8 2 The tension here is pretty dramatic, almost heavy-metal-like. 2 10 4 *#241770 - 2.58MB, 15 pp. 1 on Cello (Prelude) The prelude of the first cello suite by Bach is probably the most famous piece for the cello written ever. 10 4 8 4 8 -  -  (-) - !N/!N/!N - 21×⇩ - Rockzaemon, Complete Score and Parts 8 6 -  Also famously was how the legendary Yo Yo Ma began learning cello right from the beginning – learning bar by bar one bar a day. Menuetto I & II • 6. 10 0.0/10 8 4 -  8 4 6 2 8 2 0.0/10 0.0/10 8 10 Darrell Jacobi (2012/1/22), ⇒ 5 more: 2. 0.0/10 8 Sometimes I’m copying and pasting entire measures, sometimes halves or quarters of measures. 10 4 6 6 Text I: Based on the copies by Anna Magdalena Bach, Johann Peter Kellner. 6 2 8 -  4 2 *#185300 - 5.95MB - 2:36 -  2 Elainefine (2020/7/8), Complete Score 0.0/10 (-) - V/V/V - 10318×⇩ - Peter, PDF scanned by Peter talk 8 (-) - V/V/V - 129×⇩ - Schalltrichter, PDF scanned by US-GRB -  6 8 2 (-) - !N/!N/!N - 35404×⇩ - Shin-Itchiro, PDF typeset by editor Courante • 4. -  6 MKXScorpion (2017/7/22), Complete Score *#636282 - 0.19MB, 3 pp. In measure 21, you’d expect the A7 to resolve to a D chord. -  6 6 *#456228 - 0.08MB, 2 pp. 8 10 *#636284 - 0.13MB, 2 pp. 0.0/10 The very first measure is this lovely soaring arpeggio on a G major chord. Courante • IV. 4 Generoso (2010/7/10), Complete Score (Text I) (EU) -  6 4 6 8 It’s voiced root-fifth-tenth, which is a film score cliche for Westerns because it suggests wide-open spaces: Already, there seem to be three voices present: a “bassline” playing G, a “top-line melody” playing B and A, and a “countermelody” playing D. Now compare that to the second measure: The melody has exactly the same contour and the same bass note here as in the first measure, but the middle “voice” is playing E and the top “voice” is playing C and B. 8 6 (-) - !N/!N/!N - 2076×⇩ - RSB, Treble Recorder 0.0/10 4 -  *#173150 - 3.32MB - 3:37 -  Menuett 8 (-) - V/V/V - 136909×⇩ - shikamoo, PDF scanned by Unknown 4 I hear all of this as one long D7 chord resolving to G at the end of measure 25. 10 (-) - !N/!N/!N - 1684×⇩ - MP3 - Travelsbypiano, 3. 10 2 0.0/10 0.0/10 But that’s nothing compared to the bonkers bariolage passage in measures 37 and 38, where notes climb chromatically up above the open D string to climax in the glorious finale. 10 1 – Prelude. 8 First, there’s this one in measures 31-37, where the melody alternates between the open A string and various other notes. 8 2 6 Sarabande It does, kind of, but it’s a D7 chord, with C in the bass. -  2 10 So I made a remix where everything gets repeated four times. *#88868 - 0.75MB, 2 pp. 4 0.0/10 8 While I was lining up the Rostropovich audio with the MIDI, I looped individual measures, some of them many times. (-) - !N/!N/!N - 175×⇩ - Vlavasa, PDF typeset by arranger 2 6 Cello Suite No 1 - Prelude Tabs - Johann Sebastian Bach, version (1). 6 *#398387 - 0.01MB, ? 4 8 *#70851 - 0.90MB, 6 pp. 0.0/10 6 Vlavasa (2018/9/14), Complete Score (French tab) 10 *#185297 - 5.01MB - 2:11 -  0.0/10 (-) - !N/!N/!N - 246×⇩ - Stringph, PDF typeset by arranger 4 Stringph (2017/1/19), 4. 8 -  -  2 10 Back to a major key, Bach’s Suite No. 10 *#173148 - 3.62MB - 3:56 -  *#434239 - 0.11MB, 1 pp. Allemande 0.0/10 *#35686 - 0.48MB, 13 pp. Schalltrichter (2017/10/22), Excerpts 0.0/10 0.0/10 Allemande • 3. 4 (-) - !N/!N/!N - 102×⇩ - Vlavasa, Complete Score (French tab only) (-) - !N/!N/!N - 15759×⇩ - BaroqueHeart, PDF scanned by arranger 4 (-) - !N/!N/!N - 11680×⇩ - arranger, PDF typeset by arranger 2 Allemande Allemande • 3. 0.0/10 8 4 4 2 (-) - !N/!N/!N - 328×⇩ - Stringph, 3. All of Bach is easy to memorize, in spite of its complexity; everything is so logical and inevitable-sounding, and all the little components are so catchy, it’s just a matter of patiently stringing them all together. To get the piece ready for presentation in class, first I downloaded the MIDI from Dave’s JS Bach MIDI Page. 10 0.0/10 -  0.0/10 8