With the exception of the No. 2 Prelude in A Minor, we have followed the original notation for these pieces closely. This second Prelude, a Vivace utilizing primarily 32nd notes, was fairly crowded in the original handwritten manuscript. By changing the direction of the highest voice, flat-beaming the 32nd note figures, and relocating some 32nd rests to the center of the staff, we were able to create a less cluttered score. With the exception of a few details that were in the original score there are no fingerings for the right or left hands. Working through these pieces develops both technique and velocity, while giving you insights into Giuliani's writing style and the harmonic progressions of classical era works.
Classical Guitarists fills a void in the special world of the classical guitar. Although this realm is inhabited by world-class musicians, much of what they think and feel has never been captured in print. The interviewees, including Julian Bream, John Williams, Sharon Isbin, Eliot Fisk, David Starobin and David Tanenbaum are a select group at the peak of their prowess who speak openly and thoughtfully about their opportunities, accomplishments, and lessons learned. Each has made important contributions from establishing significant academic programs to broadening the audience for the classical guitar. The author shares his reviews of their most important recordings and New York City concerts during the 1990s, as well as discographies of their recordings. There are also interviews with Harold Shaw, the most prominent artist manager in the history of the classical guitar and several of today's most important composers for the guitar, including Pulitzer Prize winners George Crumb and Aaron Jay Kernis. An introductory chapter provides an historical perspective on classical guitar and a postscript explains how to create a basic repertoire of recordings.
This book is a collection of studies and exercises designed to help the student develop right-hand technique. the first sections deal with the basic skills of rest and free stroke, finger alternation, and arpeggios; developing flexibility and efficiency in right-hand movements. Later sections deal with the more advanced techniques of timbre production, pizzicato, right-hand harmonics, and tremolo. Most of the study pieces have been selected from the great body of classical guitar music. A few have been adapted from other sources such as keyboard and cello.
The Classical Guitar Companion is an anthology of guitar exercises, etudes, and pieces organized according to technique or musical texture. Expert author Christopher Berg, a veteran guitar instructor, bring together perspectives as an active performing artist and as a teacher who has trained hundreds of guitarists to encourages students to work based on their own strengths and weaknesses. The book opens with "Learning the Fingerboard", a large section devoted to establishing a thorough knowledge of the guitar fingerboard through a systematic and rigorous study of scales and fingerboard harmony, which will lead to ease and fluency in sight-reading and will reduce the time needed to learn a repertoire piece. The following sections "Scales and Scale Studies", "Repeated Notes", "Slurs", "Harmony", "Arpeggios", "Melody with Accompaniment", "Counterpoint" and "Florid or Virtuoso Studies" each contain text and examples that connect material to fingering practices of composers and practice strategies to open a path to interpretive freedom in performance. The Classical Guitar Companion will serve as a helpful companion for many years of guitar study.
In compiling this landmark sourcebook, Finnish guitarists Hannu Annala and Heiki Matlik consulted more than 70 music texts as well as dozens of composer resumes acquired from the musical information centers of several countries. During the writing process, which lasted for more than three years, they received additional information from many modern composers, including Leo Brouwer and Reginald Smith Brindle among others. In addition, several internationally renowned performing guitarists provided valuable information; these include Magnus Andersson (Sweden), Remi Boucher (Canada), Margarita Escarpa (Spain), Aleksander Frauchi (Russia) and David Tanenbaum (USA) among others.The authors' aim was to write a well-structured book with separate chapters for each instrument, such as the Renaissance and Baroque guitar, the Renaissance and Baroque lute, the vihuela, etc. This unique structure enables the reader to easily discover which composers wrote for a certain instrument during any given period.In addition to the composers one would expect to find in such a comprehensive listing, the book documents several historical and modern composers for whom little previous information has been available. the book's list of more than 400 guitar and lute concertos dating from the Baroque era to the present day is a totally unprecedented.Short introductions regarding guitar and lute-like instruments as well as their basic histories are provided at the beginning of the book. the authors hope that the Handbook of Guitar and Lute Composers will serve as a practical guide for both amateurs and professionals, encouraging further study of the history of these instruments and expanding the repertoire heard on today's concert stage.
During a tropical sunset in April of 2007, on the island of Long Boat Key in Florida, I attended a guitar recital in a intimate setting so close to the sea, one could hear the waves in the background. Captivated and inspired, by both the setting and the performance, I wrote "Serenata Del Mar" which is dedicated to the exceptionally gifted guitarist Ana Vidovic. Rex Willis - Bradenton, Florida - 2008
