Tutorial and tab of Air On The G-String as performed by Per-Olov Kindgren and published on YT in 2007. Standard tuning.
Harmonic Analysis
Burt Bacharach himself requested Tommy Emmanuel to arrange “(They Long to Be) Close To You”. Tommy’s performance was first published on youtube in 2011 (the one transcribed here) and then added to the album “This Guitar’s In Love With You”, a collection of Burt Bacharach’s greatest songs arranged by great guitarists.
Tommy Emmanuel’s arrangement of “(They Long to Be) Close to You” is a superb example of his fingerstyle, which combines melody, harmony, and rhythm into a single guitar performance. Burt Bacharach’s original song is known for its sophisticated harmonic progressions and jazz-infused harmonies, which Emmanuel masterfully reworks for solo guitar. Here’s a harmonic analysis based on my transcription:
Key and Tonality
The piece is written in the key of B Major, as indicated by the key signature with one sharp. However, the sheet music specifies “Capo. fret 2”, meaning the actual sounding key will be C# Major. This is a common technique for guitarists to utilize more open and resonant chord voicings in a different key than the written one. For simplicity, we will refer directly to the key of B major as the perceived key.
Part 1 (Intro):
- Section A (Measures 1-4): The introduction opens by establishing a sense of spaciousness and sophistication, typical of Bacharach’s style. It begins with a tonic chord, Bmaj9, with the added ninth immediately giving the song a jazzy flavor. This sound is maintained for two measures. A diminished chord then creates tension and a sense of movement, setting the stage for the final minor chord of the section. This last chord, while an Em (from the G fingering, sounding Em), functions as an interesting IVm in the key of B (which would be E major) or as a suspended dominant, leaving a feeling of openness.
Part 2:
- Section B (Measures 5-8): This section introduces a fluid and melodic harmonic progression. It starts with the dominant (F#maj7) resolving to the tonic (Bmaj7). This is followed by a progression to the IV chord (Emaj7), and then concludes on the minor VI chord (G#m7). This progression creates a sense of stability and harmonic movement typical of ballads.
- Section C (Measures 9-12): Section C introduces a classic II-V-I progression. It starts from the minor II chord (C#m7) , followed by a dominant chord (F#7sus4 resolving to F#7) , which creates tension and pushes towards the tonic (Bmaj7). The section concludes with the minor VI chord (G#m7), maintaining harmonic continuity and preparing for the repeat.
- Repetition of Sections B and C (Measures 13-20): Sections B and C are repeated, reinforcing the song’s main melodic and harmonic structure and familiarizing the listener with the primary themes.
- Section D (Measures 21-28): This part introduces an interesting, almost modal or bluesy variation. It starts with the tonic (Bmaj7) and the IV chord (Emaj7). However, then chords like Am7 and D7 (if the fingerings were G and C with capo) are inserted. These chords, borrowed from other keys or used as extended secondary dominants, create a moment of greater harmonic complexity and tension, leading the ear in a slightly different direction before returning to the more familiar progressions. The repetition of this sequence emphasizes its transitional effect.
Part 3:
- Succession B C D (Measures 29-44): This section reiterates the same progressions as sections B, C, and D, consolidating the song’s main harmonic and melodic themes. The repetition serves to imprint the structure and musical feelings associated with each part. Section D, in particular, continues to offer its harmonic “deviation,” keeping interest and dynamic alive.
Part 4:
- Succession B C C (Misure 45-56): Sections B and C are presented again, followed by a second repetition of Section C. This further reinforces the fundamental progressions (I-V-IV-VI and II-V-I) and prepares the listener for the final phase of the song. The emphasis on Section C, with its II-V-I movement, solidifies the sense of resolution and stability within the key.
Part 5 (Outro):
- Succession E E E (Measures 57-68): The outro repeats Section E three times in sequence, which is harmonically identical to Section B. This creates a sense of closure and familiarity with the V-I-IV-VI progression. The first two repetitions (Measures 57-64) follow this standard progression, gradually leading the song towards a resolution. The third repetition (Measures 65-68) introduces a small but significant variation in the final chord. Instead of resolving to the minor VI chord (G#m7), it moves to a Gmaj7 chord (real, if the fingering is Fmaj7 with capo). This chord, being non-diatonic to the B major key, creates an effect of suspension—an unexpected “coloring” that avoids an overly conventional ending, typical of many jazz arrangements and Tommy Emmanuel’s own style, leaving a sense of elegance and sophistication at the song’s conclusion.
About “Air On The G-String”
“Air on the G String” is one of Johann Sebastian Bach’s most renowned and instantly recognizable pieces. Although widely known by this title, it’s actually the second movement (the “Air”) from his Orchestral Suite No. 3 in D major, BWV 1068.
A Brief History of the Piece
Bach composed his Orchestral Suite No. 3 in D major in the first half of the 18th century, likely around 1730-1731. The original “Air” is in D major and features a serene, contemplative melody, with the upper string lines weaving over a rhythmic and prominent bass. The full suite is scored for three trumpets, timpani, two oboes, strings (two violin parts and one viola part), and basso continuo. The “Air” movement itself, however, uses only the strings and continuo, allowing its elegant melody to shine through.
The popular title “Air on the G String” comes from an arrangement made in 1871 by German violinist August Wilhelmj. Wilhelmj transposed the piece from its original key of D major down to C major and rewrote the first violin part so that it could be played entirely on the lowest string of the violin—the G string. Above the solo violin part, Wilhelmj wrote “auf der G-Saite” (on the G-string), inadvertently giving the piece its enduring nickname.
Wilhelmj’s arrangement greatly boosted the piece’s popularity, making it accessible to a broader audience and paving the way for countless transcriptions for various instruments and ensembles. While his specific arrangement is rarely performed today, his title has stuck, even for versions that don’t involve a G string.
Interpretations by Various Artists
“Air on the G String” has been interpreted by a wide array of artists across different musical genres. Here are some notable examples:
- Orchestral and Classical:
- Leopold Stokowski: Known for his lush orchestral arrangements, Stokowski created a very popular version, often giving the melody to the cellos and staying closer to Bach’s original texture than Wilhelmj’s did.
- Sir Henry Wood: Regularly featured Wilhelmj’s arrangement in the London Proms from 1905 onwards and made his own orchestral recording in the early 1930s.
- Period Instrument Ensembles: Many modern baroque orchestras strive to perform Bach’s original composition on historically accurate instruments, aiming for a sound and tempo closer to Bach’s time.
- 2Cellos: The dynamic cello duo has delivered a popular, expressive interpretation.
- HAUSER: The cellist also has a widely viewed interpretation.
“Air on the G String” by The Berlin Philharmonic Orchestra
- Other Instrumentation and Genres:
- Jacques Loussier Trio: Famous for their jazz interpretations of Bach, their version of the “Air” is a classic in the jazz realm.
- Michala Petri and Lars Hannibal: An arrangement for recorder and guitar, which, while reducing some inner voices, beautifully maintains the solo line and bass.
- The piece has been extensively used in film soundtracks, TV series, and commercials, further cementing its place in popular culture.
“Air on the G String” by Jacques Loussier Trio
Solo Guitar Interpretations
“Air on the G String” is particularly cherished and frequently performed by classical guitarists. The instrument’s ability to convey the piece’s subtle nuances and warmth makes it an excellent fit. It is often transposed to D or C major for easier playability and to maintain tonal balance. Here are some prominent classical guitarists who have interpreted the piece:
- John Williams: His performance is admired for its precision and tonal beauty, featuring clean phrasing and expressive dynamics.
- Andrés Segovia: The legendary guitarist imbued the piece with noble warmth and elegance, utilizing tone color and rubato with great finesse.
- Julian Bream: Bream’s interpretation emphasizes the emotional depth and contemplative nature of the composition.
- David Russell: Renowned for his impeccable technique and expressive tone production, Russell offers interpretations that delve into the profound beauty of the music.
- Per Olov Kindgren: Many solo guitar arrangements are influenced by his version, often serving as a basis for online tutorials and transcriptions.
“Air on the G String” remains a timeless masterpiece that continues to resonate with listeners worldwide, regardless of the instrument or genre in which it is performed.
“Air on the G String” by Yngwie Malmsteen
“Air on the G String” by Dominic Miller
“Air on the G String” by David Russel
About Johann Sebastian Bach
Johann Sebastian Bach (1685-1750) stands as a monumental figure in the history of music, universally recognized as one of the greatest composers of all time. His work profoundly shaped Western music and is considered the pinnacle of the Baroque period.
Born in Eisenach, Thuringia (present-day Germany), Bach came from a long line of musicians, which provided him with an early and thorough musical education. His career primarily unfolded in various German cities, where he held prestigious roles as an organist, Kapellmeister (choirmaster), and music director. Among his most significant appointments were those at the court of Köthen and, notably, as Thomaskantor in Leipzig, where he spent the last 27 years of his life.
His musical output is vast and diverse, encompassing virtually every musical genre of the era, with the exception of opera. His compositions are characterized by virtuosic contrapuntal complexity, profound emotional expressiveness, and unparalleled technical mastery. Bach excelled in the art of the fugue and counterpoint, weaving intricate melodic lines that intertwine into rich and surprising harmonies.
Among his most famous works are:
- The Passions: The St. Matthew Passion and the St. John Passion are monumental sacred oratorios that narrate the story of Christ’s crucifixion, characterized by unparalleled dramatic and spiritual depth.
- The Cantatas: He composed over 200 sacred and secular cantatas, often written to be performed during Sunday church services.
- Keyboard Works: The Well-Tempered Clavier, a collection of preludes and fugues in all major and minor keys, is considered a cornerstone in the study of music theory and performance technique. The Goldberg Variations are another keyboard masterpiece, a work of extraordinary complexity and beauty.
- The Cello Suites: A cycle of six suites that represent one of the pinnacles of cello literature, exploring the expressive possibilities of the instrument with unparalleled inventiveness.
- The Brandenburg Concertos: Six concertos that showcase his mastery of orchestration and the interplay between solo instruments and orchestra.
- The Mass in B Minor: A work of colossal proportions, one of the most ambitious and complex masses ever composed, combining elements of Catholic and Lutheran traditions.
Despite his immense influence on music, Bach did not enjoy universal fame during his lifetime, and many of his works were “rediscovered” only in the 19th century, particularly thanks to the efforts of Felix Mendelssohn. Since then, his music has been ceaselessly studied, performed, and admired, influencing generations of composers and musicians.
Johann Sebastian Bach is a composer whose music transcends time and space, speaking to the human soul with a beauty, depth, and mastery that remain unsurpassed. His legacy is a pillar of Western culture and an eternal inspiration for anyone who approaches the world of music.
Glenn Gould talks about J. S. Bach (1966)
Bach’s Compositions for Lute and Famous Guitar Transcriptions
While Johann Sebastian Bach never composed specifically for the modern guitar—an instrument that had not yet taken its current form or widespread use at the time—he did write a series of magnificent works for the Baroque lute, a plucked string instrument with similarities to the guitar. These lute compositions, along with pieces written for other instruments like the violin and cello, have become an integral part of the classical guitar repertoire thanks to countless successful transcriptions.
Bach’s original works for lute (or Lautenwerk, a keyboard instrument that imitated the sound of the lute) include:
- Suite in G minor BWV 995: One of the best-known lute suites, often also performed on the cello.
- Suite in E minor BWV 996: Contains the famous “Bourrée,” a very popular piece often studied by guitarists.
- Suite in C minor BWV 997: Another significant suite for lute.
- Prelude, Fugue, and Allegro in E-flat major BWV 998: A work of great virtuosity and complexity.
- Prelude in C minor BWV 999: A brief but intense prelude.
- Fugue in G minor BWV 1000: Often performed together with the preceding prelude.
- Suite in E major BWV 1006a: A transcription of the Partita for Solo Violin No. 3 BWV 1006, particularly beloved for its brilliance and joyfulness, with movements like the “Prelude,” “Gavotte en Rondeau,” and “Gigue.”
These compositions adapt beautifully to the classical guitar, leveraging its polyphonic capabilities and the richness of its timbre. Many world-renowned guitarists have recorded and performed these works, helping to make them widely recognized in the guitar repertoire.
In addition to the lute works, a vast amount of Bach’s music has been successfully transcribed for the guitar. Among the most famous and frequently performed transcriptions by guitarists are:
- The Cello Suites (BWV 1007-1012): Particularly the “Prelude” from Suite No. 1 in G major (often transposed to D major for guitar), and the various Sarabandes, Gavottes, and Minuets from the other suites. These works are milestones in the cello repertoire and have become equally iconic for the guitar.
- The Sonatas and Partitas for Solo Violin (BWV 1001-1006): Many movements, including the monumental “Chaconne” from Partita No. 2 in D minor (BWV 1004), have been adapted for the guitar, representing a technical and interpretative challenge of the highest level.
- “Air on the G String” (from Orchestral Suite No. 3 BWV 1068): One of Bach’s most recognizable and beloved pieces, it has been the subject of countless transcriptions and arrangements for guitar.
- Preludes from The Well-Tempered Clavier (BWV 846-893): Especially the Prelude in C major (BWV 846), famous for its simplicity and purity.
- Minuets from Anna Magdalena Bach’s Notebook: Simpler yet charming pieces, often used as teaching material for beginner guitarists.
The “rediscovery” of Bach in the 19th century also led to a growing interest in performing his works on modern instruments. Guitarists like Andrés Segovia played a pivotal role in popularizing Bach’s transcriptions, demonstrating how the guitar was an instrument perfectly capable of rendering the depth and complexity of the German composer’s music.
Today, Bach’s compositions, both his original works for lute and the numerous transcriptions, constitute an essential and irreplaceable part of the classical guitar repertoire, attesting to the universal beauty and adaptability of his music.
Pepe Romero discusses J.S. Bach at New York Guitar Festival (2014)
About Per-Olov Kindgren
Per-Olov Kindgren is a renowned Swedish classical guitarist, composer, and music teacher, born in Bogotá, Colombia, in 1956. He’s widely recognized for his skill and versatility, masterfully performing everything from Bach compositions to Beatles tunes.
Musical Style and Career
His style is primarily classical, but it incorporates influences from jazz, blues, and easy listening. Kindgren himself describes his compositions as “songs without words,” emphasizing their melodic and evocative nature. Beyond his classical repertoire, he’s known for his interpretations of artists like The Beatles and Metallica, showcasing an uncommon openness and adaptability in the classical guitar world.
Kindgren studied classical guitar for seven years at the Royal Danish Academy of Music, graduating in 1983. In 1979, he formed the Nordic Guitar Quartet and has since composed numerous pieces for guitar, including works for solo guitar, ensembles, and orchestras.
Online Presence and Impact
Per-Olov Kindgren has gained significant popularity online, particularly through his YouTube channel, where he shares his performances and compositions. His music is cherished for its warm expressiveness and attention to detail, rather than a mere display of virtuosity. Many admirers consider him a source of inspiration for their own guitar journeys.
Works and Compositions
Many of his original compositions are available as sheet music and tablatures on his website. Some titles include “After Silence,” a collection of 23 solo guitar pieces, and other works like “I Dream of You,” “Solitude,” and “If You Were Here.” He has also created arrangements of famous pop songs, such as Eric Clapton’s “Tears in Heaven” and The Beatles’ “And I Love Her.”
His dedication to sound and melody makes him a deeply appreciated musician, capable of moving listeners’ emotions with his music.


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