Guitar Duet

SKU: HL.14040276

2 Guitars. Composed by Amable Massis. Music Sales America. Classical. Softcover. Editions Musicales Transatlantiques #ETR000818. Published by Editions Musicales Transatlantiques (HL.14040276).

8.0x11.75x0.114 inches. French.

Guitar Duet

SKU: HL.14040870

2 Guitars. Composed by Jean Francaix. Music Sales America. Classical. Score Only. Editions Musicales Transatlantiques #ETR001662. Published by Editions Musicales Transatlantiques (HL.14040870).

8.25x11.75x0.133 inches. French.

Guitar Duet

SKU: HL.14040707

2 Guitars. Composed by Jorge Labrouve. Music Sales America. Classical. Softcover. Editions Musicales Transatlantiques #ETR001466. Published by Editions Musicales Transatlantiques (HL.14040707).

French.

Guitar Duet

SKU: HL.14040752

2 Guitars. Composed by Javier Hinojosa. Music Sales America. Classical. Score. Editions Musicales Transatlantiques #ETR001519. Published by Editions Musicales Transatlantiques (HL.14040752).

French.

By G. Tailleferre. For 2 guitars and Piano (reduction). Published by Musik Fabrik (French import).

(Preludes and Fugues from The Well-Tempered Clavier). By Johann Sebastian Bach (1685-1750). Edited by Frederic Zigante. Arranged by Ida Presti and Alexandre Lagoya. For two guitars. Score and parts. Published by Berben

Transcribed by Jean Horreaux, Jean-Marie Trehard, composed by Erik Satie (1866-1925). Guitar duet single for classical guitar duet. Originally for piano- excerpts transcribed for guitar duet. Composed 1914. Text language French. 22 pages. Published by Editions Billaudot.

Composed by Johann Sebastian Bach (1685-1750). For 2 Guitars. Score and parts. BWV 813. 36 pages. Published by Ut Orpheus

By Johann Sebastian Bach. For 2 Guitars. Score and Parts. Published by Ut Orpheus. (CH 05)

Guitar duet - Intermediate

SKU: DZ.DZ-4311

Composed by Louise Farrenc. Arranged by Eddie Healy. Score and parts. Les Productions d'OZ #DZ 4311. Published by Les Productions d'OZ (DZ.DZ-4311).

ISBN 9782898522284.

Louise Farrenc was a profoundly influential French composer, performer, professor, and author. Though she would ultimately become quite a sought-after performer, her potential as a composer was recognized quite early on. Women were not permitted to enroll in conventional composition classes at the Conservatoire de Paris at the time, but, she did receive private lessons from Anton Reicha, the professor of composition there. Years later she would receive a permanent appointment as Professor of Piano at the same institution, a position she held for thirty years. She was the only woman during the 19th century to bear that title.
Her piano etudes possess pedagogical value as well as great beauty and character. These works lend themselves quite well to the guitar duo setting. While I have rendered all of Farrenc’s melodies quite faithfully, I have taken liberties with the accompaniments in order to make them more idiomatic to the guitar. Likewise, many of the effects of which the guitar is capable have been brought to bear in ways that deviate from the original intent of the etude. Alternatively, the challenges that some of these etudes were meant to address for the piano student are amplified by this adaptation. For example, etude 5 is intended to enable the piano student to improve the coordination between their left and right hands. It certainly presents a challenge in that regard to the guitar duo!
These selections are entirely suitable for guitarists with limited experience, though they could, of course, be beautifully realized by players with a great deal more experience as well.

Louise Farrenc était une compositrice, interprète, professeur et auteure française profondément influente. Même si elle deviendra finalement une interprète très recherchée, son potentiel en tant que compositrice est reconnu très tôt. Les femmes n'étaient pas autorisées à s'inscrire aux cours de composition conventionnels au Conservatoire de Paris à l'époque, mais elle recevait des cours particuliers d'Anton Reicha, le professeur de composition du Conservatoire de Paris. Des années plus tard, elle recevra un poste permanent de professeur de piano dans la même institution, poste qu'elle occupera pendant trente ans. Elle était la seule femme au XIXe siècle à porter ce titre.
Ses études pour piano possèdent une valeur pédagogique ainsi qu'une grande beauté et un grand caractère. Ces œuvres se prêtent assez bien au montage en duo de guitares. Même si j’ai rendu assez fidèlement toutes les mélodies de Farrenc, j’ai pris des libertés avec les accompagnements afin de les rendre plus idiomatiques à la guitare. De même, de nombreux effets dont la guitare est capable ont été mis en œuvre d’une manière qui s’écarte de l’intention originale de l’étude. Alternativement, les défis que certaines de ces études étaient censées relever pour l'étudiant en piano sont amplifiés par cette adaptation. Par exemple, l'étude 5 est destinée à permettre à l'élève de piano d'améliorer la coordination entre ses mains gauche et droite. Cela représente certainement un défi à cet égard pour le duo de guitares !
Ces sélections conviennent parfaitement aux guitaristes ayant une expérience limitée, même si elles pourraient bien sûr également être magnifiquement réalisées par des musiciens beaucoup plus expérimentés.