This anthology contains nineteen of the most popular Gilbert and Sullivan classics arranged in easily sight-readable versions for beginning to intermediate classical guitarists. All the favorites are here, ranging from sentimental ballads such as 'Little Buttercup', 'Willow, Tit-Willow' and 'there Grew a Little Flower', to more up-tempo 'patter' type pieces such as 'Oh! A Private Buffoon', 'Kind Sir You Cannot Have the Heart' and 'A Policeman's Lot'. the aim has been to provide both a useful teaching resource and a light-hearted alternative to the more 'serious' music of the classical guitar repertoire. All the pieces lend themselves extremely well to the common idiomatic textures of the classical guitar. A variety of melody and accompaniment styles are employed, including block chords, arpeggio patterns and passages of double-stopped thirds and sixths. A number of the pieces are in easy first position format, while others explore the common higher positions. the standard guitar keys are utilized (C, G, D, A, E) but there are occasional more challenging temporary modulations to 'difficult' keys, such as E flat major. There are also instances of drop-D tuning, which is often required in classical guitar playing.
Wendy Carlos is one of the most influential electronic musicians of the 20th century, whose groundbreaking LP, Switched-On Bach, was pivotal in elevating the Moog synthesizer to iconic status. Her highly evocative score for Stanley Kubrick's film A Clockwork Orange redefined the sound of electronic music for a generation of popular musicians in the US and Europe. Best known for her adventurous sonic re-imaginings of the music of classical composers, Carlos was also an accomplished composer in her own right, whose original work on albums such as Sonic Seasonings and Beauty In The Beast deserves equal recognition for their progressive compositional innovations and sound design techniques. With the aim of addressing this imbalance, this book offers a detailed track-by-track survey of all of her album releases from Switched-On Bach to Tales of Heaven And Hell, placing each recording in context in relation to musical influences, technology and thematic concepts, as well as providing analytical pointers to help navigate her classically influenced musical aesthetic. To provide a fully rounded picture the last section of the book considers a number of Carlos's miscellaneous one-off projects and evaluates the remastered editions of her earlier LPs released on the East Side Digital label during the early 2000s. Mark Marrington is a musician, teacher and writer based in the North of England, UK. He has a wide range of musical interests including the classical guitar (about which he has written an award-winning book), quirky electronic music (some of which has appeared on BBC radio and the Dr Demento Show) and heavy metal, on which he has written several articles for academic books and journals. He is currently an Associate Professor in Music Production at York St. John University in the UK, where he gives classes on the history of record production and the techniques of electronic music composition.
Recording the Classical Guitar charts the evolution of classical guitar recording practice from the early twentieth century to the present day, encompassing the careers of many of the instrument’s most influential practitioners from acoustic era to the advent of the CD. A key focus is on the ways in which guitarists’ recorded repertoire programmes have shaped the identity of the instrument, particularly where national allegiances and musical aesthetics are concerned. The book also considers the ways in which changing approaches to recording practice have conditioned guitarists’ conceptions of the instrument’s ideal representation in recorded form and situates these in relation to the development of classical music recording aesthetics more generally. An important addition to the growing body of literature in the field of phonomusicology, the book will be of interest to guitarists and producers as well as students of record production and historians of classical music recording.
Wendy Carlos is one of the most influential electronic musicians of the 20th century, whose groundbreaking LP, Switched-On Bach, was pivotal in elevating the Moog synthesizer to iconic status. Her highly evocative score for Stanley Kubrick's film A Clockwork Orange redefined the sound of electronic music for a generation of popular musicians in the US and Europe. Best known for her adventurous sonic re-imaginings of the music of classical composers, Carlos was also an accomplished composer in her own right, whose original work on albums such as Sonic Seasonings and Beauty In The Beast deserves equal recognition for their progressive compositional innovations and sound design techniques. With the aim of addressing this imbalance, this book offers a detailed track-by-track survey of all of her album releases from Switched-On Bach to Tales of Heaven And Hell, placing each recording in context in relation to musical influences, technology and thematic concepts, as well as providing analytical pointers to help navigate her classically influenced musical aesthetic. To provide a fully rounded picture the last section of the book considers a number of Carlos's miscellaneous one-off projects and evaluates the remastered editions of her earlier LPs released on the East Side Digital label during the early 2000s. Mark Marrington is a musician, teacher and writer based in the North of England, UK. He has a wide range of musical interests including the classical guitar (about which he has written an award-winning book), quirky electronic music (some of which has appeared on BBC radio and the Dr Demento Show) and heavy metal, on which he has written several articles for academic books and journals. He is currently an Associate Professor in Music Production at York St. John University in the UK, where he gives classes on the history of record production and the techniques of electronic music composition.
This anthology contains nineteen of the most popular Gilbert and Sullivan classics arranged in easily sight-readable versions for beginning to intermediate classical guitarists. All the favorites are here, ranging from sentimental ballads such as 'Little Buttercup', 'Willow, Tit-Willow' and 'there Grew a Little Flower', to more up-tempo 'patter' type pieces such as 'Oh! A Private Buffoon', 'Kind Sir You Cannot Have the Heart' and 'A Policeman's Lot'. the aim has been to provide both a useful teaching resource and a light-hearted alternative to the more 'serious' music of the classical guitar repertoire. All the pieces lend themselves extremely well to the common idiomatic textures of the classical guitar. A variety of melody and accompaniment styles are employed, including block chords, arpeggio patterns and passages of double-stopped thirds and sixths. A number of the pieces are in easy first position format, while others explore the common higher positions. the standard guitar keys are utilized (C, G, D, A, E) but there are occasional more challenging temporary modulations to 'difficult' keys, such as E flat major. There are also instances of drop-D tuning, which is often required in classical guitar playing.
The Classical Guitarist's Gig Book is an essential collection of classic works either written or transcribed for solo guitar. Many of the pieces are frequently requested for ceremonial or formal events. In addition to containing functional music, concert literature is also included which may be used for a wide spectrum of musical situations. Some of the works are presented as faithful transcriptions while others are treated with mild to generous artistic liberties.
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