For the print version, look for the book on amazon in your country or on lulu.com
"A 'Pop' musician playing and studying classical music?". Have you ever been asked this question? I have, often. I think it has to do with the fact that it is not entirely conceivable to love both compositions and works from four or five centuries ago and those of today. In this book you will therefore find, for the most part, inventions for two voices, sonatas, suites, partitas, etc. The bulk of the material comes from my absolute favourite composer, Bach, whom I personally consider the most important to analyse and study. I am well aware that on the internet you can find many of his works already transcribed for electric bass, and there are many performances of various pieces on the net, but apart from a few exceptions, I have always seen these things as forms of protagonism (a suite at crazy speed conveys nothing to me) or just for the sole purpose of improving one's technique. Of course, practising playing this kind of music is all very well, but my intention is to try to give you ideas on how to make those works enjoyable even when played on a 'simple' 4-string bass. I have decided to include tablatures (if you want the version without, just email me at igorsardi@gmail.com), to make it easier for those with less music reading skills. Take care of every single detail of every single note, phrase, bar, song. The dynamics, the slows, the embellishments, the progression, the intention. Try to harmonically and melodically analyse the various compositions, this will open up a whole new world to you. "How come we are in C major and on the third bar there is a G sharp?". Ask yourself these questions and try to find an answer, I will only give you hints. In this way alone, I have managed over the years to really understand (or rather, to begin to understand) how musical harmony, counterpoint, tonality, modal, composition and so many other things that, unfortunately, with the dozens of books on modern harmony, I had not been able to understand. For each transcription, you will find attached the relevant audio file (whole, and divided into several tracks for multi-voice works).
Legend and explanation of various symbols and embellishments 
Chapter I: The Air
Air on the fourth string 
Chapter II: The Suite
Cello Suite No.1 in G Major (Bach), full 
Cello Suite No.2 in D minor (Bach), full 
Chapter III: Analysis Clavicembalo Ben Temperato 
Clavicembalo Ben Temperato, Prelude in C Major (Bach)
Chapter IV: Two-voice inventions 
Invention No.1 in C Major (Bach) 
Invention No.2 in C minor (Bach)
Invention No.3 in D Major (Bach) 
Invention No.4 in D minor (Bach) 
Invention No.5 in E♭ Major (Bach) 
Invention No.6 in E Major (Bach)  
Chapter VI: The March 
March in D Major (Bach) 
Wedding March (Wagner)
Chapter VII: The Minuet 
Minuet in B♭ Major (Bach)  
Minuet in F Major (Bach) 
Minuet in G Major (Bach) 
Minuet in G minor (Bach) 
Chapter VIII: The Polonaise 
Polonaise in B♭ Major (Bach) 
Polonaise in F Major (Bach) 
Chapter IX: The Sonata 
Sonata No.3 in C Major (Bach) 
Chapter X: Study of famous melodies and compositions  
Wiegenlied (Lullaby), Brahms
Joy To The World, Handel
Chromatic Fantasy, Jaco Pastorius  
Symphony No. 9 (Main theme), Beethoven