UM0011 Etudes for Harp - Bach JS / Grandjany

Cover image: UM0011 Etudes for Harp - Bach JS Etudes for Harp
JS Bach
Transcribed Marcel Grandjany
Contents: 12 Studies
Instrumentation: Pedal Harp
Level: Intermediate/Advanced Grade 6 -8
Format: 230 x 305mm Stapled Score
ISMN: 0-8258-0328-4
Publisher: Carl Fischer
Edition/Year: 1970
Origin: USA
Our Ref: UM0011
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Other music by JS Bach


Etude     1 Bach, “Presto”  From Violin Sonata #1 
Etude     2 Bach, “Fugue” From Violin Sonata #1
Etude     3 Bach, “S arabande”  From Violin Partita #1 
Etude     4 Bach, “Sarabande’s Double” From Violin Partita #1
Etude     5 Bach, “Corrente’s Double” (Variation) from Violin Partita #1
Etude     6 Bach, “Andante” From Violin Sonata #2
Etude     7 Bach, “Allemande” From Violin Partita #2
Etude     8 Bach, “Bourree” From Violin Partita #1
Etude     9 Bach, “Bourree’s Double” From Violin Partita #1 
Etude   10 Bach, “Giga” From Violin Partita #2
Etude   11 Bach, “Allegro Assai” From Violin Sonata #3
Etude   12 Bach, “Prelude” From Violin Partita #3


Bach’s six works for unaccompanied violin belong to two clearly differentiated categories. Three of them were designated by the composer himself as “Sonatas,” the others as “Partitas.”

The Sonatas show uniformity in their construction through the various move­ment and key relationships.

It is significant that Bach subsequently transcribed most of the movements of these Sonatas for keyboard instruments, thus testifying to the implied polyphony of these violin pieces by transforming them into exquisite compositions for the organ or harpsichord. One notable example is the Fugue from Sonata No. 1 in G Minor (Etude #2 for Harp) which exists also as the Fugue in D Minor for Organ.

The term “Partita” had two different meanings in the composer’s time. It des­ignated a Suite of Dances or a set of Variations. Bach wrote works of both types:

Partitas for organ consisting of Variations on a chorale melody, and Partitas for harpsi­chord comprising sets of Dances. In the violin Partitas he aimed at combining both of these aspects, writing sets of Dances which in many respects resemble those for clavier while on the other hand allowing ample space to variation treatment.

A “Double:’ found in Partitas, is actually a Variation which follows one or more of the dance movements. The so-called “Double” dissolves the harmonic structure of the preceding Dance into fast-moving melodic lines.

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