My first book, Playing the Guitar, was designed to w hel the appetite of the person who had found an interest in the guitar by illustrating various styles.
This present volume is for the person who wishes to express him- or herseir through the beautiful voice of the solo guitar. The guitar has a magnetic attraction for those who have heard its tone and range of sensitivity demonstrated. Whether the seed was sown by the sound of Segovia or some other great player, my object here is to initiate the reader into the mystery, or apparent one, of this most eloquent of instru-ments.
In fairness to the majority I have started at the beginning and expected no prior knowledge, and if the reader can discover even a part of the pleasure that I have had from my years of association with the guitar, then my purpose has been achieved. I should like to express thanks to my good friend Howard Heitmeyer for consistent help and encouragement in the preparation of this work. I should also like to thank. Abrabam Chelst for help in discovering sources of repertoire material and for making available to me his careful translations of the tablature of Gaspar Sanz into modern nota-tion.
The guitar today is enjoying a level of popularity unprecedented in history, and it is giving competi-tion even to the piano as the household instrument of the musical family. While many use the instru-ment only as an accompaniment to the voice, more and more people arc seeking to develop their abil-ities and explore the solo potential of the guitar, Lo the extent that few major cities do not now have at least one guitar society where amateurs may meet and perform.
Perhaps the closest historical parallel is af-forded by the English Elizabethan period, when the guitar's companion instrument, the lute, achieved a leading position among both profes-sionals and amateurs.
The situation was similar in the other European countries except Spain, where the preferred instrument was the vihuela, strung like the lute, but somewhat more like a guitar in shape. Both instruments owe their introduction into Europe to the Moorish invasion of Spain in The seventeenth century saw a sharp decline of interest in the lute, probably because of the extra strings now added to it, increasing its complexity and the difficulties of tuning.
However, at the end of the century a new craze took over, this time for the guitar. At this time the guitar was strung with five pairs of strings, comparable to the upper five strings of the modern guitar. Such was its popular-ity at the court of Charles II that the scene there was described by a contemporary as one of "uni-versal strumming," and much the same situation existed in the French court of Louis XIV, who was also a player.
The composers for the guitar of this period were mostly performers themselves, as was the case with the lute. Among the most popular were Fran-. After enjoying a period in the favor of fashion-able society, the guitar faced a decline in popular-ity in the mid-eighteenth century attributed.
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Includes access to audio demo tracks online for download or streaming.. Schirmer, Inc. Composer: Frederick Noad. Web icon An illustration of a computer application window Wayback Machine Texts icon An illustration of an open book. Books Video icon An illustration of two cells of a film strip.
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