<div align="center"> <span style="color:red;font-weight:bold;">Lesson 1: Bach Prelude in C</span> </div> This a Bach prelude in the key of C, arranged for seven string guitar. This one's a bit of fun to play and poses a few fingering challanges, and really shows the extended range of the seven to its fullest advantage - some of these runs would be virtually impossible on a standard six string guitar. And don't let the tempo fool you, this may be "only" 88 beats per minute, but 16th notes really fly by in cut time. <div align="center"> <img border="0" src="http://www.sevenstring.org/lessons/BachPreludeInC/prelude1.jpg"> <img border="0" src="http://www.sevenstring.org/lessons/BachPreludeInC/prelude2.jpg"> <img border="0" src="http://www.sevenstring.org/lessons/BachPreludeInC/prelude3.jpg"> <img border="0" src="http://www.sevenstring.org/lessons/BachPreludeInC/prelude4.jpg"> <img border="0" src="http://www.sevenstring.org/lessons/BachPreludeInC/prelude5.jpg"> <a href="http://www.sevenstring.org/lessons/BachPreludeInC/Bach - Prelude in C.ptb"><span style="color:white;font-weight:bold;">Download the powertab file here.</span></a> <span style="colorrange;font-weight:bold;"> Performance and Arrangement Notes</span> </div> The following modifications were done to the score (a collection of preludes written as an accompaniment to "The Well-Tempered Clavicord" as a preparatory body, some by Bach himself, some by his son) to get this one to fit entirely within the range of a standard-tuned seven string guitar. First, the opening sustained C is doubled an octave lower on the original piano arrangement - this lower note was ommited. Second, the A minor arpeggio beginning on the second eighth note of measure seven is arranged one ocrave higher than originally written, as is the G major arpeggio in measure 12. Third, the G notes in the bass in measures nine through eleven alternate as written and one octave below that of the arrangement. Everything else is true to the piano original. As for physically playing this one, there are a number of challanges. The D7/F# in measure 5 is a killer no matter how you look at it, but is probably best played with your ring finger covering the low F#, while the following D7 chord is easiest if you simply bar the third fret with your index finger after the preceeding 3rd fret low D. The G in the bass from measures nine through twelve also poses a bit of a problem; holding it with your ring finger and pivoting your hand to catch the higher F# of the D7 chord may be easier than holding the G with another finger and then switching to your pinkie and fretting the D7 conventionally, but only slightly. And the F cadenza in measure 14 is easiest if you bar the first fret and play the upper melody legato, raising the bar for the open G and re-barring it to ascend back up. That's really about it. It's a cool peice - the opening changes modulating through the circle of 5ths by way of dominant chords stay approximately in the key of C major but add a bit of outside color, as does the frequent use of the D7 chord in measures 5 through 11. This chord serves as a "secondary dominant" - the dominant chord respective to the dominant of the given key, giving a strong resolution to a chord that will in turn strongly resolve to the tonic. It's a simple but pretty piece, and a hell of a fretting hand workout, too.