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Works for Solo Lute

         Partita in C minor - BWV 997         
Sequenced by David J. Grossman · ©1997
1-5  Complete bwv997.zip March 16, 1997
1. Preludio 997-1pre.mid March 16, 1997
2. Fuga 997-2fug.mid March 16, 1997
3. Sarabande 997-3sar.mid March 16, 1997
4. Gigue 997-4gig.mid March 16, 1997
5. Double 997-5dou.mid March 16, 1997
Prelude, Fugue, and Allegro
in Eb major - BWV 998
Sequenced by David J. Grossman · ©1997
1-3  Complete bwv998.zip December 6, 1996
1. Prelude pfa-1pre.mid December 6, 1996
2. Fugue pfa-2fug.mid December 6, 1996
3. Allegro pfa-3alg.mid December 6, 1996

Fugue in G minor - BWV 1000
Sequenced with Cakewalk Professional by John Watson - 1/97.
Fugue in G minor for Solo Lute bwv1000.mid January 20, 1997
Fugue in G minor for Solo Harpsichord bwv1000h.mid January 20, 1997
     No known autograph exists for this work, originally for the solo violin sonata (BWV 1001), this version displays various differences, it's two measures longer, an octave lower, accents are different, as are some of the solo melody lines, chords are fuller as enabled by the lute/clavier arrangement. Undoubtably reworked by Bach himself. Taken from the Bach Gesellschaft edition the score includes lute tabulature.
     This sequence was held to the highest standards of faithfulness to the score with the following exceptions, grace notes were not incorporated as they appear to be strictly lute embellishments and not applicable to the clavier, and were probably not written by Bach, although, much care was taken to preserve the separate voices into tracks as notated, there are some passages where notes are doubled, playable on lute -not clavier, this was left intact, to enable the use of different instrumentation -as we know Bach was not averse to doing, (this piece being a prime example). Certainly most of his work found it's original voice on the keyboard. No ornamentation was added, as none was notated. All notes are quantized to their actual values. A necessary tempo change at the end was incorporated. A slight pan was used to enhance the counterpoint.
     I sequenced this piece for the following reasons; it is an often overlooked, and distorted piece, clavier players disregard it as a solo violin piece, or a lute work, guitarists transpose it up a whole step and then alter notes in the lower octaves to make it playable, lutists play it, but much polyphonic clarity is lost in the tonal limitations of their instruments, and the lute doesn't lend itself as well to the technical execution required of many of the passages. It is here that I present it in all it's splendor, beauty and genius. - John Watson

Suite in in E minor - BWV 996
Complete bwv996.mid December 6, 1996

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