The purpose of this study was to investigate how a small selection of guitar teachers go about to teach chords on electric guitar, as well as how a small selection of guitar students have experienced the phenomena during their studies. To answer the research questions, two experienced guitar teacher and two guitar students were subjects to qualitative interviews. The theoretical perspective of the study was hermeneutic. The results showed that the methods employed by the teachers to a high degree related to how they have been taught and also learned by themselves. Another result is that the combination of systems, music theory and practical musical performance can help guitar students to reach a point of musical independence. The results provide an insight in how chordal playing on electric guitar can take place on a higher level, and also opens up for research within several areas of guitar education. / Syftet med denna studie var att undersöka hur ett mindre urval av gitarrlärare lär ut ackord på elgitarr, samt hur ett mindre urval gitarrelever upplevt att de undervisats i ackordspel. För att besvara forskningsfrågorna genomfördes kvalitativa intervjuer med två erfarna gitarrlärare, samt två gitarrelever som studerat elgitarr på musikgymnasium och folkhögskola. Studiens teoretiska perspektiv var hermeneutiskt. Resultaten visar att lärarna till stor del undervisar med metoder som fungerat för dem själva, samt att en kombination av system, musikteori och framförallt praktiskt musicerande kan ge gitarrelever de grundkunskaper som behövs för att vara självgående som elgitarrist. Resultat ger en inblick i hur ackordundervisning kan ta form på högre nivå, och öppnar upp för flera områden av framtida forskning i elgitarrmetodik.

The guitar chord (a sonority based on the open strings of the guitar) is one of Alberto Ginastera's compositional trademarks. The use of the guitar chord expands throughout forty years, creating a common link between different compositional stages and techniques. Chapters I and II provide the historical and technical background on Ginastera's life, oeuvre and scholar research. Chapter IV explores the origins of the guitar chord and compares it to similar specific sonorities used by different composers to express extra-musical ideas. Chapter V discusses Ginastera's initial uses and modifications of the guitar chord. Chapter VI explores the use of the guitar chord as a referential sonority based on Variaciones Concertantes, Op. 23: I-II, examining vertical (subsets) and horizontal (derivation of motives) aspects. Chapter VII explores uses of trichords and hexachords derived from the guitar chord in the Sonata for Guitar Op. 47.

No description available.

Johannes Möller's 2014 composition Shenandoah Fantasy for Two Guitars, is a theme and variations on the American folksong Oh Shenandoah and is the composer's only work dedicated to American music. An informed performance of this work requires biographical information. Since no scholarly work on this composer is currently available, this paper includes Möller's biographical information, compositional background and performance suggestions. This information was acquired through a recorded video interview with the composer that covered his early education as a guitarist and composer, his formal conservatory training, career accomplishments, influences that informed the piece, and suggestions for performance practice. The insight gained through this interview reveals its main influences as the Romantic Fantasy, American Minimalism, Keith Jarret's harmonization of Oh Shenandoah, American country and bluegrass music, and the sounds of American folk instruments. These are the subjects of the body of this paper. In addition to an overview of some scholarly writing on the styles which influence the piece, some solutions are offered at the end of the paper to aid in the performance of difficult passages. The intent of these solutions is to make the piece easier for the left and right hand, without sacrificing those musical elements that represent its influences. This is currently the only scholarly work available for Shenandoah Fantasy for Two Guitars and its composer.

Flamenco is a passionate style of song and dance accompanied by guitar. Its origin may be traced to the Moorish occupation of Spain, which began in the eighth century, and it continues to flourish in the southern Spanish region of Andalucia. This treatise will explore the structure and character of Flamenco and show how it influenced the twentieth-century Spanish classical composer Joaquin Turina in his five guitar works:(UNFORMATTED TABLE FOLLOWS): Fantasía Sevillana, Op. 23 (1923). Fandanguillo, Op. 36 (1926). Ráfaga, Op. 53 (1930). Sonata, Op. 61 (1931): Allegro, Andante, Allegro vivo. Homenaje a Tárrega, Op. 69 (1932): Garrotin, Soleares. (TABLE ENDS)

Ende des 19. Jahrhunderts trat nochmals eine überraschende Wendung in der öffentlichen Meinung zugunsten der Gitarre ein. Sie erklang jetzt in Salons und in vielen Konzerten. Es wurde viel über sie geschrieben. Aber bei wirklichen Musikern genoß die Gitarre immer nur einen Achtungserfolg. Was hat die Gitarre gerettet?

Este trabalho visou localizar, ler e analisar teses e dissertações de mestrado e doutorado a respeito do violão escritas e defendidas em universidades brasileiras entre os anos de 1991 e 2007. Procurou, também, observar as aplicações didáticas desses trabalhos como auxílio a professores, alunos e demais interessados a respeito do violão. Finalmente, conseguiu demonstrar que, a despeito da parca bibliografia impressa no Brasil referente ao violão, esses trabalhos - muitos deles passíveis de serem obtidos em sites e bibliotecas de universidades - servem como material de referência e estudo aos pesquisadores e público em geral. / This paper intended getting, reading and to analyze the thesis of doctoral and master degree about the guitar written in Brazilian universities between the years 1991 and 2007. Intended, also, to observe the didactic applications of this thesis as a source for teachers, students and any interested people about guitar subjects. Last, it goals to show that, despite the small number of books about the guitar printed in Brazil, this works - in general not difficult to have access in websites and libraries of the universities - are useful as material of reference and study for both researchers and public in general.

Os Sei solo â Violino senza Baßo accompagnato de Johann Sebastian Bach (BWV 1001-1006) têm sido transcritos para violão em movimentos isolados desde o final do século XIX e a transcrição (1934) da grandiosa Ciaccona pelo espanhol Andrés Segovia (1893-1987) tornou-se uma peça central no repertório para violão, sobretudo porque que a escrita para violino sofreu um redimensionamento na adaptação do violonista. Por outro lado, as abordagens do ciclo completo no violão têm se aproximado cada vez mais da escrita original para violino. Kazuhito Yamashita (1989), autor da primeira gravação do ciclo completo no violão, se mostra ainda influenciado pela prática segoviana de transcrição, mas Frank Bungarten (1988 - Sonatas/2000 - Partitas) chega a rechaçar a transcrição BWV 1006a, em que o próprio compositor adiciona baixos e preenchimentos harmônicos; Elliot Fisk (2001) segue o exemplo de Bungarten, realizando linhas de baixo apenas ocasionalmente e Timo Korhonen (2009- 2010) leva esse tipo de abordagem ao ápice, não fazendo adição alguma. Contrariando a tendência atual, a única referência coeva que temos de J. S. Bach tocando seus solos de violino é ao clavicórdio, adicionando quanta harmonia ele julgasse necessário, segundo seu aluno Johann Friedrich Agricola. Transcrições dele e de seus contemporâneos nos mostram que a prática de transcrição sempre envolvia a modificação da escrita original para violino tendendo uma maior elaboração polifônica da obra segundo os recursos da nova instrumentação (normalmente teclado ou alaúde). Ao se transcrever os Sei solo para o violão, a prática da época revela que uma pretensa fidelidade ao texto original é tão equivocada do ponto de vista estilístico quanto seria a versão de Segovia se essa fosse julgada fora dos padrões de sua época. Por outro lado, há gravações parciais dos Sei solo ao violão que seguem em maior ou menor grau as práticas de transcrição e de execução barrocas, além de várias gravações do ciclo completo por alaudistas e cravistas que não hesitam em transfigurar a textura original da escrita para violino, para a adequação da escrita aos seus instrumentos. O presente estudo visa estabelecer os fundamentos de uma prática de transcrição para violão dos Sei solo com base nas técnicas de transcrição e de execução do período da composição sem a pretensão de autenticidade ou fidelidade, mas como fonte de recursos de instrumentação (pela reelaboração da textura polifônica com adições de linhas de baixo e preenchimentos harmônicos) e de expressão (pela adaptação de recursos estilísticos essenciais como as articulações e os ornamentos). Em segunda instância, o estudo apresenta uma nova transcrição para violão dos Sei solo como exemplo de aplicação dos fundamentos de adaptação dessas obras. / The Sei solo â Violino senza Baßo accompagnato by Johann Sebastian Bach (BWV 1001-1006) have been arranged for guitar as isolated movements since the end of the 19th century and the transcription (1934) of the great Ciaccona made by the Spaniard Andrés Segovia (1893-1987) became a central work on the repertory, mainly for he remodeled the violin writing when adapting it for guitar. In the other hand, more recent approaches of the cycle have been became progressively simpler and closer to the original writing for violin. The first recording of the cycle on guitar, made by Kazuhito Yamashita (1989), still shows influences of Segovia, but Frank Bungarten (1988 - Sonatas/2000 - Partitas) rejects even Bach\'s own transcription of the 3rd Partia, BWV 1006a, where the composer adds bass lines and harmonies; Elliot Fisk (2001) follows Bungarten\'s example, with few bass additions; Timo Korhonen (2009-2010) goes further and does not add any notes, relying just on the violin score. In opposition to today\'s tendency on guitar, the only reference we to Bach himself playing the violin Solos is on the clavichord, adding as much harmony as he considered necessary, as reports his student Johann Friedrich Agricola. Bach\'s and his contemporaries\' arrangements clearly show us that the change of the medium in a composition (usually violin or cello) always involved the modification of the original writing, generally having more polyphonic elaboration after the resources of the new instrument (normally keyboard or lute). The period\'s practice reveals that an intentioned fidelity to the original musical text in a guitar arrangement is as misplaced as it would be the Segovia\'s version when judged by today\'s standards. In the other hand, there are partial recordings of the Sei solo on the guitar that seek to follow the baroque\'s arrangement and performance practices. There are also several recordings of the whole cycle made by lute and harpsichord players that do not hesitated about changing the original writing for violin in order to adequate the works for their instruments. The present study aims to establish the adaptation principles of the Sei solo for guitar based on period\'s arrangement and performance practices with no pretention of reaching neither authenticity nor fidelity, but simply as instrumentation resources (when rewriting of polyphonic texture with additions of bass lines and harmonies) and expression resources (when adapting stylistic essentials like articulations and ornaments). The secondary purpose of this research is to exemplify an application of the adaptation principles by presenting a new arrangement of the Sei solo for guitar.

The main motivation of this thesis is to explore several techniques for estimating electric guitar synthesis parameters to replicate the sound of popular guitarists. Many famous guitar players are recognisable by their distinctive electric guitar tone, and guitar enthusiasts would like to play or obtain their favourite guitarist's sound on their own guitars. This thesis starts by exploring the possibilities of replicating a target guitar sound, given an input guitar signal, using a digital filter. A preliminary step is taken where a technique is proposed to transform the sound of a pickup into another on the same electric guitar. A least squares estimator is used to obtain the coefficients of a finite impulse response (FIR) filter to transform the sound. The technique yields good results which are supported by a listening test and a spectral distance measure showing that up to 99% of the difference between input and target signals is reduced. The robustness of the filters towards changes in repetitions, plucking positions, dynamics and fret positions are also discussed. A small increase in error was observed for different repetitions; moderate errors arose when the plucking position and dynamic were varied; and there were large errors when the training and test data comprised different notes (fret positions). Secondly, this thesis explored another possible way to replicate the sound of popular guitarists in order to overcome the limitations provided by the first approach. Instead of directly morphing one sound into another, replicating the sound with electric guitar synthesis provides flexibility that requires some parameters. Three approaches to estimate the pickup and plucking positions of an electric guitar are discussed in this thesis which are the Spectral Peaks (SP), Autocorrelation of Spectral Peaks (AC-SP) and Log-correlation of Spectral Peaks (LC-SP) methods. LC-SP produces the best results with faster computation, where the median absolute errors for pickup and plucking position estimates are 1.97 mm and 2.73 mm respectively using single pickup data and the errors increased slightly for mixed pickup data. LC-SP is also shown to be robust towards changes in plucking dynamics and fret positions, where the median absolute errors for pickup and plucking position estimates are less than 4 mm. The Polynomial Regression Spectral Flattening (PRSF) method is introduced to compensate the effects of guitar effects, amplifiers, loudspeakers and microphones. The accuracy of the estimates is then tested on several guitar signal chains, where the median absolute errors for pickup and plucking position estimates range from 2.04 mm to 7.83 mm and 2.98 mm to 27.81 mm respectively.

O presente trabalho investiga a interpretação do bambuco Florecita del camino do colombiano Jaime Romero (1966) para violão solo, uma vez que foi concebido pelo próprio compositor originalmente para trio típico colombiano, ou seja, para três instrumentos de cordas. O gênero bambuco é o maior representante da música andina colombiana. Para esta pesquisa apresento dados sobre a forma e a estrutura do bambuco e, analisei e comparei a versão original com a de violão solo. Dois artigos escritos pelo próprio compositor, assim como uma entrevista serviram de base para o trabalho. Para auxiliar na interpretação deste bambuco, criei exercícios e micro estudos para confrontar as dificuldades técnicas que encontrei, incluindo digitações, e dificuldades expressivas desta obra. Este material pretende não só ajudar o intérprete ao se deparar com bambucos, como divulgar o gênero da música andina colombiana. / The purpose of this study is to investigate the interpretation of the bambuco Florecita del camino by the Columbian composer Jaime Romero (b. 1966) for solo guitar. It was originally composed for the Columbian trío típico, by the same composer, for three stringed instruments. The bambuco is the most representative of Columbian music of the Andes. Information about the form and structure of the bambuco were presented, as well as an analysis and comparison of the original version with the guitar solo version. Two articles by the composer and an interview served as the basis of this work. As for the interpretation of the bambuco, I created exercises and microstudies to overcome the technical difficulties I encountered, including fingering, as well as expressive difficulties in the piece. This material may be used to help those learning to perform the bambuco, making this genre of Columbian music of the Andes more accessible to listeners, as well.