C Major Back Form - Guitar Tabs

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Tabs for Song : 
BPM : 200

Song lyrics here 
E|--------------------------------------5--7--8--8--7--5--------------------------------------
B|-----------------------------5--6--8--------------------8--6--5-----------------------------
G|--------------------4--5--7--------------------------------------7--5--4--------------------
D|--------------5--7--------------------------------------------------------7--5--------------
A|-----5--7--8--------------------------------------------------------------------8--7--5-----
E|--8--------------------------------------------------------------------------------------8--

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About Toccata, Adagio and Fugue in C major, BWV 564 : Toccata, Adagio, Fugue in C major (BWV 564) is an organ composition by Johann Sebastian Bach . The autograph score does not survive . The earliest manuscript copies were probably made in 1719–1727 . Bach's extended passaggio which opens BWV 564 may have been inspired by Buttstett's preludes . The work begins with an updated and extended form of the old prelude-type, manual passaggaggio followed by a pedal solo . The second movement is again in two sections, one marked Adagio and another marked Grave . The insertion of a middle slow movement in an organ work was unusual for Bach . Toccata, Adagio and Fugue in C major, BWV 564 has a significant contribution from artist(s) Johann Sebastian Bach,Bach. The track has an affiliation to the band(s) - Toccata, Adagio.

About Johann Sebastian Bach - Johann Sebastian Bach is considered one of the greatest composers of all time . He is known for instrumental compositions such as the Brandenburg Concertos and Goldberg Variations . Since the 19th-century Bach Revival he has been regarded as one of Bach's most influential composers . Johann Sebastian was orphaned at age 10 . He lived with his eldest brother Johann Christoph in Lüneburg, Germany . He continued his musical formation in Lneburg . Bach's family already counted several composers . Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation . He often adopted Lutheran hymns, not only in his larger vocal works, but for instance also in his four-part chorales and his sacred songs .

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