Classical guitarists---both students and professional performers---require the same high-quality editions that their pianist colleagues have come to expect from Alfred Music. Our Classical Guitar Masterworks Editions continue the Alfred Music tradition of providing carefully edited, beautifully presented music for practice and performance. This edition of J. S. Bach's masterpieces for solo violin, artfully transcribed for classical guitar by renowned performer, recording artist, and pedagogue Nicholas Goluses, is an essential addition to any classical guitarist's library. Including a thoughtful, scholarly preface on the art of transcribing Bach for the guitar, drawn from Goluses' doctoral dissertation, studying this edition will be edifying for any serious classical guitarist. Goluses' approach to putting these pieces on the guitar, and his thoughtful fingerings, will help overcome the complexities of playing this important and challenging music.

Includes biographical notes, historical notes and performance notes with illustrations.

The complete six Sonatas and Partitas for solo Violin (BWV 1001-1006) by Johann Sebastian Bach transcribed for guitar in standard notation and tablature. Composed between 1714 and 1720 but not published until 1802, Bach's Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded. The pieces often served as archetypes for solo violin pieces by later generations of composers. Sonata No.1 in G minor BWV 1001 Partita No.1 in B minor BWV 1002 Sonata No.2 in A minor BWV 1003 Partita No.2 in D minor BWV 1004 Sonata No.3 in C major BWV 1005 Partita No.3 in E major BWV 1006

J.S. Bach's Three Sonatas for Solo Violin exhibits formal coherence on three levels: first, through every movement; second, through the four movements in every Sonata; and third, through the three Sonatas in the set. The first issue has been treated in my previous thesis concerning the first statement and its development throughout the movement; this thesis will discuss the latter two subjects. The Fuga in each Sonata becomes the central movement due to its exceptional musical weight. The other movements surround the Fuga functionally: the first movement as a prelude, the third as a tension-reliever, and the fourth as a brilliant finale. Not only do the general figures on the surface support the function, the formal activities in each movement do as well. At the same time, the formal congruity between the four movements is observed in the choice of tonality, sectionalization, uses of motives, etc. After an analysis of each Sonata's formal character based on the coherent compositional scheme, a meta-analysis is possible to determine the characteristics that shape the Three Sonatas as a whole. This thesis provides analyses of each movement, each sonata, and the entire set of Three Sonatas, concentrating on how the set is bound closely together through formal correspondences. Its chapter arrangements are: I. Introduction, II. Position and Function of Each Movement, III. Coherence and Individuality of Each Sonata, IV. Musical Characteristics of the Set of Three Sonatas as a Whole, and V. Summary and Conclusion.

(Schott). Contents: Vorwort * Hinweise zur Interpretation (H. Szeryng) * Allgemeine Erlauterungen (G. Kehr) * Sonata I (BWV 1001) * Partita I (BWV 1002) * Sonata II (BWV 1003) * Partita II (BWV 1004) * Sonata III (BWV 1005) * Partita III (BWV 1006) * Kritische Anmerkungen (H. Szeryng).