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.

J. S. Bach's Suites for Unaccompanied Cello are among the most cherished and frequently played works in the entire literature of music, and yet they have never been the subject of a full-length music analytical study. The musical examples herein include every note of all movements (so one needs no separate copy of the music while reading the book), and undertakes both basic analyses—harmonic reduction, functional harmonic analysis, step progression analysis, form analysis, and syntagmatic and paradigmatic melodic analysis—and specialized analyses for some of the individual movements. Allen Winold presents a comprehensive study intended not only for cellists, but also for other performers, music theorists, music educators, and informed general readers.

A unique study of dance forms and rhythms in the Baroque composer’s repertoire. Stylized dance music and music based on dance rhythms pervade Bach’s compositions. Although the music of this very special genre has long been a part of every serious musician’s repertoire, little has been written about it. The original edition of this book addressed works that bore the names of dances—a considerable corpus. In this expanded version of their practical and insightful study, Meredith Little and Natalie Jenne apply the same principles to the study of a great number of Bach’s works that use identifiable dance rhythms but do not bear dance-specific titles. Part I describes French dance practices in the cities and courts most familiar to Bach. The terminology and analytical tools necessary for discussing dance music of Bach’s time are laid out. Part II presents the dance forms that Bach used, annotating all of his named dances. Little and Jenne draw on choreographies, harmony, theorists’ writings, and the music of many seventeenth- and eighteenth-century composers in order to arrive at a model for each dance type. Additionally, in Appendix A all of Bach’s named dances are listed in convenient tabular form; included are the BWV number for each piece, the date of composition, the larger work in which it appears, the instrumentation, and the meter. Appendix B supplies the same data for pieces recognizable as dance types but not named as such. More than ever, this book will stimulate both the musical scholar and the performer with a new perspective at the rhythmic workings of Bach’s remarkable repertoire of dance-based music.

Wilfrid Mellers is a composer, musician and author. Honorary Fellow of Downing College, Cambridge. This is his classic book on Bach.