Luigi Legnani (1790-1877) was an important guitarist/composer of the early nineteenth century Italian Romantic school. In addition, he was also a highly skilled singer, violinist, and luthier. Legnani's guitar compositions represent the logical next step after Giuliani; fully evocative of the operatic vocal style characterized by Rossini, and technically adventurous in much the way Paganini's compositions were for the violin, although not to the same degree. His contributions to guitar literature form an important link in the chain of compositional and technical development during the nineteenth-century. This study is in two parts. The first will present as concise a biography as possible, particularly regarding Legnani's concert itineraries, contributions to guitar construction, and relationship with Paganini. An examination of little-known contemporary reviews of his performances will serve as a means of both documenting his concertizing and developing a concept of Legnani's performance style. The second part, an annotated performance edition of selections from Legnani's most famous composition, 36 Capricci per tutti i tuoni maggiori e minori, opus 20, will provide a basis for the understanding and successful performance of Legnani's music by modern guitarists. In conclusion, Legnani's unique contributions to both guitar composition and construction are reevaluated, and an up-to-date list of compositions appended.

The abundance of scale passages found in Joaquín Rodrigo's Concierto de Aranjuez for guitar and orchestra tests the stamina and swiftness of even the most capable guitarists. A relatively new technique of using three fingers of the right hand, known as A-M-I, to articulate fast scales provides an alternative means of effectively mastering Rodrigo's masterpiece. A-M-I scale technique is a fast and effective way to play scales on the classical guitar. In various forms, this three-finger right-hand system of fingering scales has been used effectively by a small group of classical guitarists since being pioneered by Narciso Yepes in the mid-twentieth century. The current approach to A-M-I scale technique requires specific fingering systems to effectively coordinate and synchronize the left and right hands, making it a distinct technique demanding thorough consideration and deliberate study. The increased right-hand velocity and greater efficiency inherent in A-M-I technique can greatly enhance the performance of Joaquín Rodrigo's virtuosic Concierto de Aranjuez.

In recent years the guitar has belonged to the most popular instruments. Its influence reaches many countries, where it has found its new home. It is most significant in music styles such as blues, rock and country. It is evident that these styles would not develop without the guitar. The work deals with the impact of the guitar and guitar players on the history of styles, looks into techniques of various guitarists and classifies them into the history of genres. One chapter is devoted to riff, the melodic sequence, which influenced the thinking of rock musicians in a fundamental way. Guitarists have gradually become heroes, attracting masses of listeners. Consequently, their popularity is used in advertising in order to promote certain goods. For this reason the theme of advertisement has been introduced. The final chapter of this work focuses on the practical use of the instrument in music lessons and presents drafts of song guitar accompaniments.

This thesis is an investigation on the influences that the Spanish Guitar and the traditional music from Spain had on the impressionistic composers of the late 19th century and early 20th century. I have also inquired on the opposite influence, the impressionistic influence on Spanish composers.It contains a description of the characteristics of the two musical genres, informations on their most renowned composers’ composing style and an analysis on two relevant pieces of the guitarist and orchestral repertoire.I found out a very strong link between the two genres, with Impressionism being very influenced by the traditional Flamenco style and the guitaristic idiomatic language and on the other hand the Spanish composers including in their compositions the new Impressionistic composing techniques and its new research on colors and timbres.Keywords:

Album Notes For those who love the traditional music of Southwest Virginia, especially the many folks who make it, listening to these recordings will likely be a deeply emotional experience. Embedded within these recordings are cherished memories that connect people to the first time they ever heard a certain artist, or the first song they themselves ever learned on guitar. A Century of Heritage Guitar Music represents a shared experience of the people of The Crooked Road region - an experience that connects families and communities with their unique place and culture. Like The Crooked Road itself, this compilation is about music that is rooted in a particular place - a music that is perpetuated for the most part by barbers, farmers, luthiers, cabinet makers, and other folks who delight in the music-making at day's end. How remarkable that their music, made mostly for sharing with their friends and community, has had such a profound impact around the world. The Crooked Road is truly grateful for the opportunity to share the contributions of these amazing artists through this compilation. / https://dc.etsu.edu/etsu_books/1160/thumbnail.jpg

A reliable music store should carry a wide selection of guitars for you to choose from. Ask your teacher which brands he would suggest. You might also ask him to help select a guitar for you. You do not need an expensive instrument in the beginning. Choose a guitar that feels comfortable to you. Do not choose one that is too large for you to hold correctly.

Detailed discussion of tuning the classical guitar within the context of equal temperament's development. Alternative models for tuning systems are discussed along with accurate and practical guidelines on how to tune the conventional classical guitar using equal temperament.

Fretboard harmony is essential in any thorough approach to the education of classical guitarists yet no effective method or materials for teaching a course in fretboard harmony is currently available. This dissertation aims to remedy this state of affairs by providing a method book intended for use in an upper-level undergraduate course. The design of the method book is informed by the study of historical documents and by the examination of recent theory and keyboard harmony texts. In Chapter I, materials from the Renaissance, Baroque and Classical guitar traditions are examined to assess the historical conception and use of the guitar as an harmonic instrument. These include Matteis’ The False Consonances of Music, Sor’s Méthode pour la guitare and Horetzky’s Preludes, Cadences and Modulations. Having established some historical context, the dissertation proceeds in Chapter II to examine theory and keyboard harmony texts to determine if there is a consensus on the ordering of presentation of concepts. The type of exercises given and their deployment are also assessed. The fretboard harmony method which emerges from these studies adapts this information to the particular exigencies and constraints of the guitar, resulting in a text which is intended for use in a full-year, upper-level undergraduate course. It comprises Chapter III and consists of a progressive arrangement of over 250 exercises along with written instruction. It begins with fretboard orientation and proceeds through single-note exercises, intervals, triads, chords, chord function and chord progression and modulation. The derivation of barre chords and “common” or “familiar” chords is explicated through a systematic method of chord formulation. Melody harmonization and figured bass realization are employed as pedagogical tools and are objectives in themselves in learning to actualize harmony on the fretboard. The harmonic scope of the method is confined to the vocabulary of the common-practice period. The use of secondary dominants, Augmented and Neapolitan 6th chords are final goals. Chapter IV is a conclusion of the study with a discussion of potential areas of future research.

Fretboard harmony is essential in any thorough approach to the education of classical guitarists yet no effective method or materials for teaching a course in fretboard harmony is currently available. This dissertation aims to remedy this state of affairs by providing a method book intended for use in an upper-level undergraduate course. The design of the method book is informed by the study of historical documents and by the examination of recent theory and keyboard harmony texts. In Chapter I, materials from the Renaissance, Baroque and Classical guitar traditions are examined to assess the historical conception and use of the guitar as an harmonic instrument. These include Matteis’ The False Consonances of Music, Sor’s Méthode pour la guitare and Horetzky’s Preludes, Cadences and Modulations. Having established some historical context, the dissertation proceeds in Chapter II to examine theory and keyboard harmony texts to determine if there is a consensus on the ordering of presentation of concepts. The type of exercises given and their deployment are also assessed. The fretboard harmony method which emerges from these studies adapts this information to the particular exigencies and constraints of the guitar, resulting in a text which is intended for use in a full-year, upper-level undergraduate course. It comprises Chapter III and consists of a progressive arrangement of over 250 exercises along with written instruction. It begins with fretboard orientation and proceeds through single-note exercises, intervals, triads, chords, chord function and chord progression and modulation. The derivation of barre chords and “common” or “familiar” chords is explicated through a systematic method of chord formulation. Melody harmonization and figured bass realization are employed as pedagogical tools and are objectives in themselves in learning to actualize harmony on the fretboard. The harmonic scope of the method is confined to the vocabulary of the common-practice period. The use of secondary dominants, Augmented and Neapolitan 6th chords are final goals. Chapter IV is a conclusion of the study with a discussion of potential areas of future research.

Thesis--University of California, Los Angeles. / Vita. Concordance of manuscripts, printed sources and transcriptions: v .1, leaf 332-343. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (v. 1, leaves 305-330).