Carrickfergus is a coastal town on the eastern side ofNorthern Ireland. It is well-known for its castle, as a holiday destination butmostly for the beautiful nostalgic song that shares its name. The origin of themelody goes back at least three centuries and the modern version is probably ahybrid of two songs.

This download contains:

A full score

All individual parts in notes

All individual parts in TAB

The arrangement can be heard and watched here: https://www.youtube.com/watch?v=jn-wuGNeIsE

This arrangement is part of a series I amproducing which will allow gatherings of guitarists of all levels to playtogether. As a guitarist and guitar teacher, I?ve noticed how arrangements willoften be too easy for some and too hard for others leaving many ensembleplayers frustrated or dissatisfied. This is a deficiency I am resolving.

My aim is to create arrangements which arestimulating for all. I have done this by tailoring parts to suit the differenttechnical and musical experience of each level of guitarist. This makes thearrangements particularly suitable for guitar societies, school groups andfestivals. The required levels are approximated below. As an experienced musicianand composer, I have added many points of musical interest such as modulations,chord substitutions and counterpoint. This also gives teachers and leaders tothe chance to teach their groups about these devices in the context of learninga real work. Guitars 1, 2, 3, 4, 5 & 7 all play the main melody at somepoint (Guitar 6 being for near-beginners).

Technical Requirements��

� Guitars1 & 2 will suit players of Grade 6 (intermediate/advanced) standard or above. There is somehigh-position work.

� Guitars3 & 4 are suitable for players of about Grade 4 (intermediate) standard.

� Guitar5 is suitable for a player of about Grade 2 (beginner) standard.

� Guitar6 is suitable for near-beginners. It is mainly open strings with some first-positionstopped notes. Although it is a technically-easy part, it is very motivatingfor guitarists in their early stages to play with a large ensemble. This partis optional.

� Guitar7 is suitable for players of about Grade 5 (intermediate) standard. The bass line hasornamentation, a lot of rhythmic interest and at times, the melody.

Teachers and player can also benefit fromthe fact that a recording of the arrangement, with performance notes, is alwaysavailable on-line.

Thank you so much for your purchase. Ifyou have any questions, requests or would like to send feedback, it would be apleasure to hear from you at www.danjonesguitarist.com or on my facebook page.

Dan Jones, March 2019

�tudes for Solo Guitar
The subject of creating an educational aid for guitar students of an intermediate level that will serve also as a similar aid for theory and composition students fascinates me and motivates my compositional thought for quite a while. The objective was to create miniature complete works for the guitar, as J. S. Bach did with his fifteen inventions, in the ?manner? of an �tude that deals with specific aspects of guitar techniques and musicianship in general.


These �tudes are gradually graded based on their difficulty and style. They cover all the positions of the guitar and explore known and some unfamiliar techniques for the contemporary guitarist.
I used a compositional language more familiar for the level of the intermediate guitarist but without sacrificing my original compositional voice so these pieces could be used as concert works by the advanced musicians as well. My intention is to educate students in a multilevel study environment and to be able to promote the music of our time. During my teaching years I found that students become better musicians when they have been taught to adapt certain performance difficulties and compositional techniques at an earlier level of their training.
Titles:

1 with false optimism

2 with moderate sadness

3 with just the two of you

4 with a touch of impatience

5 with a touch of grandeur

6 with a counterpoint attitude

7 with a touch of shame

8 with a touch of boredom

9 going and never coming back

10 with a peaceful anger

11 without the heavy ones

12 without hope

13 without sense of humor

14 with a masculine attitude

15 with two little bears in mind

16 without hesitation

17 with shameless vibrato

18 with a touch of distress

19 without fear of failure

20 with this and that

21 with a kind motion

22 with a rondo attitude

23 with suspense

24 with everything you may have

Presenting the first volume of the Flat Key Series for guitar: Five Studies in F Major.

I - A short Fernando Sor inspired waltz with a simple melody and sequential interlude.
II - This study features two-voice counterpoint with a brief arpeggiated interlude.
III - This full-on arpeggio study in sextuplets incorporates hammer-ons and pull-offs and includes a brief exploration of the relative minor.
IV - This study fuses a flowing syncopated pattern with extended and altered chords and a smooth melody.
V - Inspired by Astor Piazzolla, this study opens with a chromatic sequence leading into a resolute melody supported by a rich harmony and decorated with quintuplet embellishments.

The Flat Key Series features not often seen keys for guitar to expand the guitarist's harmonic vocabulary and experience. Keep an eye out for additional volumes or contact KPMP for more information.

Movement I of Piano Sonata No. 11 in A major (K. 331) by Mozart arranged for solo jazz guitar, featuring jazz counterpoint, extended and altered chords, an octatonic (diminished scale) cadenza passage and reharmonizations. Great for electric, acoustic or classical guitar. Includes 2-page score with tablature and individual guitar part (without tabs).

Inspired by Toru Takemitsu and Leo Brouwer, Eight Octatonic Studies features eight short studies for classical or electric guitar. Each study explores the expressive potential of a single octatonic collection (also referred to as an octatonic scale or diminished scale).

Studies I, IV and VI feature ostinato patterns that support evocative melodies. Study II is an exercise in octatonic counterpoint and imitation. Studies III and VII feature octatonic scalar motives punctuated by dyads and seventh chords. Study V simulates a tonal context, implying the key of D flat major. Finally, Study VIII explores the intervallic relationships inherent in an octatonic collection. Includes preface, 9 pages sheet music