ISBN 9781619114265. These compositions, like most of my music, are of Latin American roots, rhythms and melodies. However, the harmonies always have a jazz influence without losing that Latin flavor. Four of the five pieces in this book are dedications, except Lullaby of Love. I would say I wrote it for myself, and it is the only piece recorded by me on my CD Latin Dialog, released by Luthier Music. My hope with this music is to bring more guitarists closer to the Latin American literature for the guitar that is still much in need of recognition.- Jorge Morel.

Song List: A Rhythm Review A Rondo For Two Guitars M. Gebauer, Opus 10  Around Her Hair She Wore A Purple Ribbon Auld Lang Syne Aura Lee Balkan Moon Black is the Color of My True Love's Hair Blue Guitar Bublitchki Careless Love Carry Me Back To Old Virginny Bland   Darling Nellie Gray Duet In D Minor Mazas  Grandfather's Clock Greensleeves Gypsy Guitars Joshua Lament In E Minor Little Annie Rooney Londonderry Air March Slav Tschaikowsky  Melody If F Rebenstein-Bay  Mustang My Bonnie Oh! Susanna Polly Wolly Doodle Seeing Nellie Home Shenandoah Ski Jump Sombrero Thanksgiving The Girl I Left Behind Me The Guitar Festival Mazas   The March Of The Robots The Melancholy Maid The Steeplechase The Streets Of Laredo The Swiss Yodeler Waltz in B minor When The Saints Go Marching In

ISBN 9781619114036. The Romance Anonimo ("Anonymous Romance") is one of the most popular pieces in the classical guitar repertoire. Also known as Spanish Romance, Romance de Amor, Jeux interdits and Estudio de Rubira, this 19th century work has continually delighted lovers of the instrument around the world and has become a standard part of guitar pedagogy.In this Mel Bay publication guitarist/composer Rico Stover offers his original composition Romance Variations in a 25 page score of the work with accompanying audio. Different "flavors" of guitar styles are heard in these variations which are inspired by guitarists/composers whom Rico admires: Mateo Carcassi, Joe Pass, Heitor Villalobos, Luiz Bonfa, Chet Atkins and Atahualpa Yupanqui.After a short introduction, the Romance theme is heard, after which the variations commence. Each variation follows the minor/major pattern:Variation 1: Arpegiado - classical arpeggiosVariation 2: Bordoneo - bass line texturesVariation 3: Villalobosiana - in the style of the masterVariation 4: Bossanova - Brazilian syncopationsVariation 5: Chet's Pick - country style fingerpickingVariation 6: Aire de Danza - Latin American dance rhythmsThe essay "Romance Anonimo: Who Composed It?" explores the different theories regarding the question of authorship, including an analysis of seven different editions of the Romance that date from 1900 to 1958.

A Flamenco guitar solo in the Tarantas style. The Tarantas is a free-flowing slow moving Fandango from the region of Almeria which was earlier a principal mining region of Spain. The style is therefore sometimes called Mineras. Tarantas has long been one of my favorite Flamenco pieces for the guitar. It is notated in the key of B minor, based on a so-called ?Andalusian? cadence consisting of the chords B minor - A major (open B and E) - G major (open B and E) - F# major (with open G, B, and E). These dark and indefinite sounding chords allow plenty of room for the guitarist to open up emotionally with the audience.The material for the piece consists mostly of traditional themes that I have woven into a compositional whole along with a few of my own creations (falsetas). Songs for Tarantas are often expressions of loss of a loved-one in some mining tragedy. The long legato passages demand a complete mastery of the technique and should be played as fluidly as possible. The fanning (abanico) rasqueados in the finish of the piece can be new to guitarists coming to Flamenco from classical guitar. Demonstrations of this type of rasqueado can be found at my YouTube sites: https://youtu.be/sB-rDGtXK34 and https://youtu.be/OVBbUZFIj2s. Another type of rasqueado used frequently in the piece is a soft four finger rasqueado (cami) preceded by and followed by a brush up and down over the strings with the thumb (p-camip), accompanied by legatos on the base strings.The piece is accessible for advanced intermediate to advanced guitarists. As the Tarantas is played sens mesure, not demanding any competence of special flamenco rhythms, it is also a flamenco piece readily playable by classical guitarists. Classical guitarists should however be aware that the thumb plays the dominant role even in the more melodic passages.