Performing Baroque Music On The Classical Guitar

As we go further into the 21st century, more and more classical guitarists wish to play baroque and galant music in a manner reflecting stylistic understanding of those eras. We will never know precisely how the music was played then, but can come closer to understanding the priorities of the time. The common denominator of music in our chosen period is rhetorical expression. Historical Performance Practice, by bringing us closer to the essence of the music, gives us not only more understanding but - above all - more possibilities for moving our listeners. While striving to play in a stylistic manner, we must never forget the goal of performance: to communicate passions and elevate the lives of our listeners. It is with this in mind that the present book has been written. Author: Peter Croton, early music performer, and teacher at the world-renowned Schola Cantorum Basiliensis as well as at the Conservatories of Basel and Bern. Cover art and design: Johanna Croton Paul Galbraith writes:"This handbook is a distinguished addition to the ever-expanding body of instructional literature for guitarists. In effect, we're treated here to a guided tour through a wealth of selected historical quotations and information, under the experienced supervision of Peter Croton, who offers his considered opinion at every step. A highly stimulating, provocative and educational read!" Pablo Márquez writes:"The great Hungarian pianist György Sebök used to say that 'the first step to freedom is to make a choice. When you have only one option then you have no choice, when you have two options then you have a dilemma, when you have three or more options then you start having a choice.' This new book by Peter Croton is a wonderful tool for guitarists to become freer in negotiating Early Music's vast territory." João Carlos Victor writes:"The popularity of baroque music among guitarists today raises the question: how can we convey the deep meaning of this music to 21st century audiences? Peter Croton's book is an extremely helpful guide. He not only discusses historical sources, but also draws upon his experience as performer, researcher and teacher. I had the privilege of studying with him for two years, thus personally experiencing his incredible knowledge and true commitment to this music."

James Tyler offers a practical manual to aid guitar players and lutenists in transitioning from modern stringed instruments to the baroque guitar. He begins with the physical aspects of the instrument, addressing tuning and stringing arrangements and technique before considering the fundamentals of baroque guitar tablature. In the second part of the book Tyler provides an anthology of representative works from the repertoire. Each piece is introduced with an explanation of the idiosyncrasies of the particular manuscript or source and information regarding any performance practice issues related to the piece itself -- represented in both tablature and staff notation. Tyler's thorough yet practical approach facilitates access to this complex body of work.

1. March - George Frederick Handel 2. Sonata in A Minor - John Christopher Pepusch 3. A Ground in Gamut - Henry Purcell 4. An Air - George Frederick Handel 5. Fughetta - George Frederick Handel 6. Menuet - Johann Heinrich Buttsted 7. Sonata in D Minor - Domenico Scarlatti 8. Sonata in A Major - Domenico Scarlatti 9. Prelude and Fugue No. 1 from the Well Tempered Klavier - Johann Sebastian Bach This anthology is a collection of solo guitar transcriptions ranging from intermediate to concert level. Many of the pieces are by some of the best known composers of the baroque era like George Frederick Handel and Johann Sebastian Bach. There are also some unique gems by lesser known composers that merit playing because of their very musical and memorable nature. Among the advanced pieces are Bach's Prelude and Fugue No. 1 from the Well Tempered Clavier and an exquisite Air by Handel. Though very different these two pieces in particular exemplifying the sophistication of baroque contrapuntal writing. The collection also includes charming examples of the Minuet, Sonata, Theme and Variations forms of the baroque era by Scarlatti, Purcell, Buttsted and Pepusch. This is a unique collection to savor over many years, full of pieces that will delight and challenge any guitarist.

The first book-length study in any language dedicated specifically to lute, guitar, and vihuela.

Listeners, performers, students and teachers will find here the analytical tools they need to understand and interpret musical evidence from the baroque era. Scores for eleven works, many reproduced in facsimile to illustrate the conventions of 17th and 18th century notation, are included for close study. Readers will find new material on continuo playing, as well as extensive treatment of singing and French music. The book is also a concise guide to reference materials in the field of baroque performance practice with extensive annotated bibliographies of modern and baroque sources that guide the reader toward further study. First published by Ashgate (at that time known as Scolar Press) in 1992 and having been out of print for some years, this title is now available as a print on demand title.

David Grimes has utilized his extensive research into Baroque music and his expertise in classical guitar solo performance to compile a truly unique and valuable collection. In addition to presenting an authoritative section on Baroque ornamentation, Mr. Grimes has notated a wealth of fascinating and beautiful guitar solos from the original tablature sources. Standard notation only.

David Grimes has utilized his extensive research into Baroque music and his expertise in classical guitar solo performance to compile a truly unique and valuablecollection. In addition to presenting an authoritativesection on Baroque ornamentation, Mr. Grimes has notated a wealth of fascinating and beautiful guitar solos from the original tablature sources. Standard notation only

Sight Reading for Classical Guitar (Level IV-V) is designed for grade school or university level in either private tutoring of class instruction and is intended to be used by guitar students on a daily basis. This volume, containing Levels Four and Five, continues the study of sight reading, providing material suitable for more advanced students. Both books can be used to establish a reading level for students entering a new environment of guitar instruction, whether it be private tuition or class lessons.