Landscape II is the second piece of a series of short contemporary pieces for guitar written by Argentine-born American composer Pablo Emiliano Fedele.

This is the standard guitar edition with tuning D A D G B E. (Originally written for 10 strings classical guitar F# G# A# D E A D G B E, also available).

Written in a modern language, it's time signature is 3/4 in the Key of D Major. Following the path of Landscape I, the piece explores chords and textures, layers of sound and rhythmic complexity with a strong detail in the technical use of both hands.

Although not specifically detailed, some rhythm patterns of this piece are similar to those found in Argentinian folkloric music that influenced the composer.

The piece was written for an intermediate and advanced level. This edition contains a suggested fingering and positions to create the sound the composer believes is the essence of the piece. Students, teachers and artists are welcome to visit Pablo Fedele's website and social media to get in contact and ask all the questions about practice and performance of the piece.

Performance suggestion: This music could be performed with an additional media, like a video animation, a painting, a short film or live presentation, if possible.

Landscape III is the third piece of a series of short contemporary pieces for guitar written by Argentine-born American composer Pablo Emiliano Fedele.

This is the standard guitar edition with tuning C A D G B E. (Originally written for 10 strings classical guitar F G Bb C D A D G B E, also available).

Written in a modern language, it's time signature is 3/4 in the Key of C Major. Following the path of Landscape I and Landscape II, the piece explores chords and textures, layers of sound and rhythmic complexity with a strong detail in the technical use of both hands.

Although not specifically detailed, some rhythm patterns of this piece are similar to those found in Argentinian folkloric music that influenced the composer.

The piece was written for an intermediate and advanced level. This edition contains a suggested fingering and positions to create the sound the composer believes is the essence of the piece. Students, teachers and artists are welcome to visit Pablo Fedele's website and social media to get in contact and ask all the questions about practice and performance of the piece.

Performance suggestion: This music could be performed with an additional media, like a video animation, a painting, a short film or live presentation, if possible.

Landscape I is a contemporary piece for guitar written by Argentine-born American composer Pablo Emiliano Fedele.

This is the standard guitar edition with tuning D A D G B E. (Originally written for 10 strings classical guitar F# G# A# D E A D G B E, also available).

Written in a modern language, it's time signature is 6/4 without a key signature indication. The piece explores chords and textures in combination with single notes passages, creating layers of sound.

The piece was written for an intermediate and advanced level. This edition contains a suggested fingering and positions to create the sound the composer believes is the essence of the piece. Students, teachers and artists are welcome to visit Pablo Fedele's website and social media to get in contact and ask all the questions about practice and performance of the piece.

Performance suggestion: This music could be performed with an additional media, like a video animation, a painting, a short film or live presentation, if possible.

This is a beautiful, tender and heartfelt, finger-style guitar solo (ballad), exactly as performed by The Candlelight Guitarist on the album "Sunflower Serenity." As with other Candlelight Guitarist pieces, it seamlessly blends romantic popular, folk, classical and jazz styles. Written in both standard notation and TAB, it's for a strong intermediate level finger-style player (budding-into-more advanced), comfortable playing up to 12th position, with capable finger-style abilities (either classical or strong folk technique). Hear Brad's original recording at https://youtu.be/5wIn_Z5iuQA

COMMENTS FROM LONG-ESTABLISHED REVIEWERS...
Dr. Beth - Amazon.com #1 Hall of Fame reviewer
"Brad has a knack for putting together gentle, soothing guitar medleys which provide the perfect background or relaxation soundtrack."

Bill Binkelman - Music Reviewer for Zone Music Reporter and New Age Retailer
"The Candleight Guitarist is your tour guide to a land of easy-going, warm, and inviting instrumentals."

Rebecca of Amazon - Amazon.com HALL OF FAME TOP 500 REVIEWER
"Bradley Powell's flawless playing allows you to completely relax into sleep or relax into an evening of candlelight and romance. I've fallen into a peaceful sleep while listening to this music and have also spent relaxing afternoons reading while The Candlelight Guitarist wove an intricate tapestry of sounds to nurture my heart." ... "Bradley Powell's music is infused with natural ambience. As rich sounds renew your spirit, you can relax into a deep sigh of the heart. His style is artistic, heart healing and filled with romantic and cultural influences."

Vicki Blizzard (Editor, PaperWorks and Crazy for Cross-Stitch! magazines) in CREATIVITY e-Letter: "Music to filter into my dreams. My new favorite to listen to is classical guitar music by Bradley Powell."

Jana L. Perskie "Ceruleana" (New York, NY USA) ~ Amazon.com TOP 50 Reviewer.
"The talented and creative Bradley Powell is the Candlelight Guitarist. His music is original and some of the most soul soothing I have ever heard.

Bob McKillop, founder and publisher, MaineFolkMusic.com
Brad Powell is a talented and highly trained California guitarist and composer who calls himself "The Candlelight Guitarist", and for good reason. His music is perfect for situations in which candlelight figures prominently. Quiet meditation, romance, intellectual stimulation ? the soft, pure tones of his Spanish and classic instrumental style open up your heart and render it more receptive to the spiritual messages that these pursuits engender."

Grady Harp - HALL OF FAME TOP 100 REVIEWER
"music to soothe and calm and enrich the psyche. Would that there were more Brad Powells out there to help us all through these times. The world would be a saner place!"

ABOUT: Bradley Powell (aka The Candlelight Guitarist) began guitar at age ten, inspired by The Beatles. At 15, he became a prot�g� of jazz guitarist Joe Pass, and later studied classical guitar under Vincent Macaluso and at California State University, Northridge under Ronald Purcell, with a master class under Andr�s Segovia. Brad was featured performing Gerald Wilson's Sonata for Guitar and Orchestra at the Hollywood Bowl, with the composer conducting. Brad was mentored in composition by David Rose (composer for "Little House on the Prairie"). Brad has composed music for TV, including Hill Street Blues and The 'A' Team, working with Mi

Notturno is simply "nocturne" with an Italian aroma. Bella Vita, eh!
Many concert works in the standard repertoire are placed in keys with five flats of sharps or more, as this piece illustrates. The reason for this is not mere "virtuosity" or even intellectual hubris. The black-keys afford an access to many kinds of gestures that alternate between the black and white keys, for two hands, in a way that placement in C, F or G simply do not provide. Having the hands in and up over the black keys affords, as in this case, an easy alternation between an upper and lower hand gesture, without having to be in the same keyplane.
Why are the black keys easier for this, you might ask, since they are ALSO in a uniform plane? The white keys have no diatonic gaps, but the black keys, forming a pentatonic scale with two gaps, does indeed afford just such a place to place these sorts of piano-drumming gestures. The main distinguishing feature of our setting here is the elimination of this top melody tone, which dies so fast,and yet in standard editions gets smeared across the top of many lines like excess frosting that has already been eaten.
Our edition shows when each gesture begins, and does NOT emphasize how long these drawn-out single tones last, over the accompaniment. Spellings are better, and pedaling is included throughout, rather than left to laissez-faire. 10ths are often used here, and are shown are arpeggiandi throughout.
The MIDI file playback here does not really convey how much rubato can be applied to this piece, in a most musical and entertaining way, as the composer intended. MBB.