fi

fiCfifi

36

Am

fi
fi

3 1 1 0

F

fi

fi

0
3

1 0

) `

Dm

fi
fififi

G
T
A
B

2
2

33

4`@

@
C

34

1 3 1

32

4`@
@
-

41

0
3

2
3

Csus4

fi
fi
fi
3

1 0

3 1 0

3
3

42

(

1 1
3 3

The Courante takes two distinct forms: the French Courante and the Italian Corrente, though Bach uses the nomenclature Courante for both types. The theorists describe the French Courante as serious and solemn expressing sweet
hope but also something joyful. Counted in one large beat per meaure of 3/2 meter, the Courante is actually one of
the slowest dances of the Suites in terms of meter, but one of the fastest in terms of figuration. The Italian Corrente is
characterized by constant running eight or sixteeenth-notes. Cast in a moderate-to-fast triple meter, which is due to
slow harmonic rythm is also felt in a moderately slow one-beat-per-measure, the Corrente is ofter a virtuosic display in
Italian string style comprising varied figuration and phrase length, arpeggiation, and sequences.
Typical characteristics of the Italian Corrente are exhibited here. It is a lively dance in simple triple meter and
has many passages of running sixteenth-notes. It has two unequal parts of eighteen and twenty-four bars and each part
begins with a single half-beat anacrusis. The FIRST part has a Beggining section in the tonic, a M iddle section in
the dominant, and an Ending section in the dominant. The SECOND part has a Beginning section in the tonic, a
M iddle section in the parallel minor, two passages that move through various tonal regions, and an Ending section in the
tonic. The harmonic progressions are limited mostly to T-S-D-T or T-D-T progressions. Three circle-of-fifth progressions
contribute to the flow of the movement. The first two bars 5-6 in the tonic and bars 11-12 in the dominant region both
begin on the ii chord. The third circe-of-thirds progression, bars 39-41, begins on iii. Bars 31-33 could also be analyzed
as a circle-of-fifths progression with chromatic major-minor chords seventh-chords instead of diatonic seventh chords.
7