Matching Items (14)

Filtering by

Clear all filters

Stravinsky for Guitar Quartet

Description

This project is an arrangement of three movements from Igor Stravinsky's most famous and beloved ballets for performance by classical guitar quartet. The movements arranged were "Augurs of Spring" from

This project is an arrangement of three movements from Igor Stravinsky's most famous and beloved ballets for performance by classical guitar quartet. The movements arranged were "Augurs of Spring" from The Rite of Spring (1913), "Russian Dance" from Petrouchka (1911), and "Infernal Dance of All Kastchei's Subjects" from The Firebird (1910). Because the appeal of this music is largely based on the exciting rhythms and interesting harmonies, these works translate from full orchestra to guitar quite well. The arrangement process involved studying both the orchestral scores and Stravinsky's own piano reductions. The sheet music for these arrangements is accompanied by a written document which explains arrangement decisions and provides performance notes. Select movements from Stravinsky for Guitar Quartet were performed at concerts in Tempe, Glendale, Flagstaff, and Tucson throughout April 2016. The suite was performed in its entirety in the Organ Hall at the ASU School of Music on April 26th 2016 at the Guitar Ensembles Concert as well as on April 27th 2016 at Katie Sample's senior recital. A recording of the April 27th performance accompanies the sheet music and arrangement/performance notes.

Contributors

Created

Date Created
  • 2016-05

Bryan Johanson's 13 ways of looking at 12 strings for two guitars: recording and critical investigation

Description

The purpose of this project is to introduce Bryan Johanson's composition for two guitars, 13 Ways of Looking at 12 Strings, and present an authoritative recording appropriate for publishing. This

The purpose of this project is to introduce Bryan Johanson's composition for two guitars, 13 Ways of Looking at 12 Strings, and present an authoritative recording appropriate for publishing. This fifty-minute piece represents a fascinating suite in thirteen movements. The author of this project performed both guitar parts, recorded them separately in a music studio, then mixed them together into one recording. This document focuses on the critical investigation and description of the piece with a brief theoretical analysis, a discussion of performance difficulties, and guitar preparation. The composer approved the use and the scope of this project. Bryan Johanson is one of the leading contemporary composers for the guitar today. 13 Ways of Looking at 12 Strings is a unique guitar dictionary that takes us from Bach to Hendrix and highlights the unique capabilities of the instrument. It utilizes encoded messages, glass slides, metal mutes, explosive "riffs," rhythmic propulsion, improvisation, percussion, fugual writing, and much more. It has a great potential to make the classical guitar attractive to wider audiences, not limited only to guitarists and musicians. The main resources employed in researching this document are existing recordings of Johanson's other compositions and documentation of his personal views and ideas. This written document uses the composer's prolific and eclectic compositional output in order to draw conclusions and trace motifs. This project is a significant and original contribution in expanding the guitar's repertoire, and it uniquely contributes to bringing forth a significant piece of music.

Contributors

Agent

Created

Date Created
  • 2011

Five keyboard sonatas: R. 48, 50, 60, 106 and 114 by Antonio Soler, arranged for two guitars

Description

Arrangements of music from other instruments have always played a key role in expanding the guitar repertoire. This project investigates the life and work of eighteenth-century composer Antonio Soler (1729-1783),

Arrangements of music from other instruments have always played a key role in expanding the guitar repertoire. This project investigates the life and work of eighteenth-century composer Antonio Soler (1729-1783), specifically his sonatas for solo keyboard. This study carries out a formal inquiry on Soler's influences, including a background of Soler's life and training, his connection with Domenico Scarlatti (1685-1757), and an overview of the eighteenth-century sonata in Spain. Timbres, articulations, tessitura, and other aspects of Spanish folk music are discussed as related to Soler's composition style. Five sonatas are analyzed in connection to Spanish folk music, and part of this study's focus was arranging the sonatas for two guitars: R. 48, 50, 60, 106 and 114. An overview of the current arrangements of Soler's sonatas for guitar is included in Appendix A.

Contributors

Agent

Created

Date Created
  • 2014

152405-Thumbnail Image.png

Serenade in D major by Johannes Brahms: aranged for solo guitar

Description

The German pianist and composer Johannes Brahms (1883-1897) wrote more than 122 works for a wide variety of ensembles and genres. Despite this remarkable productivity, and his widely heralded talent

The German pianist and composer Johannes Brahms (1883-1897) wrote more than 122 works for a wide variety of ensembles and genres. Despite this remarkable productivity, and his widely heralded talent for innovation and technique as a composer, few of his works have been arranged for solo guitar, and these have focused primarily on his simpler, more melodic works. Conventional wisdom is that his music is "too dense" to be played on the guitar. As a result, there are no arrangements of orchestral works by Brahms in the standard repertoire for the guitar. In arranging Brahms's Serenade in D Major, movt. 1 for the guitar, I provide a counter argument that not all of Brahms's orchestral music is too dense all of the time. In Part I, I provide a brief overview of the history of, and sources for, the Serenade. Part II describes a step-by-step guide through the process of arranging orchestral repertoire for the solo guitar. Part III is an examination of the editing process that utilizes examples from the guitar arrangement of the Serenade in order to illustrate the various techniques and considerations that are part of the editing process. Part IV is a performance edition of the arrangement. In summary, the present arrangement of Brahms's Serenade, op.11 is the beginning of a conversation about why the "guitar world" should be incorporating the music of Brahms into the standard repertoire. The lessons learned, and the technical challenges discovered, should help inform future arrangers and guitar performers for additional compositions by Brahms.

Contributors

Agent

Created

Date Created
  • 2013

A pedagogical and performance edition of J. S. Bach's Violin sonata I in G minor, BWV 1001, transcribed for guitar: transcription, analysis, performance guide, pedagogical practice guide, and recording

Description

Johann Sebastian Bach's violin Sonata I in G minor, BWV 1001, is a significant and widely performed work that exists in numerous editions and also as transcriptions or arrangements for

Johann Sebastian Bach's violin Sonata I in G minor, BWV 1001, is a significant and widely performed work that exists in numerous editions and also as transcriptions or arrangements for various other instruments, including the guitar. A pedagogical guitar performance edition of this sonata, however, has yet to be published. Therefore, the core of my project is a transcription and pedagogical edition of this work for guitar. The transcription is supported by an analysis, performance and pedagogical practice guide, and a recording. The analysis and graphing of phrase structures illuminate Bach's use of compositional devices and the architectural function of the work's harmonic gravities. They are intended to guide performers in their assessment of the surface ornamentation and suggest a reduction toward its fundamental purpose. The end result is a clarification of the piece through the organization of phrase structures and the prioritization of harmonic tensions and resolutions. The compiling process is intended to assist the performer in "seeing the forest from the trees." Based on markings from Bach's original autograph score, the transcription considers fingering ease on the guitar that is critical to render the music to a functional and practical level. The goal is to preserve the composer's indications to the highest degree possible while still adhering to the technical confines that allow for actual execution on the guitar. The performance guide provides suggestions for articulation, phrasing, ornamentation, and other interpretive decisions. Considering the limitations of the guitar, the author's suggestions are grounded in various concepts of historically informed performance, and also relate to today's early-music sensibilities. The pedagogical practice guide demonstrates procedures to break down and assimilate the musical material as applied toward the various elements of guitar technique and practice. The CD recording is intended to demonstrate the transcription and the connection to the concepts discussed. It is hoped that this pedagogical edition will provide a rational that serves to support technical decisions within the transcription and generate meaningful interpretive realizations based on principles of historically informed performance.

Contributors

Agent

Created

Date Created
  • 2013

157925-Thumbnail Image.png

Harpsichord Suite in A Minor by Élisabeth Jacquet de la Guerre Arranged for Solo Guitar

Description

Transcriptions and arrangements of works originally written for other instruments have greatly expanded the guitar’s repertoire. This project focuses on a new arrangement of the Suite in A Minor by

Transcriptions and arrangements of works originally written for other instruments have greatly expanded the guitar’s repertoire. This project focuses on a new arrangement of the Suite in A Minor by Élisabeth Jacquet de la Guerre (1665–1729), which originally was composed for harpsichord. The author chose this work because the repertoire for the guitar is critically lacking in examples of French Baroque harpsichord music and also of works by female composers. The suite includes an unmeasured harpsichord prelude––a genre that, to the author’s knowledge, has not been arranged for the modern six-string guitar. This project also contains a brief account of Jacquet de la Guerre’s life, discusses the genre of unmeasured harpsichord preludes, and provides an overview of compositional aspects of the suite. Furthermore, it includes the arrangement methodology, which shows the process of creating an idiomatic arrangement from harpsichord to solo guitar while trying to preserve the integrity of the original work. A summary of the changes in the current arrangement is presented in Appendix B.

Contributors

Agent

Created

Date Created
  • 2019

Prelude and Fugue in A Minor by Miloslav Gajdoš A Transcription for Guitar and Performance Guide

Description

This research project introduces the Czech composer Miloslav Gajdoš (b. 1948) to classical guitarists through his composition Prelude and Fugue in A Minor, composed in 1998. Gajdoš is a double

This research project introduces the Czech composer Miloslav Gajdoš (b. 1948) to classical guitarists through his composition Prelude and Fugue in A Minor, composed in 1998. Gajdoš is a double bass virtuoso who has enjoyed a successful career performing, composing, and teaching. After the fall of the communist regime in Czechoslovakia in 1989, Gajdoš was allowed more opportunities to perform outside the Czech Republic and to become better known throughout the world. His Prelude and Fugue in A Minor, originally for solo double bass, works well on the guitar and is a rewarding piece to learn and perform. A transcription is presented here that is of publishable quality, together with a biography of Gajdoš and a performance guide. The biography was written from available research materials as well as from direct email correspondence with the composer, and includes authorized quotations from those emails. This project also includes a description of the piece together with musical and technical suggestions that will aid the performer in creating a satisfying musical interpretation. Chapter Three includes a description of the left-hand challenges that were encountered while the piece was being transcribed and the solutions that were devised to mitigate them. Finding new pieces to transcribe for the guitar has long been an important activity of serious players, and this transcription adds a substantial and expressive piece to the growing repertoire of the classical guitar.

Contributors

Agent

Created

Date Created
  • 2017

150854-Thumbnail Image.png

Ornamentation In eighteenth-century guitar music: an examination of instruction manuals from 1750-1800

Description

Profound alterations to instruments that take place over short periods of time are fascinating, and the changes undergone by the guitar during the late eighteenth century make for an intriguing

Profound alterations to instruments that take place over short periods of time are fascinating, and the changes undergone by the guitar during the late eighteenth century make for an intriguing transition in the instrument's history. The guitar that existed before 1750 is most commonly referred to as the 'Baroque guitar' and is vastly different from the guitar of today. It was considerably smaller than the guitars that followed, pitched higher, and used primarily for accompaniment through chord strumming. From roughly 1750 to 1800 the guitar underwent a transformation that eventually led to the design and performance practices that have continued through to this day; larger, with lower-pitched courses (and sometimes single stringing), and used increasingly more in punteado (plucked) style. By defining the instrument as it existed prior to 1750, and the changes that it underwent after 1750, we can ensure that the instrument discussed is the one that has directly led to the instrument we use today. Because instrument design and performance practice inevitably influence each other, a thorough examination of ornamentation practices from 1750-1800 can lead to a greater understanding of the instrument as it changed, and the instrument it eventually turned into. Since the early nineteenth century was one of the more productive time periods for the guitar, having a better understanding of the ornamentation performance practices that preceded it may provide insight to how the players and composers of this fertile time (Sor, Aguado, Giuliani, etc.) approached their instrument. Although there was not much music printed or copied for guitar during the latter half of the eighteenth century, a substantial number of guitars were built, along with instruction manuals featuring the guitar. Instruction manuals were examined, along with works for solo guitar and guitar in ensemble with other instruments, to explore ornamentation practices from 1750-1800. Through examination of the guitar instruction manuals of the late eighteenth century, an increased understanding is gained regarding the techniques that eventually became cornerstones of nineteenth-century guitar performance practice.

Contributors

Agent

Created

Date Created
  • 2012

153082-Thumbnail Image.png

Performing Heinrich Biber's Mystery sonatas on solo guitar, and principles for arranging early Baroque solo sonatas

Description

This is a solo guitar transcription of the first five movements, known as the "Joyous Mysteries," of the Mystery Sonatas by Heinrich Ignaz Franz von Biber, accompanied by a history

This is a solo guitar transcription of the first five movements, known as the "Joyous Mysteries," of the Mystery Sonatas by Heinrich Ignaz Franz von Biber, accompanied by a history of the sonata collection, an analysis of the process of translating a Baroque solo sonata to the guitar, and a guide for performance. The work was chosen because of its significance and popularity within violin repertoire, and the suitability of the solo sonata genre for performance on a guitar. The first section of this project addresses the history and appeal of Biber and the Mystery Sonatas. It is supplemented by a brief survey of guitar transcriptions of Biber's compositions, and the value of the present edition in modern guitar literature. The second section explores the process and challenges of arranging the Mystery Sonatas for solo guitar, followed by a summation of the general allowances and limitations the genre offers to arrangers. The third section focuses on performance practice issues encountered in adapting this series and other Baroque solo sonatas to the guitar. The project concludes with the arrangement, complemented with the original violin and continuo parts for comparison.

Although instrumentations may force an arranger to impose speculative harmonies and countermelodies on a thin texture or sacrifice inner voices in a denser texture, the solo sonata's instrumentation of melody and continuo provides an effective balance. This style allows an arranger three important details: a clear and paramount melody, a flexible bass line, and harmonies with unspecified voicings. Similarly, the compositional freedom that Baroque composers allowed to performers also facilitates the arranging process and enables a variety of creative solutions.

Contributors

Agent

Created

Date Created
  • 2014