In the present day, what we call classical guitar music covers a historical and stylistic spectrum much wider than the term “classical” suggests. Our literature starts with music originally played on the modern six-string guitar’s much older relatives - - Spanish vihuela, Renaissance and Baroque lute; and direct antecedents like the four and five course (double string) guitars played throughout Western Europe.
The guitar we now play, began to take its form during the 18th and 19th centuries and a great deal of music was written for it, yet this somewhat delicate instrument was played primarily for light entertainment only, notwithstanding the emergence of many celebrated virtuosos, some of whose music is included in this collection.
The guitar’s modern era begins toward the end of the 19th century, when Spanish luthiers (plucked string instrument makers), led by the pioneering work of Antonio de Torres, developed a “new” kind of instrument - - louder, better and more strongly constructed, more expressive, able to meet the Virtuoso player on his own terms. The “classical” guitar continues to evolve; international concert artists, and the composers they inspire, have extended the technical demands and exploited the potential of the instrument far beyond what existed in the past. All this puts the guitar on a par with any classical instrument in the breadth of its repertoire and expressive capability, not to mention its worldwide popularity with musicians of all levels and listeners of all tastes.
Nevertheless it is what sets the guitar apart from other instruments that concerns us. These special qualities are as difficult to generalize as music itself, but one might say the guitar truly shines in the realm of private feeling and experience of making music.
Classics For The Guitar In Tab by Jared Walker distributed by Santorella Publications is written in standard notation & tablature and includes twenty-four pieces which have been selected for a variety of reasons. Some where chosen to provide diversity and uniqueness and for their value in building proper technique. Others where chosen for their intrinsic musical quality and their beauty in performance. The remaining titles were truly chosen for their importance and should be considered mandatory for any classical repertoire.
LEVEL ONE
CESARE NEGRI - BIANCO FIORE • J.S. BACH - PRELUDE IN C • W.A. MOZART – ALLEGRO • L. VAN BEETHOVEN - BAGATELLE OP. 119 #9 • FERNANDO SOR – MODERATO • FREDERIC CHOPIN - ETUDE OP. 28 # 7 • FRANCISCO TARREGA – ADELITA • LAGRIMA
LEVEL TWO
ANTONIO VIVALDI – LARGO • W.A. MOZART - ANDANTE GRAZIOSO • L. VAN BEETHOVEN - BAGATELLE OP. 119 #4 • FERNANDO SOR - ALLEGRO GRAZIOSO • MAURO GIULIANI – ALLEGRO • MATTEO CARCASSI – ANDANTINO • ALLEGRO •ANONYMOUS - ROMANZA
LEVEL THREE
SYLVIUS L. WEISS – ENTRÉE • J.S. BACH - JESU, JOY OF MAN’S DESIRING • BOUREE • DOMENICO CIMAROSA – SONATA • MATTEO CARCASSI – ALLEGRETTO • NAPOLEON COSTE – SCHERZANDO • FREDERIC CHOPIN - ETUDE OP. 28 #4 • FRANCISCO TARREGA - MARIA
About The Author
A native New Yorker, Jared Walker began playing guitar as a 12 year old and was in and out of blues bands throughout his teens. His professional experience is unmatched by many.
Switching emphasis, he studied classical guitar, music theory and composition at the University of California, and after earning a degree in 1976 he returned to New York.
Since then, Jared has been active in both the classical and pop worlds as a performer, composer, arranger and teacher. He has authored and edited many books on a variety of musical styles, maintaining a special passion for flamenco guitar.
