Bach Cello Suites For Guitar
Adiel Brumfield
Since early 2018 I've been creating the website, writing code, learning the music, figuring out finger-movements.There is still a lot to work out, both musically as technically, but I plan on adding content all the time.
Playing around with alternative tunings can be a lot of fun. A very interesting one to look at is ADGC. This tuning brings the bottom of your bass's range a 4th higher. At the same time it adds notes to the high end. This increases the expressive possiblities of the bass guitar. The shift in range of ADGC tuning brings the bass guitars range closer to the cello's. Why Study Classical Music on Bass Guitar?It Will Improve Your TechniqueBach's cello suites are full of arpeggios, scales and chords. All the stuff you need to practice anyway, bundled in beautiful masterpieces. Why practice boring exercises when you can play some of the most amazing music ever written?
If you don't know this website allready, you should definitely check out Ari's Bass Blog. Her articles and videos are full of valuable bass guitar information. And if the free stuff is any indication, the paid content is probably priceless.
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of BALLAK SISSOKO AND DEREK GRIPPER, Lost Time - Bach's First Cello Suite, Sleep Songs for My Daughter, 32 Minutes in a Boston Living Room (Live to Cassette), Billy Goes to Durban, One Night on Earth: Live in 2021, Arvo Prt, Guy Buttery and Derek Gripper Live in Cape Town, and 16 more. , and , . Purchasable with gift card Buy Digital Discography $166.40 USD or more (35% OFF) Send as Gift Share / Embed 1. Prologue (to the 1st Cello Suite) 03:56 buy track 2. Cello Suite No. 1 in G Major, BWV 1007: I. Prlude (Arr. for Guitar by Derek Gripper) 02:50 buy track 3. Cello Suite No. 1 in G Major, BWV 1007: II, Allemande (Arr. for Guitar by Derek Gripper) 02:01 buy track 4. Cello Suite No. 1 in G Major, BWV 1007: III. Courante (Arr. for Guitar by Derek Gripper) 01:45 buy track 5. Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande (Arr. for Guitar by Derek Gripper) 01:02 buy track 6. Cello Suite No. 1 in G Major, BWV 1007: V. Menuetts I & II (Arr. for Guitar by Derek Gripper) 01:47 buy track 7. Cello Suite No. 1 in G Major, BWV 1007: VI. Gigue (Arr. for Guitar by Derek Gripper) 00:54 buy track 8. Epilogue (to the 1st Cello Suite) 01:13 buy track about This record was made in Cape Town in a single take, a non-stop performance of the six dances of the first cello suite by J.S.Bach, while listening closely to Guy Buttery's tanpura which he recorded on his farm in the Midlands of Kwazulu Natal.
The tanpura is the big stringed drone instrument used as the backdrop of Indian classical performance. I have used Guy's multitracked recording of a few different sizes of tanpura for a few years now, to play Bach at home.
I have long felt that Bach's solo violin and cello music is monophonic. Which means it is played from a single tonal centre...ie can be heard against a drone. It may explore different regions of that original tone, like a classical Indian musician would explore the raag in the introductory alap of a classical performance, but the return is always straight back home. AUM.
This recording is the closest I have come to showing this to people in musical form. Arguments are odious. Music tells all.
Enjoy.
Why Lost Time? Because I was reading Proust at the time. Slowly and incompletely to be honest. But reading nevertheless. Proust never lets narrative rhythm ruin a good description, and I find that savouring every musical movement that Bach writes, over and above a sense of metronomic time, gives me huge musical joy. $(".tralbum-about").last().bcTruncate(TruncateProfile.get("tralbum_about"), "more", "less"); credits released March 18, 2024
Guitar playing by Derek Gripper
Tanpura by Guy Buttery (automated by Derek Gripper)
Crickets by crickets
Mixed and edited by Derek Gripper
Recorded by Jethro Harris
Mastered by Murray Anderson
Cover photo by Derek Gripper in Gmşlk, Turkey
Cover design by Toby Attwell of Twoshoes Design.
Produced by Derek Gripper for Platoon.
Arrangement available here: derekgripper.gumroad.com/l/nbjig $(".tralbum-credits").last().bcTruncate(TruncateProfile.get("tralbum_long"), "more", "less"); license all rights reserved tags Tags african world acoustic acoustic guitar baroque classical classical guitar indian classical instrumental Cape Town Shopping cart subtotal USD taxes calculated at checkout Check out about Derek Gripper Cape Town, South Africa
Welcome back! Hopefully, you checked out the last lesson and had a chance to think about what I was saying, about having an open mind and not always listening to guitarists all the time. The goal would be to transcribe other instruments from other genres of music. Maybe you started doing this since the last lesson, and hopefully it is working out great for you. Also, it is very important to play music and not always exercises.
After playing this piece I'm sure you realized how popular it is and how beautiful it sounds. It is fairly easy to play and most of it lies nicely in the second position, with a occasional shift to the first or into the third position. Later on, it does move up the neck, but we will be just covering the first couple of sections. The beauty of learning this right off the recording, or from the manuscript, is you have the freedom to play this how you want and any where on the fretboard that is comfortable for you. If you are always learning from tab, you will more likely play it someone else's way and you won't develop your ear. Even though this lesson has tab, you could play this anywhere on the fretboard that works for you. The point of this lesson is to show you how you could take a cello piece and play it on the guitar. You may want to follow the suggested fingerings in a few tricky places. Most of this lies nicely in the second position, so the fingerings will be obvious.
Some of the things you can do to learn from this piece is, analyze the progression. Even though there is no chords written above the music, there is an underlining progression that Bach was hearing when he wrote this. Also, Bach was a master of musical mathematical patterns and counterpoint, and he constructed many pieces with many different patterns. You can get many ideas that you can apply to your own music and going through some of these pieces will help expand your ears. Like I said in the last lesson, start slowly and learn one bar at a time and then play it up to speed.
Mike Campese is an all-around music performer, session artist and teacher competent in many musical styles, electric and acoustic. He has studied at G.I.T. (Honors Graduate), and with Paul Gilbert, Norman Brown, Stanley Jordan, Scott Henderson and Keith Wyatt.
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