691 Results for : notation

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    Iridescent Notation
    No description.
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    10-Minute Teacher: U2 - Pride
    Learn how to play Pride (In The Name Of Love) fast! This 10-minute video shows you all the chords and riffs for this classic song, with on-screen chords and tablature. Includes 'soundalike' performance of the complete song. Plus a sheet music booklet containing full notation, tablature and complete lyrics. Here's absolutely everything you need to learn how to play Pride (In The Name Of Love) IN JUST 10 MINUTES, in one exciting package!
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    Delta Blues Guitar Duets taught by Bob Broz
    In this unique, Bob Brozman and Woody Mann describe and teach in detail duet arrangements in the style of the great Delta blues guitarists: Charley Patton, Robert Johnson, Willie Brown, Tommy Johnson and Son House. Techniques and ideas for creating a cohesive guitar part that compliments, rather than competes or conflicts, are discussed. Each part is taught separately and presented in tablature and music notation. Woody and Bob also present effective techniques for improving improvisations skill
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    Anna Prohaska - Celebration of Live in Death
    Die bekannte Sopranistin Anna Prohaska ist stets auf der Suche nach vielseitigen und bedeutungsvollen Konzert- und CD-Programmen. Mit Celebration of Life in Death legt sie bei ALPHA CLASSICS nach dem viel beachteten Album Bach Redemption (ALP658) zum zweiten Mal ein Projekt vor, das sich mit dem Thema der Pandemie in Vergangenheit und Gegenwart beschäftigt, dieses Mal unter dem Aspekt "Leben im Tod". Ein ebenso ehrgeiziges wie außergewöhnliches Programm, das mit Robin Peter Müller und dem La Folia Barockorchester konzipiert wurde. An dem Ensemble und seinem künstlerischen Leiter schätzt Prohaska insbesondere die stilistische Versatilität, den freien und spontanen Geist des Musizierens und die ausgeprägte Fähigkeit zur Improvisation. Gerade Letztere erweist sich hier als besonders nützlich, denn die aus dem Mittelalter stammenden Stücke sind zum Teil nur in fragmentarischer Notation überliefert. Vor diesem Hintergrund, aber auch aus kreativer Musizierlaune heraus, entstanden viele der vorliegenden Arrangements erst in der Proben-und Aufnahmephase der CD. Das gemeinsam erarbeitete Programm führt den Hörer auf eine faszinierende Reise durch die verschiedenen Jahrhunderte und durch viele unterschiedliche Länder: mit französischen Chansons des Mittelalters (darunter eines von Guillaume de Machaut), italienischen Stücken aus dem 17. Jahrhundert von Salomone Rossi und Francesco Cavalli, mit Werken deutscher Barockkomponisten des 17. und 18. Jahrhunderts (Dietrich Buxtehude, Christoph Graupner und Franz Tunder) und dem "Orpheus Britannicus" Henry Purcell, aber eben auch mit Songs von John Lennon und Paul McCartney. Eine musikalische und spirituelle Suche, die am Ende des Programms sogar einen Abstecher nach Nordamerika mit einem allseits bekannten Lied von Leonard Cohen einschließt.
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    Pno Suite 7
    A SHORT DISCUSSION OF MIDI In the beginning there was chaos and confusion. Each manufacturer prided itself on the uniqueness of it's musical instruments. No two could be connected up to work with each other. Yamaha synths would not work with Kawai or Buchla or Kurzweil. In order to get a different set of sounds, musicians had to carry large numbers of keyboards to their venues, and with the coming of digital instruments, it looked like things were going to get worse. Then in October, 1981, Dave Smith and Chet Wood of the California based company, Sequential Circuits, read a paper on a Universal Synthesizer Interface at the annual meeting of the Audio Engineering Society (AES) Over the course of the next year discussions took place among the American and Japanese representatives during which the name was changed to Musical Instruments Digital Interface. (MIDI) The first MIDI synthesizer, the Sequential Circuits Prophet 600, shipped in December of 1982, and a month later the first coupling of two different synthesizers took place at the annual meeting of the National Association of Music Manufacturers. (NAMM) It was a Prophet 600 and a Roland Jupiter 6, American and Japanese. The official Midi 1.0 Detailed Specifications was published in October of 1983, a little over twenty years ago. It has never had to be revised, although it was expanded. It is voluntarily followed by all the musical instrument manufacturers in the world. There are two organizations that oversee the Midi specifications, the Midi Manufacturers Association (US, Canada, and Europe), and the Japanese Midi Standards Committee, and neither will act without the approval of the other. What we have here is an almost unique cooperation between competitors. It's almost as if all the automobile manufacturers were to get together and standardize parts! But the amazing thing is that Midi has gone way beyond it's original purpose of standardizing interfaces so that different instruments can talk to each other. It has become a tool for composers that rivals the development of musical notaion, many centuries ago. It is the elegance and simplicity of Midi that makes it so attractive. Much like a word processor, it takes very little computer power to make it work. A Midi message consists of a command to start, a number that designates a note, a number that indicates how loud the note is to be, and a command to stop. Along with that is a number to designate it's position in the song, and a tempo map to determine the speed of the music. That's about it! The actual sound is made by the music module, like notation, Midi makes no sounds. It's just numbers. Midi can do many other things, of course. It can record a sustain pedal, it can control a reverb unit. It can even turn the lights on or off. But without a sequencer, it's use would be limited. A sequencer is a machine that records all the Midi numbers in their proper places, usually first into RAM, then when revised to suit, onto a floppy or hard drive. What a sequencer really does is allow you to change all those numbers around until you finally get what you were looking for. Can you think of anything more useful to a composer than that?
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    Chasing Light
    Mark Knippel: Marenje* The following note is provided by the composer: "Marenje is a traditional welcoming song of the Shona people of Zimbabwe. My composition is based solely on the opening material of the original song. The entrances of the first two guitars are exactly what would be played on the mbira [traditional African instrument consisting of a wooden soundboard with 22 to 28 metal keys] and marimba. One of the techniques of Shona music that I employed is having the same material played on two instruments offset by one eighth note. This idea permeates my composition, as it is one of the ideas of their music that I found especially striking." Marenje, begins as a whispering, euphoric murmur, as if you are walking into a bustling street market, taking in the sights, smells, and sounds. A minute into the piece, all four guitars crescendo into a fully-blossomed, gently-jiving, jovial sonic soundscape that grows in intensity, and culminates in a quasi-percussive, exuberant, upper register ostinato played by one guitar, fluttering over the other three like a liberated bird-of-paradise. Garry Eister: Chasing Light* Garry Eister writes the following note for Chasing Light: "Chasing Light uses a grab bag of techniques, including irregular meters, meant to evoke the rhythmic feel of Eastern European dances. The outer movements are in E minor. The middle movement is in E-flat minor, which, by it's 'sinking down' a half step below the movements that surround it, helps impart the feeling of isolation and stillness that it's title indicates. The final movement is meant to convey a sense of urgency, of running or driving as fast as possible toward the Western horizon in an attempt to delay the setting of the Sun." Throughout Chasing Light, a sense of combative harmony pervades. Each guitar is autonomous, yet interconnected with the others. Through coherent use of imitation, unison, accent, textural variation, and overlapping melodic lines, Eister creates a robust quartet in which each guitar is of equal importance, fighting and playing with one another in an ecstatic cloud of sound. Mark Knippel: Attained Elusiveness* Unlike Marenje, Attained Elusiveness possesses none of the effervescent giddiness that permeates the former. Instead, it features Steve Reich-like transient sonic fractals that flash and evaporate as snowflakes on a windowpane, elusive, yet, for a fleeting moment, attained. Darin Au: Chasing Dragons The most straightforward composition on the album, Chasing Dragons soars in a self-assured, flowing arc. There may be dragons, but they are observed in transit, as if from a hangglider. Punctuated by raspy rasgueados, spiky accents, and icy harmonics, an ominous nether world is hinted at, yet never entered. A great distance is traveled over a brief period of time. Christopher Gainey: Flowing Through: Rhapsody on a theme of Egberto Gismonti* Christopher Gainey shares the following note: "I have always loved [Brazilian composer Egberto Gismonti's] Agua e Vinho, and I was fascinated by how different performers used it as the basis for very individual embellishment/improvisation. In essence, Flowing Through is a set of variations on Agua e Vinho, with one exception, when the theme comes in at the end of the piece, it is placed together with material from the first variation that reconfigures the original theme into a ternary form (Agua e Vinho forming the 'A' section, while it's variation forms a 'B' theme). The notation fluctuates between precisely notated music and much more flexible, somewhat indeterminate, methods of notation that allow the ensemble some interpretive freedom." Karol Szymanowski: Mazurkas, Op. 50, Nos. 1 and 3 Arranging solo piano works for guitar quartet is, at first glance, counterintuitive. The luminescent sonority of the piano is markedly different than the brighter sound of the classical guitar. However, the two mazurkas that guitarist Patrick O'Connell selected and arranged transfer strikingly well to four guitars. The hushed dynamics (rarely exceeding mezzo-piano), combined with rich, colorful modal layering, allow opportunity for the guitars to explore hues and colors beyond the scope of the original piano. Through the use of idiomatic guitar techniques, such as artificial harmonics, and through exploitation of the guitar's broad timbral palette, new insight into Szymanowski's music is gained. Andrew York: Pacific Coast Highway Like Lotus Eaters, Andrew York's Pacific Coast Highway is melody-centered and harmonically stable. A self-confident first guitar both plays with and battles against the remaining guitar "trio." The first half of the piece is placid, daydreamy, the second half intense, excited. Evocative of the seemingly infinite Californian Pacific Coast Highway, the musical terrain is ever-changing, winding, rocking, and rolling. Andrew York: Lotus Eaters Andrew York's Lotus Eaters was written for the Los Angeles Guitar Quartet (LAGQ), and possesses the carefree charm of a late summer backyard barbecue. Through harmonic, melodic, and rhythmic constriction, it gains a spatial freedom, with evocations of Wes Montgomery, Ali Farka Touré, and Al Di Meola flickering like fireflies throughout the piece. As an added bonus, SFGQ has added two minutes of infectious improvisation to the original. Clarice Assad: Bluezilian Clarice Assad describes Bluezilian as follows: "I wrote Bluezilian for LAGQ, in 2005, as an encore piece. At the time, I had just broken a foot and was unable to walk or get out much. Feeling a bit down and constrained, I decided to work on a piece that would be light and fun, almost cartoonish-something that, in certain spots, would make me want to giggle. I purposely made the decision to use and abuse musical clichés. The piece is a musical satire that draws connections between American popular styles and Brazilian rhythmic and harmonic sensibilities. All parts, as simple as they may be, are filled with nuances to be explored, and the parts themselves communicate between one another." Bluezilian is a highly-caffeinated, animated whirlwind trip: accents kick, glissandi jolt, trills zap, and chords smack. It sounds as if a cartoon volcano was erupting in a harmonic kaleidoscope of plucks and strums. But it also sings and dances, swells and spins. Rarely has a such a short piece contained so much exuberant energy. Liner notes by Patrick Durek * Premiere recording and dedication to the San Francisco Guitar Quartet.
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    Assorted Mallets
    This project is an anthology album (CD) that encompasses every recording I've done thus far with the marimba, an instrument like the xylophone with wooden bars set up like the keys on a piano. This album has many tracks written for marimba and voice, a new and blossoming idea. There is more reason for this album than just documentation. Some of these tracks (Skies of a Landless Horizon and Night of Mourning) are published in written notation and this CD is a way to spread the knowledge of this music. Another track, The Power of Music, is used in a documentary called In Pursuit of Passion, so the album will only help this song reach more people. Finally, the works for marimba and voice on this album are a 'new and blossoming' idea, as previously stated. This combination of playing marimba and singing simultaneously is quite new and is being written about currently. These works will be included in a dissertation that is covering the emerging trend of marimba and voice performed by one player. This document will be written by Doug Smith who is finishing a D.M.A. at University of Arizona. So, there is already support for the growth of marimba and voice as a musical entity and I love writing music for marimba in other settings as well. I hope this album is just the start of a lifelong pursuance of marimba and voice AND MUSIC! Copyright 2011 - Voirimba Publishing (ASCAP), except for 'Skies of a Landless Horizon', Copyright 2009, C. Alan Publications, and 'Night of Mourning', Copyright 2011, C. Alan Publications. All rights reserved. All works written by Michael Neumeyer, except 'Secret Song' by John Kimbrough All instruments and tracks performed by Michael Neumeyer except: Track 1: - Allison Reichert, flute Track 9: - Michael Graff, bass guitar/acoustic guitar, Willis Niederfrank, electric guitar Tracks 1-3, 9-10 recorded and mixed by Michael Graff at Harmonic Distortion Studio Tracks 4-8 recorded live in Michelson Hall at the campus of the University of Wisconsin - Stevens Point, Stevens Point, WI Mastered by Mike Hoffmann Thank you: Charles and Diana Neumeyer, Mike Graff, Eric Atkinson, Robert Rosen, Judy Bond, Charles Young, Pamela Luedtke, Lori MacRae, Allison Reichert, Willis Niederfrank, Nancy Zeltsman, Doug Smith, Cort McClaren at C. Alan Publications, my family, friends, fans, and any who have supported my music.
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    Imaginary Numbers
    Reverse Polish Notation showcases violinist/violist Betty Widerski's original instrumental compositions as she improvises over her own multivoiced accompaniments, generated live using a looping pedal. Her creatively impromptu solo performance has been described as soothing, hypnotic and fascinating. Betty also composes instrumental and vocal pieces, as well as creating string arrangements for others' songs. 'Imaginary Numbers' is Betty's first solo album, for which she composed, performed, recorded, and mixed the tracks herself.
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    Winds of Time (Symphony No.1)
    Hetoreyn is a composer of orchestral music. Recently, he has been involved in many film, TV and Internet productions around the world, and he has published seven albums (Five of which are now available on the iTunes music store). His main passion is in creating fantasy environments through orchestral mediums and in telling symphonic adventure (such as in 'Tales of the Thorns'). Winds of Time is a symphony of modern orchestral album for a listener whom appreciates film and game music. - Note from the composer: Thank you for buying this album. It has taken five years to complete and it is immensely satisfying to listen to my efforts and I hope you will use this album not only just to enjoy, but to enhance your spirit and to revel in the power of your imagination. In this day and age it's easy to forget the we have the power to create our own world inside us. This is not just for pleasure and entertainment, but to have a sacred place to re-energize the spirit and to remember what wonderful beings we can be. I wish you, the listener, an amazing experience with this album for many years to come. - Hetoreyn Track List (A Serving suggestion!) Track 1: Nightfall We open with the main theme played in it's most simplest form in a relaxing and beautiful introduction to the album. The concept is this - You have awoken to find yourself on a beach at night time. There is a dull glow on the horizon of the sun, a thin band of orange that gives a comforting light to your surroundings. The sky itself is a deep blue and sprinkled with stars. As you look around you feel warm, protected and calm .. you have arrived at your own island paradise. A place where your spirit is rested, and the cares of the physical world are dissolved and you are free to think, feel and simply be. Track 2: Winds of Time Next as you leave the beach where you arrived you wonder through a valley with tall mountains and cliffs that stretch further inland. You are not limited to simply walking, if you want you can fly up high and experience your new found world as a bird, or as pure energy. Enjoy the mountains, the trees, the rivers of pure water, and the nature that grows here. Every stone you examine, every tree you see makes your island paradise more coherent and real. Track 3: Peace of the Storm Passing the valleys you find yourself back at the beach but at a different point. Here you stop and listen to the waves lapping against the shore. It is raining ever so lightly. A warm, delicate rain that feels wonderful on your face and skin. A storm builds on the horizon, but it is far away and cannot harm you. Instead you can admire the power of nature and feel the energy in the air. You wonder from the beach into the trees where a house made of straw is waiting for you. You sit in a comfy chair on the porch and enjoy watching the amazing display of light and sound from the storm. Track 4: The River (Die Nahe) After resting at the house you journey onwards through your island. How you move is up to you. In this place you can simply appear anywhere at will, or walk, or fly, or simply drift. At this part you find yourself at the river. Imagine a leaf falling from a nearby tree and landing in the water of the river. The river then takes the leaf on a journey and you alone with it. (This piece was inspired by the river 'Nahe' in southwest Germany, in the Rheinland-Pfalz region) Track 5: The Journey In this piece you have stopped following the leaf that floated along the river and begin walking through a beautiful forest. As you walk you discover a horse, or similar beast that beckons you to climb onto it's back as it takes you away. Slowly at first but then gathering speed until we finally end up in a full on gallop in a thrilling ride that makes your heart saw with exhilaration. There is no limit to the speed at which you can travel. This is the end of this visit to your island, but you can come again, anytime you close your eyes and wish to see it. This is YOUR place, fill it with energy, spirit and wonder. The music is here to allow you to enter more easily. Part 2 Track 6: Symphony of Rain Another trip to your fantasy island. We encounter the forest again. Serene and wonderful. A light rain storm is all around you and the air smells so fresh. Let the energy of the forest refresh your being and enjoy strolling and adventuring through and through. Track 7: Pixie This piece is a story of a cat. Sleeping soundly and thinking cat thoughts she awakens slowly and watches you. You can pet the cat and she will enjoy it. After a while she stretches and begins wondering around you and your environment. Curious and playful and ever coy. But then the cat see's something. What is it? The cat wants to find out. Something small, like a beetle, moving around near you. The cat moves to look at it but the bug makes a sudden buzzing move that makes the cat leap back. The bug settles down .. but now the cat is intrigued. Now watch as the cat tries in vain to jump on the bug and try to catch it. After a time the cat gives up and decides instead to groom. (Pixie is a real cat, a calico 5 coloured cat that enjoys trying to get into my chair in the studio whenever I'm not in it! This piece is dedicated to her.) Track 8: Sound of Life This track was composed with data from human DNA (CO1 gene). Although it is an interpretation, the melodies of all the instruments are arrived from carefully and scientifically calculated notation. It is an astonishing piece when you consider that you are, in a way, listening to the very sound of life. Eerie, discordant, and yet bold and beautiful. Summing up humanity very well I feel. Enjoy this psychedelic trip into the unknown of ourselves. Track 9: Ruins of Forever Your fantasy island is not just from today. It has it's own history, it's own ancient places of mystery. Take a wonder through the ruins of forever .. a place of ancient memory, power and spirit. Track 10: Dreams The power of your island, of the things that dwell there all come from you, the listener. It is by your imagination that this place can exist. And every time you visit, either awake or asleep you add vitality to it. Make it real, and keep it energized. In return you can visit this place of serenity any time and enjoy a higher level of spiritual awareness. Use this track as an aid to meditation. Find yourself back on the beach, or the forest, or the valleys we have discovered and more very quickly with this beautiful and energetic piece.
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    Cordatum
    CORDATUM - JAVIER BRAVO (GUITAR) ARGENTINE MUSIC COLLECTION VOL. II THE CONTEMPORARY GUITAR &nbsp,&nbsp,&nbsp,This disc is part of a research project about avant-garde guitar music in Argentina and it includes works composed between 1974 and 2011. Many of these guitar works are recorded for the first time on CD and some of them remain unpublished .They are pieces of great artistic value and despite the great the development of classical guitar world, are not yet known or broadcast. We hope that this album contribute to the diffusion and promotion of contemporary Argentine art, it's excellent works and creators. The twentieth century was the scene of great changes in all spheres, many new movements have arisen in politics, science and art. Notably, the second half of the century is a turning point in the emergence of new concepts in music: the appearance of indeterminacy in various musical parameters, the development of serialism and other highly refined organizational systems, the enrichment of timbre through new instrumental techniques and electronics and, finally the coexistence of the styles of all times and all countries. &nbsp,&nbsp,&nbsp,In Argentina we can find a turning point in the creation of the Instituto Di Tella and it's Latin American Center for Advanced Musical Studies. Despite it's relatively brief period of activity (1962-1971) it exerted a decisive influence on Latin American music and other arts of the time, stimulating the creation, communication and exchange between composers of our continent and the rest of the world.&nbsp, &nbsp,&nbsp,The guitar, instrument of long tradition and popularity in Argentina in all musical genres, had it's repertoire enriched with many creations that incorporate new expressive possibilities through timbral innovation, an unprecedented evolution of musical notation, and experiments with new ways of structuring musical material. &nbsp,&nbsp,&nbsp,This creative impulse remains over time and reaches the XXI century, where all these trends converge, develop and manifest according to the personality of each composer, resulting in a wide range of artistic expressions. JORGE TSILICAS (Buenos Aires 1930 - Buenos Aires 1995) Monologues (1974) Jorge Tsilicas studied composition with Jacobo Ficher, Francisco Kröpfl and Enrique Belloc in Argentina. Later he studied with Boris Porena and Franco Donatoni in Italy. He devoted much of their production to the guitar, including works for solo guitar, duets and quartets. His works are written in an atonal style, exploring the timbral possibilities of the guitar and experimenting with different degrees of formal indeterminacy (Spiral, Perikiklosis). Dedicated to argentine guitarist Irma Costanzo, Monologues is a piece organised in three movements: The first have a fragmentary and energetic character. This movement is structured in series of short gestures consisting of chords, note sets and percussive effects. A sense of agitation is achieved through continuous dynamic contrast and permutation of elements, evolving over a harmonic texture based mainly in minor second and augmented fourth intervals. The second movement, Moderato, based on the same harmonic elements, conveys a more contemplative, lyrical mood, with a greater sense of continuity of the elements. It's third movement, Presto, shares sound gestures with other movements but it is characterized by the use of fast passages in a toccata or cadenza style in most of the movement. JAVIER BRAVO (Buenos Aires * 1972) Distance (2006)-Toccata (2004) Javier Bravo studied composition with Rodolfo Daluisio and wrote works for various instrumental ensembles ranging from solo instruments to symphonic and electroacoustic music. His musical language is inspired by popular Argentine music and jazz, together with sound resources and procedures of contemporary music. Distance explores the harmonic and resonance possibilities of guitar through a twelve-tone based structure. Written on a lyrical and contemplative style, this piece refers to rhythmic gestures of zamba, a very traditional Argentine folk dance. In contrast to Distance, Toccata expresses a climate of agitation: it begins with short chord sequences in fortissimo, which alternate with extensive passages based on the idea of continuous motion. The work, of great virtuosity, grows in tension through numerous meter changes, polymetric passages, multiple string tremolos and strumming chords. Based on a twelve-tone structure, this work is built over concepts of free atonality. FERNANDO ROVETTA (* 1968) 'Two Pieces for Guitar' (1994) Graduated from IUNA with a Musical Arts degree, Fernando Rovetta studied composition with Juan Carlos Figueras, Pablo Cetta and Fernando Maglia. Awarded as composer on several ocassions, he gives seminars on contemporary music and participates as jury of guitar competitions. On "Two pieces for guitar ' the author says: 'The 'Two Pieces for Guitar '(1994) are rooted on tango music, exploring it's gestures, procedures and sound within a musical language lying between extended tonality and free atonalism. The first one, 'Transition', is developed through the interaction of a harmonic component (with the chord as support) and another melodic (a chromatic gesture linked to bandoneonist Anibal Troilo style). In the second piece, 'Recycling', motivic elements contrast themselves and cohere in the rhythmic aspect (supported in various stylistic resources). This work includes the phrasing and dynamic fluctuations of the tempo, typical of the genre.J avier Bravo's performing deeply understood the implications that have these formal aspects, resulting in an intense version, very rich in detail. ' SALVADOR RANIERI (Arena, Italy 1930 - Buenos Aires 2012) Cordatum (2005) Salvador Ranieri, was a prolific composer, with a catalog of more than 180 works, including symphonic and chamber music . He studied composition with Juan Francisco Giacobbe in Argentina and later with Goffredo Petrassi in Italy. He studied electronic music at the Institute di Tella through a scholarship, and then he continued working in that field at the Academy of Santa Cecilia (Rome). His style was defined several times as deeply expressive, driven by an intense inner dramatism. Cordatum is written in the manner of a fantasy, in a style full of passion and metric vitality. Chromatism, rhythmic insistence and percussive effects are characteristic of the author's style. The work, composed in 2005, was premiered by Javier Bravo in 2011. CECILIA FIORENTINO (Buenos Aires * 1962) Petite Suite (2011). I. Prelude II. Dance III. Aria IV. Final Cecilia Fiorentino graduated as Profesora Superior de Piano (1982) and Composition (1986) at the National Music Conservatory 'Carlos López Buchardo'. Noteworthy among her teachers are Fermina Casanova, Virtu Maragno, Alicia Terzián, Delia Castro, Isabel von Basenheim, Amalia Cascarini and Perla Brúgola. She is the author of some fifty works, most of them for chamber ensambles. As a composer, she has been awarded several times and she actively participates in composers' associations from Argentina. She teaches counterpoint and composition at several Buenos Aires' Conservatoires and has participated as jury in various composition competitions . On Petite Suite, the author tells us: 'Written in a free tonal style, this work- as almost every movement- express on it's titles, formal models that inspired it's composition: the single motive based structure in the first movement -resembling the style of many Baroque preludes-, the rhythmic and formal symmetry in the second movement -Dance-, and the characteristic accompanied melody texture in third movement titled Aria. The final movement consists of two parts: a free introduction in a fantasia style, and a 'fugatto' section to conclude. While it is not the first time I have included the guitar in one of my works, it is certainly the first time that I write a solo guitar piece. This has been for me, a unique challenge, that I hope to have withstood thanks to the valuable contr
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