Rondo Allegretto (Grande Sonate in C, op.22) - F. Sor

F. Sor (1778-1839) was a Spanish classical guitarist and composer (operas, symphonies, string quartet, piano, voice and ballet). He was the first to convert the guitar into a miniature sized orchestra (observation made by L.V. Beethoven).

Generally speaking, Sor's guitar music depends on a solid independent lower voice, dialogues between the voices and the frequent use of three-voice independent textures. Sor's writing style was a representation of his advanced conception of the textural possibilities of the instrument.

The Grande Sonate op.22,  a multi-movement piece set in the four movement scheme of the high classical Austro-French string quartet or symphony, was esthetically influenced by Haydn (1732-1809) and formally modeled after Pleyel (1757-1831). It was published for the first time in Paris in 1825 and most likely written in Spain during the period 1800-08. The Rondó-Allegretto is an extended five-part rondó A-B-A-C-A (ending with a coda) that presents elements of the sonata form through its transitions and theme types.

Preservice Music for Wedding in (Hidden Villa) Los Altos Hills, CA 5/16/2015

Casals and the Art of Interpretation

Pablo Casals (1876-1973), considered to be one of Spain's greatest cellist and conductors during the first half of the 20th century, was born in a Catalonian towncalled Vendrell (not far from Barcelona). He was a prodigious child and by the age of 11 he could play the piano, violin and flute, and would later master the cello. His professional career (which started in 1897 spanning 73 years) saw him as a soloist, chamber music member, conductor and composer. He once said, "Can you imagine. They say I'm a great cello player. I answer, I'm not a cellist. I am a musician!" This phrase sums up Casals' mind of thought and philosophy.

After having read Casals and the Art of Interpretation various times (written by D. Blum and published for the first time in 1980), I've decided to share the main ideas of this highly recommendable book. Here's a link in both English http://www.download-genius.com/download-k:Casals+and+the+Art+of+Interpretation+David+Blum.pdf.html?aff.id=2338&aff.subid=77 and Spanish http://www.libros12.com/casals-y-el-arte-de-la-interpretacion/ where you can download a free pdf version of the book.

Two Practical Examples

This is the fifth of a series of technique exercises that I've published for the classicguitar. It focuses on different ways of approaching, learning and also improving your musical/interpretation skills. The two pieces featured are "Study Num. 1" by H. Villa-Lobos and J.S. Bach's "Luatenpraludium" in Dm. 

Once a piece is learned, the next challenge is to perfect and improve it. How can this be done? Here you will see some examples that can help give you insight on how to achieve this sometimes difficult task.

"The Entertainer" Transcription for Guitar

         

"The Entertainer" subtitled "A Rag Time Two Step" (a popular early 20th century N. American dance and style of music common among rags) was completed in 1902 by the African-American composer Scott Joplin (1867-1917). He wrote several ragtime piano compositions or "rags" (his most famous being"Maple Leaf Rag"), operas, ballets, marches and waltzes. Ragtime preceded Jazz which would become the dominant popular music in the U.S. by 1917.

It has an A B A C D structure or four 16 measure segments of music. Syncopation (a basic characteristic of this style of music) is omnipresent. The piece became famous in 1973 with the release of the multiple Oscar winning film The Sting ("The Entertainer" was featured as the theme music and the soundtrack won an Oscar). It was originally composed for piano in C (remember the piano was the main instrument of Ragtime) and there are countless transcriptions for many different instruments and instrumentations. Here's my arrangement for guitar in the key of G

with some RH and LH fingerings.

Exercises for Right and Left Hands

This is the fourth of a series of technique exercises for the guitar and possibly for other stringed instruments. This one focuses more on the the left hand (finger independence) than the right (there are suggested fingerings on the score for this hand). Just as with all the previous exercises, reasoned and conscienscious study is the way to obtain both technical and most importantly musical command at the same time avoiding faulty/unnecessary movements and gestures.

Preludio en Forma de Rondó - D. González

The "Preludio en Forma de Rondó" was composed by David González (Madrid, Spain Oct. 3rd, 1973) in October 2005. He is a concert guitarist, vihuela player, composer and music teacher. David has also written for solo guitar: "Metamorfosis", "Manos de Pez", "Quietud" and "Visiones" all completed recently in 2012 and based on texts and poems by Eduardo Yagüe. You can find more information on David at
http://daguit2003.blogspot.com/

The musical form of the "Preludio..." is divided into 5 sections. Section A (Em, 3/4 and 4/4), B (Em 3/4, 12/8 and 6/8), A' (E 3/4, 4/4, and 2/4), B' (E and Em, 3/4 and 12/8) and C (coda in 3/4, atonal). The overall structure of the piece is very suitable for the guitar and is written with a personal style and is an excellent example of modern-day 21st century music. Many thanks David!

Exercises for Right and Left Hands

This the third of my various technique exercises. The first 2 were posted on 01/03/14
and 02/13/14. Here you'll see 4 different exercises (exer.1 & 3 are on open strings and
exer. 2 & 4 require the use of the left hand). Special attention should be paid to the
rhythm in exercises 3 & 4. While playing these exer. the right hand shouldn't move
(unless you're trying out different sounds either close to the bridge or the soundhole),
and the left hand should be completely relaxed keeping he thumb opposite finger 2 at
all times.