ISBN 9781513454993.

In this book, Dr. Lily Afshar has clearly laid out the music and fingerings for 48 beginning to intermediate-level pieces by Aguado, Bach, Carcassi, Milan, Mertz, Sor and other Renaissance through nineteenth-century composers. While many of these selections are set in first position for ease of reading, they are effective for teaching different rhythms and arpeggio techniques, as well as for learning to play simple intervals and three and four-note chords. These compositions were carefully chosen for their use in developing finger independence in both hands, and can be used to advance rest stroke, free stroke, arpeggio, and tremolo techniques. Dynamic markings have been added for interpretation if not originally indicated in the originals so, in addition to learning positions and note locations along the fretboard, youll have to pay attention to dynamic and tempo changes.Written in standard notation only, this book is ideal for private study, as a teaching and student recital sourcebook, or for inclusion in the syllabus for a high school or first-year collegiate guitar program.

ISBN 9781619117266.

This book of triadic concepts is as much for the ears as it is for the hands. Playing harmonized scales in triadic form is very helpful for the progressing guitarist. By working through these exercises, the guitarist will learn the harmonic sound of each key and develop a strong sense of melodic and harmonic voice leading. These studies contain interesting melodic content and are very fun to play. The keys are presented in tonic major and tonic minor rather than tonic major and relative minor. This is the second book in Mel Bay's Achieving Guitar Artistry series and follows the initial Linear Etudes text. Readers should develop a routine of practicing one key per day for the best results. Mastery of this book will do much to enhance the guitarist's sense of voice leading, note reading and improvising.

ISBN 9781609744724. Traditionally the classic guitar has been either excluded or inadequately represented in orchestration textbooks, resulting in much misinformation about its technique, its practicality in various performance contexts, and its character. The guitar's unique tuning, broad timbral variety and intimate nature pose a formidable challenge to non-guitarist composers, for whom an extensive amount of time would be required to gain even a minimal hands-on acquaintance. For most composers this is an unrealistic expectation, leading to time-consuming consultations and extensive drafting or rewriting. The purpose of this book is to provide the non-guitarist composer with the fundamental tools needed to write idiomatically for the guitar. The first of its kind for the guitar, the reference was written in consultation with dozens of composers and conceived with three types of end users in mind: Experienced composers with a concern for writing idiomatically for the guitar. Guitarists who are commissioning a work from a composer who has never written for the instrument. Libraries that wish to add this essential sourcebook to their music reference section.The very structure of the book reflects the composer's own intuition by addressing such questions as: How is the guitar constructed? What does successful guitar music look like? How is the guitar played? How does the guitarist interpret music and express emotion? Which musical elements and gestures are most effective? How do these elements combine to create an effective pacing of idioms? By examining the parameters of successfully written pieces, The Composer's Desk Reference for the Classic Guitar provides an expedient resource of ideas and illustrations contributing to the fluency of both first-time and seasoned guitar composers.

ISBN 9781609743925. These settings contain very few fingerings so players will often be pushed to use their pencils and their own judgment. Guitar-friendly keys were chosen throughout, but modulations lead to the occasional odd key for brief segments and counterpoint that would be shared by two hands on the piano is necessarily relegated to one on the guitar. The selections are: Melodie, Op. 4, No. 2 (Mendelssohn); Mazurka, Op. 6, No. 3 (Schumann); Waltz, Op. 36, No. 3 (Backer-Grendahl); Le Sommeil de Enfant, Op. 35 (Carreo); and Waltz, Op. 36, No. 3 (Beach).

ISBN 9781609746810. Scholarly editions, which serve different purposes than performance editions, are not often designed with the modern guitarist in mind. For instance, Renaissance vihuela tablatures are usually transcribed with the open first string as G, not E. Most are presented in double-staff notation, a medium that is superior for realizing counterpoint but unconventional as guitar notation. Furthermore, these editions sometimes give idealized, but not realistic, solutions for voicing, note duration, and other matters that need to be considered within the limitations of our instrument. Guitarists who try to play from these editions essentially are faced with the task of transcribing the transcription!This 188-page anthology is designed as a companion volume to The Baroque Guitar in Spain and the New World (MB21122). It includes representative selections, edited for modern guitar, from the seven books for vihuela that were published in Spain between 1536 and 1576.As well as being fun and entertaining music for all to enjoy, these collections are intended to help bridge the gap between scholarly editions and performance editions by providing a hands-on introduction to tablature transcription and to issues concerning historically informed performance of early music on the guitar.* A 188-page anthology, edited for modern guitar, from the seven books for vihuela that were published in Spain between 1536 and 1576* A companion volume to The Baroque Guitar in Spain and the New World (MB21122)*Intended to help bridge the gap between scholarly editions and performance editions* An introduction to tablature transcription and to issues concerning historically informed performance of early music on the modern guitar.

An arrangement of traditional themes for the Flamenco style Siguiriyas for solo Flamenco guitar based on material I gathered in my studies in Flamenco guitar in Madrid in the late 1960s. I call the piece Llamas Negras (Black Flames) as the dance for Siguiriyas is often performed by a woman dancer (bailaora) dressed in a long flowing black dress, her hands twirling above her head likes flames. Such were the performances I witnessed at the Flamenco tablao La Zambra where my guitar maestro Juan González ?Triguito? played. Siguiriyas is the most tragic of all the serious (jondo) styles of Flamenco for guitar. The piece moves therefore at a moderately slow pace, although there are passages where the tempo increases for dramatic effect. The piece is in the Phrygian modal of D minor and notated in standard 6/8 time. Siguiriyas embodies par excellence what Manuel de Falla called the ?sonidos negros? or black sounds in Flamenco!

Landscape II is the second piece of a series of short contemporary pieces for guitar written by Argentine-born American composer Pablo Emiliano Fedele.

This is the standard guitar edition with tuning D A D G B E. (Originally written for 10 strings classical guitar F# G# A# D E A D G B E, also available).

Written in a modern language, it's time signature is 3/4 in the Key of D Major. Following the path of Landscape I, the piece explores chords and textures, layers of sound and rhythmic complexity with a strong detail in the technical use of both hands.

Although not specifically detailed, some rhythm patterns of this piece are similar to those found in Argentinian folkloric music that influenced the composer.

The piece was written for an intermediate and advanced level. This edition contains a suggested fingering and positions to create the sound the composer believes is the essence of the piece. Students, teachers and artists are welcome to visit Pablo Fedele's website and social media to get in contact and ask all the questions about practice and performance of the piece.

Performance suggestion: This music could be performed with an additional media, like a video animation, a painting, a short film or live presentation, if possible.