BWV 1004 by Timothy Shearer

An important factor in instrument choice is capability in musical expression. Dynamics control, timbral character, pitch range, and means of sound production (ie struck, bowed, aero-vibrated) all determine viability for any given performance. In my use of the electric guitar, there’s little precedent for the character of my sound. Sometimes, with an intimate knowledge or familiarity with an instrument, the psychological distance between listener and performance is smaller and the instrument disappears, but in my case I’m exploring a new sound—a new sound that reëngages a part of the psyche that automates elements of listening when an instrument’s means of sound production is taken for granted.

Though challenging, it’s freeing having little instrument-precedent, as the sound can be personal and totally unique. I want a sound that’s darker, messier and unexpected while maintaining good musical capabilities. I like that the electric guitar is musically very crude and kind of aggressive; navigating that fact with some grace has some real-life allegorical resonance. There’s a microcosm of struggle in striking these small strings sending a signal through primitive electrical equipment to produce a beautiful sound I can use to develop the structures of these Bach works.

For my interpretations, each movement has its own guiding aesthetic. The Allemande is this delicious flowing dance-y yet lyrical movement rich with small phrase-structures and I transposed it an octave down from the original to take advantage of the guitar’s timbres. The Corrente is jaunty and biting with rhythms that really ask you to push them as far as they can go to build tall, steep, rigid-stacking structures. The Sarabande to me is maybe too beautiful…requires composure and patience to deliver a performance with real fidelity to the heart and mind. The Giga to be honest is not very interesting other than the fact that my transcription is so intricate and the final climax has some danceable compound melody structures. Last, the luminous, famous Chaconne with its underlying cyclical ground bass (repeating 64 times) represents one of the greatest interpretive challenges in all of western music, and I present my performance with humility, reverence and good humor for these darker days.