I made an arrangement of this for classical guitar. It’s been almost 2 decades ago though, and like @tommo I have completely forgotten how to play it. I’ll have to dig it up and see what state it’s in. I feel like I omitted fingerings and string instructions (and I did not use tab ) so learning it again would be a challenge.
It’s a shame because I took a lot of care to sustain all the ‘2nd’ intervals to create a more interesting harmony. For example, what you posted, in the first measure all the high B’s and A’s are played on different strings, so we hear that lovely ‘2nd’ ring together. My arrangement featured this throughout. By contrast, the second measure in what you posted has the high C’s and B’s played on the same string, so they never ring out.
It’s one of the rare occasions where a solo classical guitar piece (transcribed from the instrument it was originally written for) could actually do more justice to the composition than the original. Harmonies that were implied by Bach on the cello could be fully realized when played on the guitar. Typically the opposite happens, particularly when the original piece was composed for piano lol! The guitar transcriptions require so many compromises that we miss out on important bits.
Sorry to derail your thread @kgk. Though I don’t feel so bad because you derailed it yourself by mentioning ‘violin’ and ‘shredding’ in the title and then immediately moving to a very chilled out, non-shred piece that was composed for the cello and not the violin
It’s a very cool idea though. Have you done this with any ‘shred’ worthy pieces for the violin, or is that still in the works?