Bach Cello Suite No.1, BWV 1007 (Free PDFs)

Prelude from Cello Suite No. 1, BWV 1007 by Johann Sebastian Bach (1685-1750)
Prelude edited for guitar in D Major by Bradford Werner
Originally in G Major for Unaccompanied Cello
Level: Late-Intermediate (Grade 7)
YouTube Video Lesson (4K)

I’m offering three things here: the Prelude for 1007 (free notes or TAB), and two non-editorial editions of the entire suite so players can compare their scores to the originals. This iconic work is great for performance and also a favorite for gigs and weddings, in particular, the signing. Join the Email Newsletter to get updates on free sheet music and more. Please consider supporting the site to keep the free sheet music coming. 

Free Notation Only PDF Edition of the Prelude 

TAB Edition (PDF Download): $3.99

Werner Guitar Editions is my dedicated store for free and premium guitar editions. Includes instant access to PDFs, the best security, search functionality, and payment options. – Bradford Werner

 


 

Non-editorial score with no fingerings or additions (entire suite).
Presented in treble clef and transposed to alternate keys. Useful as a reference, comparison score, a basis for your own arrangement, or a simple clean score for performance. However, I would recommend you look at an editorial edition or consult your teacher if you are not comfortable making informed decisions about Bach on the guitar. I don’t consider this an “edition” at all, just a transposed facsimile.

These seem to be the most workable keys but leave a comment below if you want it in a different key and we’ll see.

Modern Editions with fingers and editorial arranging (Amazon & Sheet Music Plus):

Cello Score References for errors and bowings/slurs:

For bowings and other reference please see the following editions. Students are highly encouraged to look at bowing for clues as to how they contribution to interpretation, articulation, and motivic and compositional devices used by Bach.

Cello Suites: Bach-Gesellschaft PDF
Bach-Gesellschaft Ausgabe, Band 27.1 (pp.59-94)
Leipzig: Breitkopf & Härtel, 1879. Plate B.W. XXVII (1).
Editor: Alfred Dörffel (1821-1905)

Cello Suites: Anna Magdalena Bach Copy PDF 
Manuscript, n.d.
Public Domain
D B Mus. ms. Bach P 269

Cello Suites: Johann Peter Kellner Copy PDF
Manuscript, n.d.(ca.1726).
Kassel: Bärenreiter, No.5215/5216, 2000.
Public Domain

More versions/editions can be found at:
http://imslp.org/wiki/6_Cello_Suites,BWV_1007-1012(Bach,_Johann_Sebastian)

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4 Comments

  1. Thanks so much for the transcriptions. I just learned the 1st suite, Prelude (in C). I was listening to Rostropovich playing it, and heard a disagreement at measure 26. I was going to comment and let you know that you made an error, but then I Googled it and discovered that your version is correct, and the error was his (based on a commonly accepted edition). Thanks again.

  2. Beautiful piece and beautifully played, one of my favorites of Bach’s. Thanks for putting this one out there.

    Just a couple observations Bradford that I wonder if you could comment on?

    1. Many performances I’ve seen play at a much faster tempo. Your performance, is this the normal tempo you would play in a performance? Did you slow it down a bit for us students? Just wondering….

    2. The run at the end, many performers pick up tempo and volume to create a very strong, vibrant, powerful finish to the piece. Here, you keep it soft and maintain your tempo. It’s really beautiful how you play it, with a subtleness and sweetness to it that is endearing. Again just curious on your thoughts about the different ways performers finish the piece?

    Again thanks Bradford for this wonderful interpretation.

    • Thanks!

      1. Can I say yes to both? It’s certainly a relaxed tempo, some people hear this work as a virtuosic toccata but I’m more on the side of an improvisatory “prelude” in the older fashion of an exploratory unfolding of harmony within the key and context of the suite as a whole. That said, I often try to present solid musical foundations when teaching pieces so students understand the strengths of have a solid beat structure and tempo that is maintained. Also, I’m not exactly sight-reading the piece but I don’t really play it myself so I could certainly improve upon my interpretation.

      2. I think the musical elements (the melodic line, imitation, pedal point, etc) are highlighted more without getting too carried away with the tempo and ‘showing off’ but, I could easily be convinced otherwise by a good performance that incorporates accelerando.

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