74384 Suite No. 3 BWV 1009 for Guitar The Product Review:The present transcription of the Suite BWV 1009 (the third cello suite) was created obeying several priorities and constraints. It is well understood that Bach’s compositional style is unwaveringly contrapuntal; He has the ability, “even without an accompanying bass part, to bring into effective play dense counterpoint and refined harmony coupled with distinctive rhythms”. In this transcription, it was a priority to clearly outline the implied voices by well chosen string disposition. Specifically, it is recommended to cross strings when a new ‘voice’ emerges on the second of two consecutive notes, playing the final note of implied voice ‘a’ and the first note of implied voice ‘b’ on different strings. This allows for the final note of ‘a’ to over-ring the first note of ‘b’ thereby making it possible to impart the impression of two voices where only one is notated in the original. This technique also allows for single string accenting of a given melodic layer to better elevate it from the texture. Most of Bach’s harmonic implications in this suite are quite clear but passages with some ambiguity do occasionally arise. In all cases, bass notes have been added to affirm preference for one among the potentially numerous possibilities. Further, fretboard orientations which allow the maintenance of consistent articulation across repeated motivic reiteration are always preferred, a constraint adopted here to reflect the strongly motivic character of Bach’s compositional technique. In sequences, for example, for each successive appearance of a motive, the attempt is made to place it on the fretboard with the same slurs, crossing of strings etc. as were employed in the first iteration. Effort is also expended in maintaining, to the extent possible, the original instrumental character.

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