BAROQUE MUSIC FOR ACOUSTIC GUITAR. Stephen C. Siktberg TABLATURE

BAROQUE MUSIC FOR ACOUSTIC GUITAR. TABLATURE

Product Description:
A comprehensive volume of musical selections from the masters of the Baroque period. Pieces chosen for this book required little alteration from the original manuscript and so do not stray from the composer's original musical intent. Left-hand fingering has been included extensively whereas right-hand fingering is left up to the performer. Requirements for altered tunings and suggestions for the use of capo are indicated at the beginning of each piece where applicable. Contains suggested barres, natural harmonics, and ornamentation. Written in standard notation with a separate tab selection. 294 PAGES

The musical selections in this book come from some of the greatest composers of the Baroque Period. Since none of these individuals wrote for the guitar, these pieces are arrangements of works originally intended for other instruments. In selecting material for this book, I was careful to choose pieces that could be played on the guitar without straying too much from the original versions. The most frequent alterations I made were either to change the key, change the register of the bass line, or occasionally revoice a chord. A very important aspect of the performance of Baroque music is the use of ornamentation. Though often represented by symbols in the score, ornaments are sometimes implied by the musical context. The most common types are trills, though there are many others. Their execution is flexible and open to the interpretation of the performer. For the purposes of this book (and after doing considerable research), I have written out all of the ornaments in conventional notation. As such, these realizations have been subject to my interpretation. In some cases, where a particular ornament is prohibitively difficult on the guitar, it has been either modified or omitted.About the Composers

Johann Pachelbel (1653-1706) was a German organist and composer who is best known today for his "Canon in D." The fugues that are included here were written for the organ but work well on the guitar. The early Baroque style of writing in these pieces is less chromatic than in the fugues of Bach, and is reminiscent of the ricercares and fantasies for lute that were popular in the Renaissance.

The most famous composer of late 17th-century England was Henry Purcell (1659-1695). His influence can be heard in the music of Handel, who spent the better part of his professional life in England. Purcell is perhaps best known for his choral works though he wrote music of all types. The pieces here are taken from his miscellaneous keyboard compositions.

Francois Couperin (1668-1733) was an internationally famous French composer and

harpsichord virtuoso. He was one of the first proponents of the rococo or "gallant" style which

was simpler and more elegant than mainstream Baroque music and ultimately helped pave the

way for the early Classical composers.

Like Couperin, Jean-Philippe Rameau (1683-1764) was a famous French composer who wrote in the "gallant" style. He is considered by many to be the father of the study of harmony because of his many writings on the subject. His three collections of harpsichord pieces are the source for the arrangements in this volume.

The keyboard sonatas of Domenico Scarlatti (1685-1757) have long been a favorite with guitarists. He wrote over five hundred of them, many of which fit well on the guitar. Though he was born in Italy, he spent his last years in Spain where the sonatas included here were written.

George Philip Telemann (1681-1776), was a very prolific and successful German composer who was friends with both Bach and Handel. The pieces here are taken from his 36 Fantasias for Harpsichord. The style of writing in these pieces varies from the Baroque to the Rococo.

Johann Sebastian Bach (1685-1750) and George Friedrich Handel (1685-1759) are often mentioned in the same breath as representing the pinnacle of Baroque music. Although Handel, like Bach, was born and raised in Germany, he spent most of his life in England where he became a citizen and wrote his most famous works. His keyboard pieces offer an interesting contrast to those of Bach and often fit nicely on the guitar.

Contents:

Foreword

Johann Pachelbel (1653-1706)
Fugue in C
Fugue in G
Fugue in G
Fugue in Dm
Fugue in D

Henry Purcell (1659-1695)
Air in Em
Hornpipe in Em
Prelude
Prelude
March in D
A Ground in G
Air in Em

Francois Couperin (1668-1733)
Le Petit-Rien (Rondeau)
Le Trophie
La Flore
La Morinete
Les Tambourins
La Badine (Rondeau)
Les Bacchanales
La Bourbonnoise (Gavotte)

Jean-Philippe Rameau (1683-1764)
Menuet en Rondeau
Menuet
Sarabande 1 & 2
Gavotte en Rondeau
Les Tendres Plaintes (Rondeau)
Menuet 1 & 2

Domenico Scarlatti (1685-1757)
Sonata in G (K 431)
Sonata in Dm (K 434)
Sonata in D (K 414)
Sonata in A (K 428)

George Philip Telemann (1681-1776)
Fantasia in Em
Fantasia in D
Fantasia in D
Fantasia in Dm
Fantasia in Am
Fantasia in C
Fantasia in Em

George Friedrich Handel (1685-1759)
Sonatina in C
Allemande
Sarabande (with variations)
Allegro (from Great Suite #7 for Harpsichord)
Sarabande (from Great Suite #7 for Harpsichord)
Passacaille (from Great Suite #7 for Harpsichord)
Allegro (from Partita in G major for Harpsichord)
Courante (from Partita in G major for Harpsichord)
Sonata in C

Johann Sebastian Bach (1685-1750)
Prelude (from Suite #1 for Violoncello)
Menuet 1 & 2 (from Suite #1 for Violoncello)
Gigue (from Suite #1 for Violoncello)
Gavotte 1 & 2 (from Suite #6 for Violoncello)
Gavotte en Rondeau (from Partita #3 for Violin)
Menuet 1 & 2 (from Partita #3 for Violin)
Bourée (from Partita #3 for Violin)
Sarabande & Double (from Partita #1 for Violin)
Tempo di Bourée (from Partita #1 for Violin)