A very poignant setting by J.S.Bach of a hymn melody that dates from the 16th century. It’s melancholy mood makes it most appropriate for an occasion that is related to remembrance and reflection. The choice of instruments in his arrangement make it an opportunity to give the music a contemporary context. The lyrics for the hymn reference both prayer and times of trouble and can be researched separately as an additional interest and study. In this arrangement the music has been transposed from the original key of F minor to G minor. Individual instrument parts are appended to the full score. TAB scores are also in place in the appended electric and bass guitar parts. This arrangement for soprano saxophone, electric and bass guitar explores the three part texture as Bach intended. Bach does have wonderful qualities as a composer in expressing all types of human expression and mood. Much of the basis for Bach’s composing related to his work as a church Director of Music supplying music for the church calendar including organ music, cantatas and oratorios. Much organ music was composed based on chorale or hymn tunes and these are often titled chorale preludes and usually played to fill gaps in a service. This is music that is in a slow tempo with the realisation playing back at 44 quarter note or crotchet beats to the minute. Accompaniments are in place The melodic line in performance invites ornamentation and decoration and this is an aspect that can be explored by the player although additions need to be in keeping with the style. The present arrangement presents the melodic line in a very straightforward manner with minimal ornamentation in place that has been notated in the sheet music score. The best advice is to listen to performances of this piece by the best artists that you can find and then imitate, in the first place what they do. The guitar is an instrument where the same note can be played on different strings in different positions on the fretboard and players many well want to review the suggestions made in the TAB scores in the appended electric and bass guitar scores Although intended to be played on the organ this movement like much of Bach’s music is always open to being re-discovered stylistically and played in different contexts. Accompaniments are in place playing at 42, 44, 46 and 48 quarter note or crotchet beats to the minute although the music is best played with an awareness of an eighth note or quaver beat. Playing music both slowly and very slowly is always a challenge in performance. The advice is to play the movement with an awareness of the eight note or quaver pulse.
