Gavotte From The 5th FrenchsuiteJ. S. BachArranged and TablEdited by michaeljoyce@hotmail.com ndI{ FF ffFFF@I`IFFffFf F@ F0 F0 F C F c f F FC@FIF @I`IiIIIf F@FFF FI I Fi@I`I f fFI0I0 I0 I0@F0F@I` I FF f@ i` i f f!I0 ! I0@!I0!i0!I0`" I0" I0" I0# I0$I%F @%I`%I% I% I %I & f @&i`& i& F& F0'I0 ' I0@)F *I@*F+ I @+f+ I+ I+I+ I, F0, i@-I0`-I0- F0/F0{ 0C2 C5C6{ 6F 7F 7f 8f 8f 9F:F<C<I<I<I<I=c=F=F>I0 >I0@?I0`?I0BF@BFB FBFCf`CI0CI0CI0DI0 DI0@DI0D fDI0EI0HF@HI`HIHFHFII0 II0@IiIi0II0J0@JI0`JI0JI0JI0JI0OC@OIOIOIPCPIQF@RCSU I U I@U I`UIUI@UIU IU IWF0X F0@X I0`X I0X F0 Z IZ I[ I@[ I`[ I[ I[ I[ I`\ I0\ F@] F@] I0] F` I `I@` F`IaFaIbfbicI0 cI0@cI0`c I0cFdFfCfFgFgfhchfiI0 jI0@jI0`jI0jI0kI0kI0kI0lCl Il IlIlImcmI0nI0 oI0@oI0`oI0oI0oI0pI0 rIs I@sFsF sI tF0@tI0`tI0tI uI0uI0uI0uI0xIxIxIyI yI@yI`yIyI{I0 {I0{I0@|I0`|I0|I0|I0|I0CF F cf I0f I0`I0I0@I0I0I0I0FF @I`IFf I0 I0@I0`I0I0I0I0I0F @I`IIIIIf I0 I0@I0I0I0`I0I0I0I I@FEDIif @fF0@F0FF07{ FCcccCF  EditThis arrangement of Bach Gavotte from the extremely poplar "5th French Suite" for the Harpsichord was finished April 14, 1974 as a project for a music class. My guitar teacher, Ted McKown, introduced me to the music of a colleague of his, Vincent Maccaluso. Maestro Maccaluso played a 10-string guitar. Although virtually unknown in the music world, his technique and capabilities are what legends are made of. He is most famous for a five and a half minute tour de force of Pagannini's Perpetual Motion. On the same recording he played the entire 5th Suite, but in the original key of Ab. It works on the 10-string becauase of the sympathic vibrations of the extra bass strings. When I heard the Gavotte, I instantly recognized it and thought that it could be a beautiful stand alone piece. I had heard other arrangements of it, especially with strings. During my counterpoint studies, I'd become especially enamored by Bach's counterpoint and the artistic and mathematical visual beauty of a Bach score. When I arranged this piece I decided that using A major would give me the abilities to drop one of the voices an octave to be more like the piano score. At the time I did this, I didn't have a tape recorder so transcribing from recordings was extremely laborious and I preferred working from written scores. This is a real knuckle buster, and fun to play through, but moreover, it's one of the most beautiful of Bach's instrumental melodies. Note that I've only included ornaments in the last two measures: a Trill and a Mordent. As Baroque and Bach expected free ornamentation and were typically not written, but rather improvised. The piano score that I used had no ornaments, so I consulted my theory teacher, Dr. Edith Gross Smith, who advised me that "less is more" and agreed with my choice of ornaments. This isn't to say that it is the only way or best way, but rather my way. Mike cw %).38Guitar Standard