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25 Solos for Clarinet: from the Unaccompanied Partitas, Sonatas and Suites of J. S. Bach

25 Solos for Clarinet: from the Unaccompanied Partitas, Sonatas and Suites of J. S. Bach in Ottawa, ON

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Current price: $20.34
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25 Solos for Clarinet: from the Unaccompanied Partitas, Sonatas and Suites of J. S. Bach

By None

25 Solos for Clarinet: from the Unaccompanied Partitas, Sonatas and Suites of J. S. Bach in Ottawa, ON

Current price: $20.34
Loading Inventory...

Size: Kobo eBook

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This collection of pieces gleaned from the unaccompanied works of Johann Sebastian Bach (1685-1750) will broaden the horizons of the amateur, student and professional musicians alike. It is intended that these transcriptions serve as a teaching aid; helping in study of form, phrasing, style and other aspects of making music. In addition, they may also be utilized for the purpose of performance. It should be noted that some register adjustments have been instituted to better suit the range limitations of the clarinet. I have tried my best to be as faithful as possible to Bach's original compositions, striving for consistency and continuity of line. All editorial markings (trills, dynamics, articulations, etc.) are solely the editors and are of course open to interpretation. The first set of pieces (Partita, BWV 1013) is heavily edited to show that keeping within the standard performance practice of the Baroque style, experimentation is expected and encouraged.
This collection of pieces gleaned from the unaccompanied works of Johann Sebastian Bach (1685-1750) will broaden the horizons of the amateur, student and professional musicians alike. It is intended that these transcriptions serve as a teaching aid; helping in study of form, phrasing, style and other aspects of making music. In addition, they may also be utilized for the purpose of performance. It should be noted that some register adjustments have been instituted to better suit the range limitations of the clarinet. I have tried my best to be as faithful as possible to Bach's original compositions, striving for consistency and continuity of line. All editorial markings (trills, dynamics, articulations, etc.) are solely the editors and are of course open to interpretation. The first set of pieces (Partita, BWV 1013) is heavily edited to show that keeping within the standard performance practice of the Baroque style, experimentation is expected and encouraged.

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