Premier Guitar features affiliate links to help support our content. We may earn a commission on any affiliated purchases.

Bach Partita No. 3, Part 3

The third part of Bach''s Partita No. 3 has a beautiful harmony and some very challenging spots.

Welcome back! Hopefully you are enjoying the J.S. Bach Partita No. 3 and have been doing well with part 1 and part 2 so far. Ready to move on to part 3? I love the next section of this piece, the harmony is beautiful throughout this whole section and throughout the whole tune. If you analyze this, it would be a great harmony and theory lesson as well as a technical piece that sounds great.

Let me offer a brief explanation of this section, and then you can dig in.

Bar 32 kicks off with a E7th arpeggio (E, G#, B, D) and then goes into the theme that continues from part 2, that modulates brilliantly through the first part of this section. There are some challenging spots for the right hand in this section, which is great for picking and your technique.

You will notice some wide interval skips beginning at bar 43, which are chords that are arpeggiated. It would be a good idea to analyze the progression, the first chord is a G# dom7th (G#, B#, D#, F#) to a E6th/G# with no 5th (E, G#, C#). The chord at Bar 47 is a E6th with no 5th with a added G/G# (E, G, G#, C#). Yikes! You can also think of this as a C#dim with a added natural 5/G#, you can think of it other ways as well.

Then it moves to a G#sus4 (G#, C#, D#) in bar 49 and then back to the G#7th and then it resolves into C#minor. I gave you some suggested fingerings, feel free to experiment and be sure to take this slow.

Click here to download audio sample of this lesson...

That's it for this month's lesson! Be sure to visit me online at

The Return of Johnny Cash—John Carter Cash Interview
The Return of Johnny Cash—John Carter Cash Interview on Johnny’s New Songwriter Album

The Man in Black returns with the unreleased Songwriter album. John Carter Cash tells us the story.

Read MoreShow less

This 1968 Epiphone Al Caiola Standard came stocked with P-90s and a 5-switch Tone Expressor system.

Photo courtesy of Guitar Point (

Photo courtesy of Guitar Point (

The session ace’s signature model offers a wide range of tones at the flip of a switch … or five.

Hello and welcome back to Mod Garage. Not long ago, I came home late from a band rehearsal, still overly excited about the new songs we played. I got myself a coffee (I know, it's a crazy procedure to calm down) and turned on the TV. I ended up with an old Bonanza episode from the ’60s, the mother of all Western TV series. Hearing the theme after a long time instantly reminded me of the great Al Caiola, who is the prolific session guitarist who plays on the song. With him in mind, I looked up the ’60s Epiphone “Al Caiola” model and decided I want to talk about the Epiphone/Gibson Tone Expressor system that was used in this guitar.

Read MoreShow less

Slinky playability, snappy sounds, and elegant, comfortable proportions distinguish an affordable 0-bodied flattop.

Satisfying, slinky playability. Nice string-to-string balance. Beautiful, comfortable proportions.

Cocobolo-patterned HPL back looks plasticky.


Martin 0-X2E


Embracing the idea of an acoustic flattop made with anything other than wood can, understandably, be tricky stuff. There’s a lot of precedent for excellent-sounding acoustics built with alternative materials, though. Carbon-fiber flattops can sound amazing and I’ve been hooked by the sound and playability of Ovation and Adamas instruments many times.

Read MoreShow less

The GibsonES Supreme Collection (L-R) in Seafoam Green, Bourbon Burst, and Blueberry Burst.

The new Gibson ES Supreme offers AAA-grade figured maple tops, Super Split Block inlays, push/pull volume controls, and Burstbucker pickups.

Read MoreShow less