J.S. Bach Partita No.1 in B minor - Noel's arrangements

Here are the 8 movements in J.S. Bach's Partita No. 1 in B minor (BWV 1002) - reimagined as if Bach intended it for electric guitar.

Pdf downloads available for each available piece, with fingerings & positions and also versions with TAB.
For more information on this method of arranging, check out this article:
https://www.premierguitar.com/jim-halls-classical-chord-melodies

J.S. Bach has amassed some of the greatest order of notes ever assembled. I arranged them as if Bach intended them to be played on a tele. It’s a “you should be proud to play electric guitar” record instead of carrying the typical shame that electric guitarists experience in some styles of music - as an inferior piano and an inferior horn bastardized into one peasant's instrument. My goal here for people to experience this most-beautiful and timeless music while also enjoying the electric guitar. Arranged as if Bach intended it that way!

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Some reviews of these arrangements taken via YouTube comments:
"Beautiful. I like the use of double stops. This body of work you're compiling is demonstrating the electric guitar as more than a novelty. It is showing it as an entirely legitimate instrument for interpreting this music. Also the use of a pick rather than fingers distinguishes it from classical guitar comparisons. I'm mesmerized by it which is the effect Bach is supposed to have."

"If we could go back in time and show Leo Fender this video, I would love to see his "Guitar Builder Reacts!" video:) This is masterful and musical; with oodles of thoughtful and creative fingering choices and delightful open strings that add to the uniqueness of this rendition. What an accomplishment for this guitarist to have learned this, and for the guitar community to have this. Bach on!"

"If Bach only could hear how wonderful his works sound played by you with the electrical guitar!"

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This music is very difficult, but possible with great care and repetition. While learning it, you will be amazed at some of the modulations and harmonic choices of Bach. There are no wasted notes. Just a constant blur of beautiful melody and harmony. Take your time and enjoy the music even while aspiring to get it to "performance" tempo.

Just like other baroque dance suites, there are 4 movements (Usually Allemanda, Courante, Sarabande and Gigue), the 4 movements are slow-fast-slow-fast. This one has a Bourrée instead of a Gigue which is also a lively dance.
Each one of the 4 movements in Partita no.1 has a "Double." which is an embellishment on the same form and harmonic structure of the previous piece. Basically, a solo on the changes.
On Bach's original score (the Urtext) the only tempo marking is on the Courante Double ("Presto"), but in general, it was known that the movements were slow-fast-slow-fast: Allemanda and its double are slow, The Courante and its double are fast, Sarabande and its double are slow, and the Bourrée and its double are fast.

1. Allemanda: To be played "chord-melody" style. melodies to be played as arpeggiated chord shapes. Chord symbols included are a rough guide for chord shape visualization and potential analysis but these chord symbols are not authoritative.

2. Allemanda Double: The melodies are meant to be played as sustained, arpeggiated chord shapes. Some chord shapes are familiar while some are more "modern" in that some extra notes are sustained that may not be part of the chord Bach was thinking. The sustained notes are meant to add an extra dimension of beauty where the guitar shines.

3. Corrente: Again, the fingerings indicate that melodies are to be grabbed as part of chord shapes. Chord symbols indicated are a suggestion as to those shapes.

4. Corrente Double (Presto): This particular arrangement uses waterfall (or cascade) scales extensively as if Bach wrote this piece for Jerry Reed or Chet Atkins to play on guitar.

5. Sarabande: To be played "chord-melody" style. melodies to be played as arpeggiated chord shapes. Chord symbols included are a rough guide for chord shape visualization and potential analysis but these chord symbols are not authoritative.

6. Sarabande Double: This particular arrangement uses what I call "the Jim Hall Method" whereby chord shapes are arpeggiated. There are less open strings in this one so the shapes are more useful (adaptable to other keys).

7. Bourrée: You may notice some of the upper or lower neighbor notes are sustained to make some rich and more modern chords. One could argue that those notes would continue to be heard in the room if not physically sustained, but this arrangement exaggerates the sustained noted to the point of employing the richness of chordal playing on the electric guitar. To be played "chord-melody" style. melodies to be played as arpeggiated chord shapes. Chord symbols included are a rough guide for chord shape visualization and potential analysis but these chord symbols are not authoritative. There are sections utilizing open strings with waterfall (cascade) scales.

8. Bourrée Double: This particular arrangement uses waterfall (or cascade) scales extensively with the many open strings available. The chord symbols are a rough guide for potential analysis and not authoritative.