The Segovia edition is heavily scrutinized because of all that added notes and effects that made it more 'guitaristic'. I think a quick search in this forum would provide you with suggestions of more 'appropriate' transcription of the piece if you want it to be more true to the violin version. However, I would suggest listening to Enno Voorhorst's recording of Bach's Chaconne. His version is very similar to the Segovia version (some omitted notes here and there) but the richer chords, the added notes, the music, everything just made sense on the guitar. Its my favorite version of Bach's Chaconne on the guitar particularly the A major part of the piece (brought me to tears). If I want something closer to the violin, I'd listen to a violin playing it instead.sal wrote: ↑Mon Oct 16, 2017 4:44 pmLooking for suggestions of editions of the Bach Chaconne. I am looking at the Segovia edition, and comparing it to the Violin version I notice a lot more notes, particularly with respect to chord treatment.
Are there any guitar editions that are closer to the violin version, and if so what are they?
I am in NO WAY ready to play this piece- looking more for study purposes. I realize if I want the violin version I could just read a violin edition-but would really like insight fingerings, positions, ya know, guitar stuff.
Thanks for any help and suggestions.
Pepe Romero's edition of the partita is well worth a look. Apart from the long arpeggio passage in the first section of the Ciaccona, which he has made very elaborate, the rest has very few added notes, and the fingerings are very straightforward.
Yes to all that.
Because it works perfectly well. Of course we each have our own musical tastes and notions of what is guitaristic; I was giving what I thought to be a helpful answer to sal's question.But if it's too bare (Pepe) why play it on guitar.
May I ask how you guys know this?As amezcua said, it expresses Bach's emotional struggle in the wake of his first wife's death.
A Google search finds a lot of references to this idea, but is seems to have been suggested in 1994 by the German musicologist Helga Theone in the book Johann Sebastian Bach. Ciaccona – Tanz oder Tombeau?: Eine analytische Studie.