10 string guitar - Siddhi Music Publications

Partita I b minor for solo violin BWV 1002
Johann Sebastian Bach
Arranged
for 10-string guitar
by
Siddhi J Sundt

Partita II d minor for solo violin BWV 1004
Johann Sebastian Bach
Arranged
for 10-stringed guitar
by
Siddhi J Sundt

The small prelude that most people usually play in D minor on guitar, was written down by Johann Kellner around 1730 and was said to have been written for lute by J S Bach in the key in C minor. Here it is in the original key for 10-string guitar.

Arrangement for 10-string guitar. Original Key E flat major. Here in D major. The music is ethereal and comes into its own on a 10-string guitar.

Johann Sebastian Bach's wonderful suites for cello solo are a rich source to draw from. Here is the first cello suite, BWV 1007, arranged for 10-string guitar. Mostly this suite is played in D major, but here it is made in the original key, G major, which render a rich sound, since the instrument's fundamental tone is G.

Johann Sebastian Bach's wonderful suites for cello solo are a rich source to draw from. Here is the second cello suite, BWV 1008, arranged for 10-string guitar. It is seldom played on guitar because it does not usually fit in sound in the original key or in other keys on the guitar. On ten-string guitar, on the other hand, it comes into its own. In addition, with the polyphony suggested by Bach (in his way of composing broken lines) fully interpreted.

Arrangement in original key for 10 string guitar.
Preludium, Allemande, Courante, Sarabande, Bourrée I & II, Gigue

The fourth cello suite is as fun as the others. Here the folk music elements are almost more noticeable than anywhere else. The Gigue makes the legs splash and the Saraband is breathtakingly beautiful.
The key in E flat major is a bit tricky, but with the tuning of the strings 7 (E flat) 8 (D) 9 (C) and 10 (B flat), the sounding result is very nice.

Bach turned the fifth cello suite into a lute suite, which became the third in the sequence. The broken lines and the occasional double grips in the cello suite were developed in the lute suite into consistent polyphony, and the key was adapted to the lute's capabilities. To compare this beautiful music in its various settings is to gain a wonderful insight into Bach's creative thinking.

The Sixth Cello Suite is probably not written for ordinary cello, but for a five-stringed variant called Viola Pomposa or Violoncello da spalla. The music is happy, humorous and playful. In the Prelude in particular, Bach plays with the sound effect that the meeting of a plucked and loose string brings about. The suite is exceptionally well suited to being played on the guitar!

a humorous and virtuosic piece for 10 string guitar

a sonata in three movements with a lot of humor, brilliance and contrapuntal weight
I. Allegretto con moto
II. Song
III. Variations and fugue on a theme by Mats Åkerlund

A sonorous and rhythmic piece, with challenging use of the extra basses on the 10-string guitar

This beautiful music is not actually written for the lute, but for a keyboard instrument called "Lautenwerk" (Lute-harpsichord in English). It was a harpsichord-like instrument with gut strings. This means that the music has to be rearranged to include all the voices if possible so that it can be played on the guitar with ease. However, it happens that an occasional note in a middle voice has to be removed in order for it to be playable. However, this does not prevent the music from sounding divine on the 10-string guitar.