J. S. Bach: Allemande
The complete edition of the Suite in e-minor BWV 996, in the transcritpion by Johannes Tonio Kreusch, as well as his recordings can be ordererd at info(at)johannestoniokreusch.com .
You can find more information about this transcription as well as the Allemande as downloadable PDF version in the section "contributions" (Guitar Sessions January 2007) or simply click h e r e .
J. T. Kreusch: Etude No 5
"The guitar is a little orchestra - seen through the end of a telescope". Thus the famous guitarist Andrés Segovia once described our instrument. I hoped my my etude would stimulate ideas that would explore the sonic possibilities of this little orchestra.
The guitar sounds different when plucked at various positions along the strings. If plucked near the bridge, the guitar sounds dry or nasal, like metal. The sound quality achieved in this fashion is called metallico (abbreviated met.). Another term for this technique would be sul ponticello (s.p.) which means "near the bridge". By contrast, you can achieve a very warm and smooth tone if you play over or near the fretboard; this technique is called sul tasto or sulla tasteria (s.t.). Then too, naturale (nat.) or ordinario describes the sound achieved with the normal hand position over the soundhole.
These terms offer suggestions and ideas about timbre creation that could be applied in interpreting "Etude No. 5". Of course, it is possible and most welcome that the player also explores his or her own ideas about interpretation. Very often, the melodic or harmonic context, or the musical construction of a piece provide inspiration on how to best interpret the individual sections of a piece.
One possibility, for example, would be to create contrast between repetitions by altering the dynamics and timbre of a given passage. A composer who works on a piece for hours and days has a reason for repeating a certain passage or part of a piece, and what he wants to underscore or say with a given idea. Therefore, the interpreter might well respond by changing dynamics or timbre. In my "Etude No. 5", I also change the inflection of the timbre on the repeat.
I hope you enjoy my piece and that you’ll be creative in exploring the sound and timbre possibilities of our "little orchestra"!
This etude is included in a book of sheet music by Johannes Tonio Kreusch:
Etüden für Gitarre Teil I
Neue Übungsstücke für den Gitarrenunterricht und das Selbststudium
Mit zusätzlicher Tabulaturnotation und didaktischen Erläuterungen
and can be ordered at info(at)johannestoniokreusch.com
You can download Etude No 5 as PDF by clicking
h e r e .
You can find a sample of this Etüde under "audio files"
Tulio Peramo: Canto de Septiembre - For solo guitar
Tulio Peramo: Tres Imágenes Cubanas - For string quartet and guitar (Partitura plus five separate parts)
Tulio Peramo: En Tardes de Lluvia - Suite for solo guitar
Tulio Peramo: Aires de la Tierra - Song cycle for mezzosoprano and guitar
Tulio Peramo: Cantos del Caribe - For flute and guitar
Sheet music by Tulio Peramo can be ordered at info(at)johannestoniokreusch.com
You can find an article about Tulio Peramo in the section "contributions" (Guitar Sessions March 2007) or simply click
h e r e .