Indeed, this file is the third draft of 'File:English Suite No. 3 in G minor (Modern piano) First Draft for Education.ogg', for the educational purpose of Wikiversity . Why did I submit another file to hold this piece? 
<p><b>Third draft:</b>
In this edition, Baroque Ornamentations have been totally modified (MO - Modified Ornamentations) according to my fruits of English Suites' Research - 'the session: In-systematic Analysis' for exploring Sir Bach's willing of internal-unified universal reasonability reflected from his style of ornamentations. This change made my hands being in a very unstable situation, which was projected from its sound effects. I needed to fix them. However, somehow, my neo-classicism and neo-expressionism have been in certain degree made out. Inside, implicit emotional lines could be tasted with rich colours. To some degree, we can say neo-classicism and neo-expressionism were also 'you are standing here, and watching the golden fashion there, with impressions summarized for current willing' . Causing this emotional complex also summarizing my impressions 'when standing here, and watching Sir Bach's 'there standing' to see a great England (or UK) and its peoples' fashion in his own impressions', it's like to watch a Symbolized Mirror in my dream projecting the life of a long and unknown Miss. But, we were all not there... still.
Oh, please forget it... hopefully, this new productivity would improve the tempo of this edition (3.00 minutes) and open a new door of piano training - in this file, and with a new start. (I have also added piano's pedalling in sentence breathes)
In addition, in this period, I knew how hard Martha Goldstein (Wikipedia introduction: <a class="external free" href="https://en.wikipedia.org/wiki/Martha_Goldstein">https://en.wikipedia.org/wiki/Martha_Goldstein</a>) practiced it in harpsichord with a very fast tempo, fluent fingering and colourful musicality. I would like to show my respects to her contributions in Wikipedia. In the future, I will modify this version until a stable look.
Another happy thing in this period is: one of my students' ornamentation, after taught in  this work, was even better than me. I just said the ornamentation...
,'Thanks to all' .
<b>Fourth draft-Faster version in MO:</b>
Mother said to me: 'Jason, compared with last one, this version was too fast and almost wasn't in a good look (situation)' I answered: 'It may... but what I wanted to express was a deep enthusiasm in neo-expressionism and neo-classicism... you knew, some emotions of Baroque composers have been hidden and down-pressed for many years... they wanna a volcanic eruption liked... ; and you can feel them behind a piece of music itself by using your heart '. Then, what replay I got was: 'Oh, poorly crazy Jason, my son...' Another reason was: after a short review of the film 'Pride &amp; Prejudice', especially 'Dance Suites' and music (though you may say those pieces of music were from romanticism, rather than in Baroque era), I can visibly touch some traditions of English 'Dance Suites' in a ballroom and know what they would be seen like - 'also from commons but with royal popularity, hospitable and emotional, expressive and flexible, but in very good controllable manners(somehow in a little bit conservationist and severe paces, but lovely), with a strong rhythm for social and joyful senses...'. I still take a stance that in Sir Bach's minds, English Suites wasn't for a particular noble man or woman, but as a generalized 'character' standing on the stage of history, and for English music traditions and common people's life fashion. 
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Piano kids, all children and youngers, it's better follow the speed of third version but carrying a joyful mood and much stronger hands-techniques, like what in the 'fourth version'.
<a href="//commons.wikimedia.org/wiki/User:Jason_M._C.,_Han" title="User:Jason M. C., Han">Jason M. C., Han</a>
CC BY-SA 4.0
<span class="int-own-work" lang="en">Own work</span>