-
Notifications
You must be signed in to change notification settings - Fork 1
/
Copy path0-introduction.ly
154 lines (152 loc) · 8.47 KB
/
0-introduction.ly
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
\markuplist {
\table-of-contents
\vspace #17.0
\line{Copyright © Thomas Preece, 2015.}
\vspace #0.2
\line{This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy}
\vspace #0.2
\line{of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to:}
\vspace #0.2
\line{Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.}
\vspace #0.5
\epsfile #X #17 #"by.eps"
}
\pageBreak
\bookpart {
\tocItem \markup "Introduction and Performance Notes"
\header {
title = "Introduction and Performance Notes"
subtitle = ""
composer = ""
arranger = ""
copyright = ##f
tagline = ##f
}
\markuplist {
\paragraph{
J S Bach's \italic{Six Suites for Unaccompanied Cello} are some of the most famous works
for solo cello.
They are studied and performed by cellists across the world, and have also been arranged for
many other instruments, including the ukulele. While this collection is not the first ukulele
arrangement of the suites, previous works have consisted only of one or two movements: this is
the most complete arrangement to date.
}
\paragraph{
The main reason for arranging 'selections' from the \italic{Cello Suites,} rather than
the entire
collection, is simply the suitability of the various movements for the ukulele. Despite the
fact that both instruments have four strings, the cello and ukulele are remarkably different
beasts: as well as the obvious difference in pitch, the ukulele is a much less sonorous
instrument than the cello and, being played by plucking with the fingers rather than with a
bow, cannot sustain such long notes. This means that the slower movements, such as the
Sarabandes, are more or less out of the question. Similarly, the cello's much greater range
has required some movements to be arranged in a different key for the ukulele, and certain
passages to be moved up or down an octave, in order to fit into the instrument's range.
}
\paragraph{
Of course, arranging for ukulele isn't simply about working around the instrument's weaknesses,
but also about playing up to its strengths. Chords have been added, especially to longer notes,
to fill out the sound and provide a richer texture. The ukulele's re-entrant tuning (that is,
having a high
4th string) lends itself to the use of campanella style, where as far as possible, adjacent
melody notes are played on separate strings. These should be allowed to ring freely, rather
than stopping each note before playing the next. The trade off with this technique is that
the left hand fingerings become more complicated, and so I have tried to strike a balance
between the campanella sound and playability. That said, string choices and other aspects
of the performance are always down to the player: there's no need simply to follow my tabs
precisely at all times, and if you find an alternative that works better for you, then by
all means use that instead!
}
\paragraph{
Metronome markings are given as a guide only - you may find that some pieces are harder to
play at full speed on ukulele than on cello, and the \italic{Sarabande} is almost
impossible to play as slowly as marked while still sounding good!
Articulations and dynamics have largely been omitted, except where
necessary to clarify the intention of the composer. Generally, a slur indicates that the notes
should be played as a hammer-on or pull-off.
}
\paragraph{
My general picking technique is to use the thumb and one or two fingers, depending on the piece
in question. Where two notes are indicated at the same time, I usually play these as a
'pinch', with thumb and forefinger, and where three or four notes are indicated, as a downward
strum with the thumb. You should of course experiment with different techniques, to find the
method of playing that you prefer.
}
}
\pageBreak
\markuplist {
\heading{"Notes on Specific Pieces"}
\paragraph{
The collection begins with an arrangement of \italic{Suite No 1 in G} in its entirety,
consisting of the six movements of \italic{Prelude, Allemande, Courante, Sarabande,}
a pair of \italic{Minuets,} and a \italic{Gigue.} This is the standard form of Bach's suites,
although the paired movements (known collectively as 'galanteries') varies: Suites 1 and 2
have minuets; Suites 3 and 4 have bourrées, and Suites 5 and 6 have gavottes. Where both
galanteries have been arranged for a suite, they are intended to be played in ABA form:
beginning with the first, then the second, and then finally a repeat of the first.
}
\paragraph{
While the \italic{Sarabande} is not especially suited to the ukulele, it has been included
in \italic{Suite No 1} for completeness: this is the only suite in which all of the other
movements were found to work well on the instrument, and so it is the only one which appears
completely. I have also been able to arrange the entire suite in its original key of G major -
something which was not necessarily possible for many of the other movements.
}
\paragraph{
All of the arrranged movements of \italic{Suite No 2} end with a D minor chord, fretted 2215.
This can be quite a stretch, particularly on longer-scaled ukuleles; if this proves too
difficult for you, you can play the A string open, although it won't sound quite as good.
}
\paragraph{
I have tried where possible to keep the fingerings within the first twelve frets, but not
to stick rigidly to this rule where using higher frets improves the piece. One particular
example of this is the first \italic{Bourrée} of \italic{Suite No 3}, which goes up to fret
fifteen. An alternative fingering can be found for soprano players, although I would generally
advise playing these pieces on a concert or tenor ukulele in any case.
}
\paragraph{
While all of the movements have been arranged for re-entrant ukulele (that is, an ukulele
tuned gCEA, with a high G string), I have included a low-G arrangement of the \italic{Prelude}
from \italic{Suite No 1} as a bonus - this can be found at the end of the collection.
}
}
\pageBreak
\markuplist {
\heading{"Copyright Information"}
\paragraph{
This book is available both in print and as a free ebook. The content of the book
is identical in both formats: there is no obligation to buy the printed edition, although
I would definitely recommend it, as not only do you get the book in a much nicer format
(that you can take anywhere and scribble fingerings and notes on), you're also supporting
my work and showing your appreciation - and if you're reading this in the printed edition,
many thanks for choosing to do so!
}
\paragraph{
As this book is licensed under a Creative Commons Attribution licence, you have the right
to make and share copies, adapt it, or even perform the pieces, without needing any
payment or further permission, as long as you give me credit as the arranger. For the
exact licence, please see Page 1 of this book. More information can be found on the
Creative Commons website.
}
\paragraph{
Another advantage of the Creative Commons licence is that you're very much allowed to
make photocopies - this will come in particularly handy for the few movements that have
an awkward page turn. Alternatively, you can download a special copy of just these pages
for easy printing from the Preece Music website, http://preecemusic.com
}
\heading{"Acknowledgments"}
\paragraph{
I would like to thank everyone who has helped, assisted or encouraged me on this project.
Particular thanks go to Matt Warnes of Omega Music for inspiring the project, and to
Joop Kiefte for his help in designing the cover.
}
\heading{"About the Arranger"}
\paragraph{
Thomas Preece has been a musician since his primary school days, where he learned to play
piano and cello, studying the \italic{Bach Cello Suites} in his teenage years. Since 2011
he has primarily focused on the ukulele, and is pleased to be able to present this arrangement
of music he had previously enjoyed for his new instrument. He lives in Reading with his cat,
Biscuit.
}
}
}