14 Pieces Arranged for 2 Guitars. Composed by Various. Arranged by Fabian Payr. Guitar. Classical. Softcover. 27 pages. Ricordi #SY2405. Published by Ricordi

By Laurindo Almeida; Edited by Ron Purcell. For Guitar (Classical). Duets. Brazilliance Music Pub. Classic. Level: Intermediate. Book. Size 11.75x8.75. 104 pages. Published by Mel Bay Publications, Inc.

Composed by Francis Goudard. For 2 guitars. Classical. Grade 2. Score. 48 pages. Published by Editions Henry Lemoine

By Wolfgang Amadeus Mozart. Arranged by Newman/olt. Piano sheet music. Published by Theodore Presser Company. 2 guitars

2 guitars

SKU: M7.BBA-4024

En forma de concierto italiano. Composed by Domenico Cimarosa. Sheet music. Performance score. MDS (Music Distribution Services) #BBA 4024. Published by MDS (Music Distribution Services) (M7.BBA-4024).

The Cimarosa Sonatas represent a chest of melodic ideas in which the Neapolitan universe of contrasts takes shape, where freshness sometimes alternates tender melancholy and heartfelt sadness that have always been the counterpart in the culture of that city. Domenico Cimarosa was one of the most prominent opera composers of the late 18th century. He is a transitional figure between the generation of classical operas of the second half of the 18th century (e.g., Gluck and Mozart), and the later generation of early 19th century Italian composers such as Rossini and Donizetti. The work of Jorge Martínez Zárate as a composer and transcriber is vast, he has written original works for one and two guitars and has made more than a thousand transcriptions, a large number of them have been published in Argentina and also in the United States, France and Italy.

Edited by James Douglas Esmond. For Guitar. Guitar. Softcover with CD. Guitar tablature. 40 pages. Published by Centerstream Publications

Composed by Frederic Hand. Contemporary. Set of performance scores. With Standard notation. Handwerks Music #494-03037. Published by Handwerks Music

Easy Pieces to Play Together - Performance Score. Composed by Various. Edited by Martin Hegel. Guitar. Softcover. 60 pages. Schott Music #ED13883. Published by Schott Music

2 guitars

SKU: BO.B.3649

Composed by A. Soler/L. Palomo. Published by Editorial de Musica Boileau (BO.B.3649).

Padre Antonio Soler is the most important Spanish composer of keyboard instruments of the XVIII century. Born in Olot he was baptized in 1729 and died in El Escorial in 1787. As a young boy he entered the Escolania of Montserrat, where he studied composition and organ, coinciding at the same monastery with the also Spanish composer of that time, Fernando Sor. Padre Soler spent great part of his life in El Escorial as chapel master and organist and met in Madrid Italian composer Domenico Scarlatti with whom he developped a deep friendship inspired on mutual admiration.

In spite of the similar styles of both composers the fluid inspiration of Padre Soler excels for his own personality, definitely influenced by Spanish roots. Furthermore, I ask myself if the fact of being at the same monastery of Montserrat with guitarist composer Fernando Sor didn't play an important role in the future development of Padre Soler's style.

I have transcribed for two guitars these three sonatas in the hope that also the guitarists can enjoy playing these little jewels, truly musical delights, that Padre Antonio Soler left for us.

By Jan Krzywicki. For 2 Guitar. Set of performance scores. Standard notation. Published by Theodore Presser Company

(for Two Guitars). By Fazil Say. For Guitar Duet (Score and Parts). Guitar. Softcover. 40 pages. Schott Music #GA546. Published by Schott Music

(17 Classical Masterpieces). Composed by Various. Edited by Mark Phillips. For Guitar, Guitar Duet. Guitar Collection. Softcover. Guitar tablature. 64 pages. Published by Hal Leonard

Chamber Music 2 Guitars

SKU: PR.11440785S

Composed by Jan Krzywicki. Score. With Standard notation. 8 pages. Duration 6 minutes. Theodore Presser Company #114-40785S. Published by Theodore Presser Company (PR.11440785S).

UPC: 680160012091.

The composition of the work began as a few improvisational thoughts on a short phrase from a Beethoven piano sonata, which eventually developed into a six-minute fantasia that ultimately bears little audible relation to the original Beethoven phrase. The work is in four sections, of which the first and last are nocturnal, prelude, and postlude respectively. The main second section grows from a simple imitative idea to a chordal climax that subsides into a chorale and soliloquy which is elegiac in nature.