Corbetta Suite in A minor

My transcription of this important early guitar work is now available to download for free at my personal website. This is one of the first pieces I transcribed, and my introduction to the seductive and rarefied soundworld of the baroque guitar. My interest in this repertoire was awakened on discovering the Allemande from this suite in one of Fred Noad's anthologies. 

There have been a few versions of this work made available over the years, including editions by John Duarte and Derek Kennard. My version restores the original movements (What did 1970s editors have against Passacailles?), as Corbetta surely intended, as his book is carefully indexed and selected. I have also not yielded to the temptation of adding too many bass notes-it is my intention to retain as much of the baroque guitar character as possible without hamstringing the modern one! 

Hope you enjoy this fine example of 17th century French guitar music.

New Work - Glosa sobre el Miserere de Allegri

I am very pleased to announce the release of a new work for solo guitar. Glosa Sobre el Miserere de Allegri is a fantasia based on Allegri's much-loved vocal work. It was common practice in the 16th and 17th centuries for lutenists and vihuelists to make instrumental versions of polyphonic vocal works, and this piece is a contemporary take on how a player of these centuries may have reimagined the work. 

I have used lute tuning (3rd string to F sharp) and also supply tablature for lute. 

"New" Bach for the guitar

Guitarists have treated J. S. Bach's music as their own since Segovia started to perform movements from the so-called "lute suites" in the 1920s. The fact that these have long been proven to be keyboard works has not changed their popularity. The fact is that they work magnificently, as do most of the solo string suites. There seems to be a purity of line in Bach's work which transcends instruments.

Accordingly, I have been looking elsewhere throughout Bach's massive output for music which can work on the guitar. The first fruits of my labours are now available - the Prelude from BWV 543 and three of the Neumeister Chorales. The prelude was originally composed for the organ, and is followed in the original by a fugue. Stylistically, the work recalls Bach's violin music in its use of widely flung arpeggio figuration and rapid scale work, and concludes with an orchestral tutti in multiple parts. Whilst difficult, it sits well under the fingers and makes a fine showpiece which exploits the guitar's registral and tonal resources to the max.

I am also preparing to publish an arrangement of the fugue from this work - as is, it is theoretically possible to play almost all of the notes, but the difficulties in doing so at a reasonable tempo are considerable. I am working on scaling down the polyphony in the interests of facilitating greater practical fluency. My model here is Bach's own fugal writing for solo strings - the fugue from the first violin sonata also exists as an organ piece, which features a much more complex polyphonic structure. On the violin Bach is able to suggest harmonic motion from a single line redolent with implied counterpoint, and this is the approach I am taking towards realizing the fugue from BWV 543.

The other works I am releasing are some of my duet arrangements of the Neumeister Chorales. Also originally for organ, the burden is shared quite comfortably between the two guitars. This is a great way for guitarists to get their hands dirty with some of Bach's most ingeniously woven polyphonic structures. 

Welcome to Trove Music

-Announcing the opening of my online store, where you can download digitized scores of classical guitar music, both new and rediscovered. I'm beginning by publishing a newly-typeset edition of my *famous* duet Black Cat Tango and some of my solo pieces, most of which I and others have enjoyed performing for many years.

I am also releasing Music for Guitar Books 1 and 2 -  two volumes of arrangements for students, solo and duo. These include simple ensemble reworkings of music by guitarists including Sor and Coste, introducing their music to students at the very beginning of their musical journey. There are also arrangements of great pieces by non-guitarists including Debussy, Bartok, J.S. Bach, Mahler, and many others.

Additionally, I am dusting off and bringing to light some of the best pieces from my archive of transcriptions. I have been digging around in 16th and 17th century guitar and lute manuscripts for years, and have been constantly surprised and excited to unearth great pieces by practically unknown composers. I'm starting with a few pieces by the guitarists Corbetta and Bartolotti - a short Suite in D by the former, and a great Passacaglie in A minor by the latter. In an era when the ground bass reigned supreme, Bartolotti stands out from the crowd of plucked string composers, with substantial sets where the thematically related variations develop in intensity to create convincingly shaped larger structures. Both of these composers were ingenious in their approach to the limited resources of the 17th century guitar, and whilst it is theoretically possible to read directly from the tablature, it has been worth the time and effort to  adapt these pieces to the modern instrument whilst retaining their original character.

I will be publishing much more or this sort of thing over the next little while, hope that you can find something to stimulate your musical tastes.