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La Philippine, H. 96 (Wq. 117/34) is one of dozens of short character pieces of great charm written by the Carl Philipp Emanuel Bach (1714-1788), oldest son of Johann Sebastian Bach. As a composer, CPE Bach occupied an interesting transitional space between baroque and classical music and certainly helped to usher in the stylistic traits of the latter into general popular usage. The piece here is arranged for classical guitar solo at an intermediate level. It is more a transcription than a true arrangement, and every attempt has been made to keep the music as close to the original as possible. All fingerings are editorial, and ornaments kept simple. However, many expert pianists embellish these ornaments (sometimes very lavishly), particularly on repeats, and expert guitarists will likely want to do the same. Since the original music was written an octave higher, and to be played on the delicate-sounding keyboard instruments of the 18th century, some guitarists may want to experiment with using a capo to better create a more period-appropriate sound.Bach marks the style as Arioso (between an aria and recitative). In terms of tempo, various keyboardists interpret it very differently. Some play it quick and light while others opt for a slower, more lyrical approach. Guitarists should feel free to experiment with what sounds best on their instrument.
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