A Practical Guide For Composing and Performing Guitar-Piano Chamb

Florida State University
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Electronic Theses, Treatises and Dissertations
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April 2014
A Practical Guide for Composing and Performing

Guitar-Piano Chamber Music
Sam Lauren Desmet
Florida State University
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FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC
A PRACTICAL GUIDE FOR COMPOSING AND PERFORMING

GUITAR-PIANO CHAMBER MUSIC
By
SAM DESMET
A Treatise submitted to the

College of Music
in partial fulfillment of the
requirements for the degree of
Doctor of Music
Degree Awarded:
Spring Semester, 2014
Sam Desmet defended this treatise on April 18, 2014.

The members of the supervisory committee were:
Bruce Holzman
Professor Directing Treatise
Evan Jones
University Representative
Jane Piper Clendinning

Committee Member
Read Gainsford
Committee Member
The Graduate School has verified and approved the above-named committee members, and
certifies that the treatise has been approved in accordance with university requirements.
ii
To my wife and pianist Elizabeth Hsieh, with immense love and appreciation
iii
ACKNOWLEDGMENTS
I would like to express my sincere gratitude to my committee members: Jane Piper
Clendinning, Bruce Holzman, Read Gainsford and Evan Jones for their support and feedback.
Many thanks go out to Pamela Schultz and Stanley Hanks for their advice and proofreading of
this study and to Angelo Gilardino for the score of Del Rosato Albeggiare. This degree would
not have been possible without the support of my colleague students and friends. Finally, I would
like to thank Elizabeth Hsieh for the countless moments of patience and comfort during
challenging times throughout the process of research and writing.
iv
TABLE OF CONTENTS
List of Figures ............................................................................................................................... vii
List of Tables ................................................................................................................................. ix
Abstract ............................................................................................................................................x
IMPORTANCE AND BENEFITS OF PLAYING CHAMBER MUSIC FOR A GUITARIST ....1
Why a Solo Guitar Career Is Not Enough ...............................................................................1
Orchestras ................................................................................................................................3
Guitar Chamber Music ............................................................................................................3
Benefits of Guitar Chamber Music..........................................................................................5
Development as a Musician ...........................................................................................5
Financial Considerations................................................................................................6
How to Promote Guitar Chamber Music .................................................................................7
Making a Thoughtful Repertoire Selection....................................................................7
Guitar Chamber Music for Amateurs and Students .......................................................8
Connecting Performers, Composers, Teachers, Students and Audiences .....................9
Advice for Guitar Chamber Music Performers .....................................................................10
HISTORICAL INFORMATION ...................................................................................................12
Evolution in Construction......................................................................................................12
From the Romantic Guitar to the Modern Guitar ........................................................12
From Fortepiano to the Modern Grand Piano ..............................................................15
From Accompaniment to Solo and Chamber Music Instrument ...........................................17
History of the Guitar-Keyboard Chamber Music ..................................................................20
Nineteenth Century Literature for the Guitar-Piano Duo ............................................21
Twentieth Century Literature for the Guitar-Piano Duo..............................................25
PRACTICES TO FACILITATE COMPOSING FOR GUITAR-PIANO DUO ...........................28
Possibilities and Limitations..................................................................................................28
Guitar ..........................................................................................................................28
Piano ..........................................................................................................................33
Options for Pairing the Two Instruments ..............................................................................35
Conclusion .............................................................................................................................51
v
PRACTICES FOR GUITAR-PIANO DUOS TO FACILITATE PERFORMING ......................52

Performance Practice in Early Music ....................................................................................52
Romantic Guitar ...........................................................................................................53
Fortepiano ....................................................................................................................57
Combining Guitar and Piano ................................................................................................59
Selected Repertoire Suggestions ..................................................................................61
Acoustics and Use of Room: General Criteria and Modifications .......................................63
Amplification Systems and Microphones ............................................................................66
Back to Nineteenth Century Salon Music ............................................................................69
Conclusion ............................................................................................................................70
FURTHER RESEARCH ...............................................................................................................72
APPENDIX A: CATALOGUE OF GUITAR-KEYBOARD REPERTOIRE ..............................73

REFERENCES ..............................................................................................................................90
BIOGRAPHICAL SKETCH .........................................................................................................93
vi
LIST OF FIGURES
2.1
Heitor Villa-Lobos, Sextuor Mistique, mm. 4-6 .................................................................19
3.1
Guitar Range ......................................................................................................................29
3.2
Standard Tuning of Open Strings ......................................................................................30
3.3
Piano Range .......................................................................................................................33
3.4
Awkwardly-voiced Piano Chords ......................................................................................35
3.5
Charles Wuorinen, Sonata for Guitar and Piano, mvt. 1, mm. 1-2...................................37
3.6
Ferdinando Carulli, Gran Duo Op. 86, mm. 1-3 ...............................................................38
3.7
Ferdinando Carulli, Gran Duo Op. 86, mm. 14-17 ...........................................................38
3.8
Angelo Gilardino, Del Rosato Albeggiare, mvt. 1, mm. 4-5 ............................................39
3.9
Angelo Gilardino, Del Rosato Albeggiare, mvt. 1, mm. 7-8 .............................................39
3.10
Mario Castelnuovo-Tedesco, Fantasia pour Guitare et Piano, Op. 145, mvt. 1,

mm. 1-2 ..............................................................................................................................40
3.11
Angelo Gilardino, Del Rosato Albeggiare, mvt. 1, mm. 32-35 .........................................40
3.12
3.13

mm. 9-13 ............................................................................................................................42
3.14
Charles Wuorinen, Sonata for Guitar and Piano, mvt. 1, mm. 2-3 ...................................43
3.15
Mauro Giuliani 2 Rondo Op. 68, mvt. 2, mm. 60-65.........................................................43
3.16

mm. 1-5 ..............................................................................................................................44
3.17
Charles Wuorinen, Sonata for Guitar and Piano, mvt. 1, mm. 10-11 ...............................44
3.18
Mauro Giuliani, 2 Rondo Op. 68, mvt. 2, mm. 19-28........................................................45
3.19
Mauro Giuliani, 2 Rondo Op. 68, mvt. 2, m. 75 ................................................................45
vii
3.20

mm. 28-33 ..........................................................................................................................45
3.21
3.22
Hans Haug, Fantasia pour Guitare et Piano, mm. 98-101 ...............................................46
3.23
Charles Wuorinen, Sonata for Guitar and Piano, mvt. 3, m. 131 .....................................46
3.24
3.25
Angelo Gilardino, Del Rosato Albeggiare, mvt. 1, m. 18 .................................................47
3.26
Hans Haug, Fantasia pour Guitare et Piano, mm. 70-75 .................................................48
3.27
Hans Haug, Fantasia pour Guitare et Piano, mm. 1-4 .....................................................48
3.28
Hans Haug, Fantasia pour Guitare et Piano, mm. 215 - 223 ...........................................49
3.29
Charles Wuorinen, Sonata for Guitar and Piano, mvt. 1, m. 1 .........................................49
3.30

mm. 44-47 ..........................................................................................................................50
3.31
viii
LIST OF TABLES
4.1
Performance Guidelines to Facilitate Volume Balance .....................................................59
4.2
Acoustic Criteria ................................................................................................................64
4.3
Acoustic Remedial Measures .............................................................................................64
ix
ABSTRACT
The guitar-piano chamber music duo presents unique opportunities for performers and
composers. Both instruments are perfectly capable of playing melodies, harmonies and
contrapuntal music with a variety of timbres and articulation. The warm, rich and intimate
sounds of the guitar combined with the color palettes of the piano create many possibilities for a
duo chamber music setting. During the first half of the nineteenth century in central Europe,
referred to as Biedermeierzeit, the repertoire for guitar-piano duo had its heyday. Why is it then
that only a small amount of chamber music repertoire has been written for the guitar-piano duo
in the last hundred and fifty years?
Composers who consult the treatise will be able to learn about the capabilities and
limitations of both instruments. They may also gain insight into several compositions for this
setting and learn how to overcome certain barriers when writing for this duo.
Arguments from musicologists and interviewed musicians will be discussed in this
treatise and clarify that chamber music is a serious genre that deserves the attention of guitarists
and, rather than diminish a solo career, a carefully chosen, well-played recital of guitar chamber
music may well enhance it.
It is my hope that this treatise will contribute to the expansion of its repertoire and
convince musicians to create many performances and recordings.
CHAPTER ONE
IMPORTANCE AND BENEFITS OF PLAYING CHAMBER MUSIC FOR
A GUITARIST
Chapter One elaborates on what chamber music has to offer and why this could be a great
contribution to the career of a classical guitarist. Foster states that more than a big part of the
entire canon of didactic music and concert music produced in the nineteenth century is chamber
music, as apposed to the solo repertoire that is heard more frequently today.1 Two centuries later,
it seems that guitarists are mainly focused on playing solo concerts and participating in solo
competitions. Yet if one looks at other instrumentalists, many musicians are permanent members
of ensembles that are programmed in chamber music concert series or can compete with other
chamber music groups. All of this is often combined with a position in an orchestra and a
teaching career.
Why a Solo Guitar Career is not Enough
Musicologists such as Ophee and Koplewitz agree that during the twentieth century too
much focus of professional guitarists went to building a solo career. Ophee cites that many
guitarists suffer from Solo Virtuoso Syndrome.2 Great guitarists from the past century, such as
Andres Segovia, seldom performed chamber music and asserted that, by playing solo concerts,
the guitar could be saved from its declining popularity. Today, there are many guitarists and the
Adam Foster, Hans Haug: The Chamber Music Works Featuring the Guitar; an Evolution of Style,
Texture and Form (Ph.D. diss., Florida State University 2011), 24.
2
Matanya Ophee, Guitar Chamber Music: Review of a Decade, American String Teacher 38 (1988): 61.
level of playing has grown tremendously in the past few decades. But most of the guitarists
walked the same path only to reach that goal of having a solo career. This resulted in countless
solo guitar publications, guitar festivals, guitar societies, guitar competitions and guitar concert
series, where almost no other musicians than guitarists were in attendance. As a consequence,
the guitar became isolated and got driven away from the mainstream art music scene.
Guitarists are dealing with a serious image problem, as the guitar has been widely
misunderstood and gets often associated with only popular music, where they are the center of
the music scene. Shearer says it is no surprise that the instrument has never been widely
accepted (especially in this country) by the majority of knowledgeable musicians or by the public
at large as a first-class vehicle of musical expression.3 One might look back at past times to
explain the reason why the guitar was then accepted and respected, not only as a solo instrument
but also featured as a chamber music instrument, together with violin, piano, cello and many
other instruments. The misinterpretation of the role of the guitar as only being a solo instrument
demands some serious rethinking. Perhaps it is time to research alternative routes to elevate the
guitars image back to its original ranking, alongside the violin or piano.
A greater number of people are needed who are devoted to and knowledgeable about the
guitar. Ophee states that the guitar music needs to be played and performed more, more
instruments and scores need to be bought and studied for countless hours and/or more people
need to buy concert tickets in order to boost the guitars image.4
Aaron Shearer, The Classical Guitar Grows up, Music Educators Journal 58, no. 2 (October, 1971): 53.
Matanya Ophee, Guitar Chamber Music, Why? One Amateurs View Point, Soundboard 3 nr. 3
(August, 1976): 48.
Orchestras
Although the first impression one gets is that an orchestra might be a great way to expose
an instrument to a wider audience, Ophee states that there is barely any room at all for the
guitarist, for the following reasons of first, the repertoire that is programmed by orchestras is
often defined by public tastes. Guitar is simply not part of the orchestra in commonly performed
symphonic pieces such as the Beethoven Symphonies. Gustav Mahlers Seventh Symphony is
perhaps the only exception to this. Second, many orchestras face budget cuts or struggle to
survive. As a result, orchestras are unlikely to hire new permanent musicians other than for
conventional positions. It would be difficult to convince other orchestra members and music
directors of the value of it.5 In addition, due to the guitars limited dynamic range, some might
think other instrumental groups of the orchestra will easily overwhelm the guitar. Although
Joaquin Rodrigos Concierto de Aranjuez is often programmed and succeeds in balancing the
guitar with the rest of the orchestra, it is after all a guitar concerto and not a symphony.
Guitar Chamber Music
Undoubtedly, the guitar will benefit when exposed to a wider audience than the guitar
community itself, so the classical guitar develops a long era of practical value and acceptance to
composers and other classical musicians. As explained later in chapter two, the modern classical
guitar as we know it today is still at its early stage of development in comparison to instruments
such as the piano and violin. Composers interest in writing solo and chamber music for the
guitar has been growing since the second half of the twentieth century.6 According to Koplewitz,
5
Ophee, 47.
Shearer, 53.
the past century is the first epoch in which guitar chamber music equals the quality of that of the
piano or violin.7 In other words, a great number of these compositions deserve to be considered
by chamber music ensembles. Unfortunately, still to this day, many guitarists assume or claim
the absence of advanced chamber music. Koplewitz and Ophee blame guitarists for laxness in
exploring this repertoire or the prejudgment of the guitar by other musicians.8 Another reason for
this unexplored repertoire could be that students are hesitant to play chamber music due to their
fears of having their musical or technical shortfalls exposed, or inexperience of being part of an
ensemble.9 Through the integration of chamber music instruction in the guitar students
education and exposure to high quality guitar chamber music performances, this barrier can be
crossed.
Although still scarce, new initiatives are beginning to take place to promote guitar
chamber music, such as the Guitaristival at Aarhus, Denmark, in 1987. Leif Christensen hosted
a series of guitar chamber music concerts with music that is seldom heard. 10 Many modern
music ensembles, such as the Ictus ensemble, Musikfabrik NRW, Champ dAction, Basel
Sinfonietta, the Chamber Music Society of Lincoln Center and the Metropolitan Opera Chamber
Players are now relying on guitarists or even have a guitarist as a full member. Another example
of spreading interest is the article An Introduction to the Guitar Chamber Music of Australia
covered in the latest issue of Soundboard magazine.11
7
Laura Koplewitz, The Guitar as an Ensemble Instrument, Guitar Review 79 (Fall, 1989): 7.
Matanya Ophee, Guitar Chamber Music: Review of a Decade, American String Teacher 38 (1988): 60.
Laura Oltman and Michael Newman, Introducing Guitar Students to Chamber Music, American String
Teacher 39, no. 2 (1989): 53.
10
Colin Cooper, The Guitars Place in Danish Chamber Music, Classical Guitar 7 (October, 1988): 16.
11
Paul Ballam-Cross. An introduction to the Guitar Chamber Music of Australia. Soundboard, Vol. 40
no. 1 (2014): 34-38.
Benefits of Guitar Chamber Music

Development as a Musician
Often, guitarists do not seem to play willingly in duos or other ensembles, but hopefully,
one day they will realize that this generates rich artistic rewards when playing as a group with
other musicians with similar ideas.12 Even though many guitarists get advice on developing a
solo career, chamber music certainly increases the musicality of a player. Playing in a group
requires the constant give-and-take of musical ideas. The guitarist who is competent can share
and emphasize his or her musical skills, the one who is not, however, cannot hide in such an
ensemble.13 The musician who usually practices and performs alone will find it necessary to
expand his or her skills to meet the demands of an ensemble, such as finding a way to match the
sound of other members of the ensemble. The musician must also learn to formulate analytical
interpretations and put musical ideas into words to communicate clearly with the other members
of the group. Doing so puts the focus on upgrading the level of the ensemble as a whole.
Through considering the interpretative ideas of fellow chamber musicians, a musician can
benefit as well.14
It becomes evident that playing chamber music will benefit all members musicality or
technical skills or at least cause one to question these. Indisputably, an ensemble player can
benefit from this in their solo playing as well, where the musician can experiment with different
interpretive ideas and suggestions made by other members.
12
Reginald Smith-Brindle, The Composers Problem, Guitar Review 83 (Fall, 1990): 30.
13
Laura Koplewitz, The Guitar as an Ensemble Instrument. Guitar Review 78 (Summer, 1989): 7.
14
Oltman and Newman, 53-54.
Oltman and Newman explain that confidence will be gained by working with musicians
whose abilities the musician respects. If the guitarist is well prepared, appreciation and respect
from other ensemble members will be gained as well.15 Once this is achieved, playing chamber
music to promote the guitar and guitarist has been accomplished.
Financial Considerations
Today, chamber music societies, concert series and even competitions are prominent.
Music lovers have a wide choice of options to choose from. Even though pianists, string players,
flutists and other musicians are often presented on chamber music series, rarely are guitarists
seen on their stages. For example, a search in the 2013-2014 chamber music brochure of
Wigmore Hall reveals only one ensemble out of the forty-three chamber music groups
programmed that season featured the guitar.16 Guitarists should definitely consider the potential
of these organizations for performing opportunities. Perhaps they could team up with more
frequently programmed ensembles, such as string quartets or piano trios to perform larger
chamber music group repertoire.
Ophee points out that many guitarists fail to recognize or ignore the attendance at
chamber music concerts. Doing so, a guitarist loses a great deal of an audience potential.17
If one looks at the high-end guitar chamber music from recent years that is available, a guitarist
cannot ignore the fact that a chamber music career is a great option to accomplish financial
15
Ibid., 54.
16 September 2013 July 2014 Wigmore Series , Wigmore Hall website, http://www.wigmorehall.org.uk/sites/default/files/brochures/WigmoreSeriesSept2013-July2014WigmoreArchiveLowRes.pdf (accessed
April 11, 2014).
17
Matanya Ophee, Guitar Chamber Music, Why? One Amateurs View Point. Soundboard 3, no. 3
(August, 1976): 48.
security, perhaps even better than trying to establish a career on todays overcrowded
international solo concert stages.
How to Promote Guitar Chamber Music
Making a Thoughtful Repertoire Selection
It becomes crucial not only to promote the guitarist as an individual in the ensemble, but
also to improve the importance of the guitar chamber music repertoire. Part of the guitar chamber
music literature focuses too much on representing the guitar while the other instruments end up
having a more accompanimental role to fulfill. For non-guitarists of an ensemble, this repertoire
cannot compete with the parts in music of great composers such as Mozart, Beethoven or
Brahms.18
A careful selection of the available literature needs to be made. First, an equal balance of
the musical content should be divided between the instruments, with solo material for each.
Second, the choice of programmed music for a concert should keep a balance of musical
preferences of both audiences and performers. Third, a composition cannot be considered simply
by inspecting only the guitar part.19 Therefore, a guitarist should prepare carefully and rely on his
harmony and analysis skills to observe the entire score, of each piece considered. Much of the
string quartet or piano trio repertoire is available through recordings. Despite efforts being made
in the last decades to record guitar chamber music by guitarists like David Tanenbaum and
David Starobin, in many cases guitar chamber music compositions are still waiting for their first
performance or recording.
18
Oltman and Newman, 54.
19
(November, 1976): 82.
The instrumentation employed in chamber music is also of importance and should not be
overlooked. One may benefit by collaborating with popular instruments such as flute, piano or
strings. This often results in exposure of the guitar to audiences better acquainted with the other
instruments of the ensemble.
Guitar Chamber Music for Amateurs and Students
When working with music students, it is advisable to choose music that not only appeals
to the guitarist, but also to the other instrumentalists and their teachers as well.20 Not only can
guitar chamber music be used for expanding interest among amateurs, it can also create
opportunities for upcoming talented students as well. It can provide the basis for an outlet in a
school environment, giving the guitar exposure to other music teachers and students.21 The
Oltman and Newman duo pointed out that As teachers, we have found that not all students
enjoy being soloists, particularly adults who do not aspire to professional careers.22 These
testimonials makes it clear that there is value and fulfillment in ensemble playing and it should
not be underestimated in an instructional environment. It makes perfect sense that musicians
need to be skilled in their own instrument before playing with others, but the overwhelming
focus on solo repertoire in music schools, academies, conservatories and university music
programs should perhaps be questioned. In many of these institutions chamber music instruction
is simply not offered or actively playing in ensembles is not required.
20
Ibid., 83.
21
(August, 1976): 48.
22
Ophee advises to integrate sight-reading into guitar curriculums so that guitarists can
easily play chamber music on the spot as others do. Skills such as focusing on the score rather
than on the fingerboard, recognizing patterns (melodic and harmonic) and finding a fingering for
these patterns must be trained.23 Doing so will put the student in a much stronger position to
learn repertoire quicker and more efficiently often required in chamber groups with single-line
melody instruments such as flute or violin. Although attempts have been made to write books on
sight-reading for guitarists, the first book that explains to guitar students how to optimally finger
a guitar score is yet to be written. Too many guitarists rely on given fingerings in the score
without questioning them.
As a teacher, one can always encourage his or her students to become a teacher as well,
but other than inspiring students to follow that path, or one of a guitar soloist, encouraging
students to develop chamber music skills will offer them an alternative for building active
careers as musicians.
Connecting Performers, Composers, Teachers, Students and Audiences
Talented performers can contribute to the chamber music repertoire by commissioning
pieces. In doing so, the repertoire expansion might resemble that at an equal level of other
instruments. It is then not only up to the performer to promote this new composition, but teachers
also have a major role to fulfill by exploring and promoting new repertoire together with their
students. 24 In other words, composers, performers, teachers and students must collaborate to
contribute to the recognition of the guitar. Musicians can assist the composer during the process
of writing and may be of great value to the composer who is less familiar with certain
23
Ophee, 48.
24
Shearer, 53.
instruments. Not only performers can commission new repertoire, but composers can meet the
needs of teachers by writing chamber music literature at different levels to include in music
method books as well. Other than offering duos where one part is played by the student and the
other part by the teacher, it seems that none of the method books integrate chamber music
instructions or didactic pieces where a guitar part is combined with other instruments.
Advice for Guitar Chamber Music Performers
A guitarist who would like to work with other musicians must be able to demonstrate
musicality and technical skills on a par with all other ensemble members.25 Guitarists must be
prepared to make repertoire suggestions and need to point out the delicacy and expressiveness of
their instrument to musicians who are not familiar with the guitar.26 Perhaps the most important
information a guitarist can share with ensemble members is the wide variety in colors the guitar
has to offer and explaining its limited range of dynamics. In music institutions, orchestration
classes or often offered, though seldom mandatory. Many guitarists are not fully acquainted with
the potentials of other instruments either, so other musicians should explain the possibilities and
limitations of their instruments as well.
As roles usually shift throughout a piece, ensemble members need to study the score to
understand when to take the role of accompanist or when to move to the role as soloist.27 These
decisions should be discussed as a group, rather than being made individually. Rehearsal
recordings can give a better idea on how this will be perceived by the audience. Recordings are
25
Matanya Ophee, Guitar Chamber Music, Why? One Amateurs View Point, Soundboard 3, no. 4
(November, 1976): 83.
26
27
Ibid.
10
also useful for assisting members during practice sessions, either by utilizing recordings of
separate parts or from the entire ensemble.
11
CHAPTER TWO
HISTORICAL INFORMATION
Focusing on the evolution in construction of both the guitar and piano will make it clear
why there was a sudden decrease of the guitar-piano repertoire around the mid-nineteenth
century. As the style of composing started changing by the end of the nineteenth century, some
renowned composers such as Schoenberg, Webern and Stravinsky began to integrate the guitar in
chamber works and made full use of its wide palette of colors. Composers began writing
successfully for the guitar-piano duo again as well.
Evolution in Construction
From the Romantic Guitar to the Modern Guitar
By the end of the eighteenth century, instruments such as the violin, cello and piano
underwent drastic changes, largely with the purpose of increasing their volume. The guitar was
no exception. During the Classical period, there were four kinds of guitars that were commonly
used: five-course, six-course, five-string and six-string varieties. Courses are defined as double
gut strings, whether or not tuned in octaves, and strings as single gut strings.
The five-course guitar or Baroque guitar was developed in the late sixteenth century and
was the primary guitar in use throughout the seventeenth century. At the beginning of the next
century it lost much of its popularity and was then mainly used to accompany simple songs.
The six-course guitar was very popular in southern Europe and Latin America throughout the
eighteenth century. Method manuscripts for this instrument have been found in Spain and
Mexico by Juan Antonio Vargas y Guzmn and Fernando Ferandiere wrote a manual for it in
12
1799 that was published in Spain. The latter included instructions to teach guitarists notereading.
Only a few decades later, the French and Italian luthiers used single strings for their
guitars. The guitar could be tuned faster and the five-string guitar became the standard.
The six-string romantic guitar was born around 1780 in France when many luthiers began
adding an extra string. This guitar exhibits many similarities with the earlier five-course Baroque
guitar: it had a bridge with no saddle and the fingerboard at the same level as the top of the
guitar. Many other changes in the design took place after that: guitars were built with seven,
eight or ten strings; a saddle made out of bone was added to the bridge; tuning machines replaced
the tuning pegs; gut frets were changed for fixed frets; a raised fingerboard was added; and
experiments were done with the internal bracing of the instrument.
The Guitar in Paris, Vienna and London
Ferdinando Carulli, who traveled from Naples to Vienna and eventually settled in Paris,
worked together with the famous luthier Ren Lacte. This resulted in patented experiments such
as innovative tuning pegs and reshaping the fingerboard. The decacorda, a guitar with ten strings
that was designed to increase the playability for amateurs, was another result of this
collaboration.
Highly appreciated Italian composer and virtuoso Mauro Giuliani certainly helped to
increase the interest in the guitar when he traveled through Europe. The Giulianiad, a monthly
journal, was printed in January 1833 with his and other composers literature featured. When he
settled in Vienna he became an acquaintance of Joseph Haydn, but was closer to Ludwig van
Beethoven, who asked him to play cello (Giulianis first instrument) in the premiere of his
Seventh Symphony. It was eventually Fernando Sor who introduced the classical guitar in
13
England. Jos Panormo made some guitars under Sors direction when they met in London.
These guitars definitely exhibit some Spanish guitar influences, such as the bracing, which Sor
preferred.
Other virtuoso performers and composers of the past two centuries certainly had an
influence on the changes to the modern guitar, as it was not only played in small homes but also
the stages of large concert halls. As a result, luthiers were facing a big challenge. The somewhat
simple strutting system of a guitar with its clear yet subtle tone was ideal for home playing, but
on the concert platform this tone dwindles.
The Guitar in Spain
During the second half of the nineteenth century a breakthrough occurred when Spanish
guitarist Julin Arcas advocated luthier Antonio de Torres. This master luthier created a guitar
that came to serve as the basis for the modern guitar as we know it today. Standardized length of
650 mm between bridge and nut, the types of wood used, such as mahogany and spruce, and
perhaps most important the 7-bars-fan strutting are all contributions from Torres. After hearing
Francisco Trrega play and being impressed by his skills, Torres gave him one of his finest
guitars, which stayed with Trrega until 1889. Generations later, luthiers such as Herman Hauser
(played by Andrs Sgovia), Jos Romanillos and Robert Bouchet (both played by Julian Bream)
all based their models on the fan structure of Torres.
The Final Stage
Another significant change, this one affecting the volume of the guitar even more,
happened when gut strings that would not stay in tune very long and broke constantly were
replaced with nylon strings around 1946. Bass strings are now wound upon a core of nylon floss.
14
Modern guitar luthiers now improve in making a guitar with such plenitude of lower partials that
the tone is deeper, more resonant and well-balanced at the back of large concert halls than
before. A new design of strutting system can work in a concert hall, however when played in a
small room, the tone can be too thick. Up until today, luthiers still have not solved this dilemma
and are experimenting with double soundboards, detachable necks, false backs, sound ports,
sound chambers and other innovations.
From Fortepiano to the Modern Grand Piano
Although the development of the piano began at the end of the seventeenth century, the
biggest modifications that influenced its dynamics range happened slightly after the birth of the
six-string Romantic guitar. Rowland remarks that today the term fortepiano is used to
differentiate early instruments from the modern ones, although in the eighteenth and nineteenth
centuries there were many terms to describe the piano.28 The term pianoforte or simply piano has
largely been used to describe the instrument in the form as we know it today.
Florence: The Early Stages of the Fortepiano
Earliest examples of pianos date from just before 1700 and were constructed by
Bartolomeo Cristofori in Florence. Many of the early pianos resemble harpsichords. Its range
covers from four to four and a half octaves. The action on these early pianos was sophisticated
and very light to play. The hammers were made from rolled and glued parchment covered with
leather. During those times, the piano was used primarily for solo performances and
accompanying purposes and not yet frequently used in chamber music settings.
28
David Rowland, Early Keyboard Instruments: A Practical Guide (Port Chester: Cambridge University
Press, 2001), 44.
15
The Fortepiano in Germany

Christoph Gottlieb Schrter claims to be the first to have used the hammer action in
Germany around 1720, but most likely Gottfried Silbermann had already experimented earlier
with different kinds of hammers. Silbermanns piano resembles many of the contemporary
German harpsichords and its design is close to that of Cristofori with the exception of differences
in the stops and a mechanism that could lift all the dampers. Silbermann could be seen as the
inventor of the modern pedal, as the damper mechanism was still controlled by hand levers.
Around the mid-eighteenth century, Christian Ernst Friederici invented the square piano that has
horizontal strings arranged diagonally and where the keyboard is set up on the longer side of the
piano. During that time many inventions and different instruments were being made and it was
not uncommon to come across combination keyboard instruments such as piano/harpsichords or
piano/organs.
Viennese versus English Pianos
Johann Andreas Stein of Augsburg was known for his pianos with Viennese action and
sound, during the late eighteenth century. The action on these instruments is much lighter than
that of the English pianos heavy action.
Americus Backers developed the English grand piano during the late 1760s. This piano
forms the basis for all English pianos up to the middle of the nineteenth century. Its action design
is the basis for the modern piano. The extension of the range was tremendous and by the early
nineteenth century, pianos spanned six and a half or more octaves. Toward the end of the
eighteenth century a variety of stops, pedals and levers were available. On English grands as well
as on Viennese pianos, two pedals were customary: one for the una corda (soft pedal) and a
sustaining pedal.
16
The Final Developments of the Piano

There were many changes and developments after 1830. Heavier strings were used with
greater tension, which required larger hammers and therefore a deeper touch was needed.
Sebastian Erard invented the repetition action in 1822, so a pianist no longer needs to fully
release the key to repeat a note. After many experiments with damper-raising mechanisms over a
period of decades, the sostenuto pedal, which one finds on modern grand pianos built by
Steinway, was patented in 1875 and from then on the piano had reached its modern stage.
From Accompaniment to Solo and Chamber Music Instrument
During the Classic period the development of the orchestra and the piano increased
rapidly and were improved in dynamic range and color. The guitar, which projected less sound
than that of its contemporary instruments, was facing the same decline in popularity as the
clavichord and later, the harpsichord. Shearer mentions that composers interest in writing for
these instruments dropped.29 According to Koplewitz, it is exactly this diminishing role of the
harpsichord together with the decline in use of figured bass in ensemble music that forms the
basis of the guitar functioning as the continuo in ensemble music.
Guitar chamber literature finds its roots in the eighteenth century, although the
compositional changes in the nineteenth century forms the basis of modern guitar chamber
music.30 During the mid-eighteenth century, the guitar was mostly used for strumming and
occasionally provided accompaniment for singers in informal environments. By the end of the
eighteenth century, the shift from tablature to treble clef notation for the guitar, introduced in an
29
Aaron Shearer, The Classic Guitar Grows Up, Music Educators Journal 58, no. 2 (October, 1971): 53.
30
Laura Koplewitz, The Guitar as an Ensemble Instrument, Guitar Review 78 (Summer, 1989): 7-8.
17
instruction manual for guitarists by Fernando Ferandiere, made it significantly easier to write
pieces for guitar in an ensemble. A few decades later, composers experimented with new
compositional styles and contrapuntal writing for the guitar.31 Koplewitz mentions that proof of
this can be found in guitar techniques that are unmistakably noticeable in some of Paganinis
ensemble pieces, which demonstrate the guitars soloistic capabilities.
The changes in construction that influenced dynamics began to flourish a few decades
earlier for the Romantic guitar than the fortepiano. It is precisely during those decades that there
is an abundant repertoire composed for the guitar-piano duo. Although by the mid-nineteenth
century the guitar needed to compete against the more developed piano and orchestras, guitar
composers, who were mainly guitarists themselves, and guitar devotees, never stopped writing or
performing solo guitar or guitar chamber music. German guitarist Heinrich Albert and Erwin
Schwartz-Reiflingen began promoting basic chamber music with guitar, and the impact of their
efforts is still noticeable up until the present day.32
Spanish composer Manual de Falla, a non-guitarist, used folkloric characteristics, colors
in his music and features the guitar in his opera La Vida Breve from 1905. The composer
explored new harmonic possibilities for the instrument, avoiding Romantic characteristics and
concepts of tonality were shifting. Other examples of this can be found in de Fallas solo guitar
piece, Homenaje Pour le Tombeau de Claude Debussy.33 Shearer mentions that composers of
that time were looking for clarity of lines and colorful textures, this being in favor of the guitar
31
Frederic Grunfeld, The Art and Times of the Guitar; An Illustrated History of Guitars and Guitarists
(New York: Collier Books, 1974), 140.
32
Matanya Ophee, Guitar Chamber Music: Review of a Decade, American String Teacher 38 (1988); 60.
33
Laura Koplewitz, The Guitar as an Ensemble Instrument, Guitar Review 79 (Fall, 1989): 32.
18
as an ensemble instrument.34 It becomes clear that the role of the guitar began shifting from that
of accompanist to a worthy solo and chamber music instrument at the beginning of the twentieth
century. Foster mentions in his treatise that musical taste changed after World War I. Interest of
large orchestras diminished and more interest found its way to chamber music. The guitar
became a common partner in this change of musical taste.35 Even more, major Latin American
composers such as Heitor Villa-Lobos intensified the role of the guitar as solo instrument in
ensemble music, perhaps best demonstrated in his Sextuor Mistique, composed in 1917:
Fig. 2.1 Heitor Villa-Lobos Sextuor Mistique, mm. 4-6.

Many other examples of compositions by renowned composers prove the same shift of
the guitars role and make use of the guitars rich colors and often write in a more linear way for
the instrument.
34
Shearer, 65.
35
Texture and Form (Ph.D. diss., Florida State University, 2011), 24.
19
Arnold Schoenberg, Anton Webern and Alban Berg all used the guitar in some of their
larger chamber music compositions from the first quarter of the twentieth century, and it has an
equal role to fulfill compared to the other instruments. These pieces could form a great program
to illustrate twelve-tone composition techniques in chamber music.
Igor Stravinskys Four Russian Songs (1954) for voice, flute, harp and guitar could be a
final piece in a program of duos of all possible combinations of the four musicians. The
combination voice and guitar could for example play Benjamin Brittens Six Songs from the
Chinese (1957) or Dominick Argentos Letters from Composers (1971). The flute and the guitar
can be integrated in that same program by playing Toru Takemitsus Toward the Sea (1981).
Kammermusik (1985) by Hans Werner Henze and Pierre Boulezs Le Marteau Sans
Matre (1955) are larger works using serial compositional techniques and could stand on their
own to fill an entire program of chamber music for large ensemble.
In conclusion, Koplewitz warns that guitarists who only explore past centuries for
chamber music repertoire are missing opportunities with almost unknown but rich literature of
the twentieth century; a body of works that will shrink and the music will soon be forgotten.36
History of Guitar-Keyboard Chamber Music
During the first half of the nineteenth century in central Europe, referred to as
Biedermeierzeit, the repertoire for guitar-piano duo flourished. The piano, and in particular the
Viennese instruments of that time, had a smaller sound, very often not much stronger than that of
a good guitar. The available music for the duo of that time period is immense. The timbre of both
instruments matched each other and composers wrote for the guitar-piano duo on a larger scale
36
Koplewitz, 36.
20
than at any other time in music history. Today, one might question why this repertoire has been
neglected.
The transformation from the fortepiano, which was much smaller, had a lighter tone with
less ability to sustain, a wooden frame and thin hammers resulting in less volume, to the very
different-sounding concert grand pianos being built by the end of the nineteenth century,
certainly plays a role in this decline in duo literature. Although the guitar also underwent a
drastic transformation during that period, it suffered greatly from the increasing sound of the
piano and could never again match its volume. Primarily due to dynamic reasons, the two
instruments drifted apart.
Nineteenth Century Literature for the Guitar-Piano Duo
During the nineteenth century, there were two principal cities of international importance
to the development of the guitar and its repertoire: Vienna and Paris. The two composers that are
of magnificent importance for this era are Italian guitarists Mauro Giuliani (1781-1829) and
Ferdinando Carulli (1770-1841). Both were revolutionary in their teaching methods and they
inspired guitarists for many generations.
Next to performing, composing was one of the musicians primary income sources and
this was not different for guitarists. Ferdinando Carulli for example, had most of his works
published with Carli in Paris. Some publishers such as Antoine Meissonnier, Charles Doisy and
Anton Diabelli began composing for guitar and piano as well. Diabelli, skilled in both the guitar
and piano, was one of the first to contribute to the duos literature.
The works for guitar-piano duo of this period can be divided into three types: Hausmusik,
educational works and concert repertoire. Hausmusik is translated literally as music intended to
be played at a private home. The guitar and piano became relatively affordable at that time and
21
was no longer played by only professional musicians or the wealthy population but also by
amateurs from the middle-class. These potpourris, mlanges, aries favorites were written for the
sole purpose of entertainment. Many of these pieces were transcriptions or arrangements of other
popular works. Compositions with petites or faciles in the title are primarily pieces with
educational, instructional purposes, intended for the music student. Concert repertoire had titles
that often begin with Grand or use the word Concertante and are often of a very high technical
level. Many of the composers were also virtuoso performers on the instrument and often
performed these works with other famous musicians. It is known that Mauro Giuliani often
performed with pianists Johann Nepomuk Hummel and Ignaz Moscheles, undoubtedly, this
elevated popularity of the repertoire rapidly. Josephine Plantin, a concert pianist, also performed
many concerts all over Europe with her husband, Hungarian guitarist Johann Kaspar Mertz.
Guitar-Piano Repertoire in Paris
Ferdinando Carulli, who was established in Paris for most of his career, wrote works for
guitar and piano and are some of his finest compositions. These lively works exhibit very natural
piano writing that works well with the guitar.37 Ferdinandos son, Gustavo Carulli was a gifted
pianist who often assisted his father in composing and performing. Many of these works form a
dialogue between the two instruments in a writing style in which both instruments are treated
equally.
Carullis output written for this particular setting was not matched by any other composer
of his time. Franois de Fossas opus 14 and 16 for piano and guitar are arrangements of
Rossinis Il Barbiere di Siviglia. Many other composers located in France such as Charles Doisy
and Matteo Carcassi, also based their guitar-piano duos on opera themes or motives.
37
Ruggero Chiesa, The Guitar works of Ferdinando Carulli. Classical Guitar 10, no. 29 (May, 1992): 37.
22
Guitar-Piano Repertoire in Vienna

Opera composer Conradin Kreutzer, pianist Josef Wlfl and composer, performer, poet
and singer Carl Ludwig Blum were important composers, though their contribution to this
repertoire is not extensively big.
Mauro Giulianis compositions for the guitar-piano duo were mainly written for his
collaborations with Austrian composer and pianist Johann Nepomuk Hummel and Bohemian
composer and pianist Ignaz Moscheles. The arrangement of his Guitar Concerto opus 30 for
guitar and piano most likely contains added notes by Anton Diabelli in the tutti sections. Diabelli
also made arrangements of Giulianis other two concertos, opus 36 and opus 70 for guitar and
piano. Anton Diabelli was a famous guitar and piano teacher before starting his publishing
career and perhaps that is why his original guitar-piano duos mainly functioned as didactical
material. In Grand Pot-Pourri National of Giuliani, these compositions for the duo include
segments of national anthems, a polka, a bolero and at the very end, a tarantella. Worth
mentioning is that Giuliani demonstrates great skills in balancing the two instruments in his 2
Rondos opus 68, where both of the performers display their technical abilities without exhausting
the musicians or having either one rely on the accompaniment role. It is clear that Giuliani was
aware of the fact that he dealt with two polyphonic instruments.
The duo chamber music of Leonard Von Call, sometimes referred to as Leonhard de Call,
was widely spread over Europe, and in addition to editions from Vienna, there are French and
German editions as well. Most of his pieces are on a very accessible playing level and meant for
amateur musicians.
Although more recognized for his symphonies and string quartets, Johann Baptist
Vanhal, a Czech composer located in Vienna for most of his career, was one of the first
23
composers who wrote for the guitar-piano duo (together with Charles Doisy and Anton Diabelli).
His compositions are written for a five-string guitar and are more in the style of Hausmusik. In
these compositions the guitar takes the role of accompanist by playing arpeggios or chords.
Guitar-Piano Repertoire in Other Regions
German composer Carl Maria Von Weber also wrote for this chamber music duo in his
Divertimento Assai Facile per la Chittarra ed il Pianoforte, opus 38. Here, the composer
emphasizes the major role of the guitar. German violist, horn player, conductor and composer
Johann Andreas Amon mostly wrote guitar-piano repertoire in which the guitar is usually
downgraded to accompany the piano. Noteworthy is that in the repertoire of Hungarian guitarist,
Johann Kaspar Mertz, there is a clear shift from a Classical style to a more Romantic style of
writing. For example, one can clearly find nationalistic characteristics in his oeuvre.
Conclusion
Using a balanced formal structure and being fully aware of the polyphonic nature of the
instruments creates an excellent foundation for the guitar-piano duo. The compositions of
Giuliani and Carulli are clear examples of this. As previously stated, not all of this music is
intended for the concert stage, but Oltman and Newman make a fair point that there is certainly
ample chamber music available from this time period to share with amateur players or music
lovers.38
38
Laura Oltman and Michael Newman, Introducing Guitar Students to Chamber Music, American String
Teacher 39, no. 2 (1989): 54.
24
Twentieth Century Literature for the Guitar-Piano Duo

With changes in harmony, the use of color, tonality, and the possible use of rhythmic
purposes of the guitar, many composers such as Heitor Villa-Lobos, Arnold Schoenberg and
Anton Webern integrated the guitar into their chamber music works. Unfortunately, none of
them wrote for the guitar-piano duo.39 While the repertoire for this setting is not abundant,
certain compositions are definitely worth investigating.
Although not completely intended for a guitar-piano setting, Manuel Maria Ponce wrote
his Preludio in 1926, for guitar and harpsichord in a Neo-Baroque style. The composer used a
great deal of imitation between the two instruments. In 1931, Ponce wrote a Sonata for the same
combination.
Mario Castelnuovo-Tedesco, the first composer who wrote for the piano-guitar duo in the
twentieth century, worked closely with Spanish guitarist Andrs Segovia for his Fantasia, opus
145. The composer dedicated the piece to Segovia and his wife Paquita. In 1968, Tedesco had
intentions to write more for the guitar-piano duo:
On February 28th, 1968, he (Tedesco) wrote me proposing a Fantasia and
Fugue (or Variations and Fugue) on the initial theme of Beethovens Hammerklavier
Sonata, opus 106. This would reinforce the association of the guitar with the
hammerklavier, and I think one might make a very beautiful piece out of it. I might
employ as a theme the first 23 measures (at the end of the Sonata there is a Fugue, but the
theme of the first movement seems to me by far more beautiful.) To remain faithful to the
binomial Diabelli-Beethoven, I might also write a Variations and Fugue on the theme by
Diabelli employed by Beethoven in his Variationen ber ein Walzer von Diabelli,
opus 120. I cannot promise you as many as 33 variations (more so beautiful as
Beethovens), but it might be interesting to try. Please tell me whether one of these
projects would appeal to you, or suggest to me some other propositions.40
39
Lorraine Ann Abbott, Arranging Music for the Classical Guitar/Piano Duo, Including Three
Arrangements by the Author (Ph.D. diss., University of Miami, 2001), 5.
40
Mario Sicca, The Guitar and the Keyboard instruments, Guitar Review 39 (Summer 1989): 19.
25
Sadly, only a few days after the correspondence with Mario Sicca, the composer passed
away. Much later, in 1982, John Duarte used a theme of Castelnuovo-Tedesco in his composition
Insime opus 72 for guitar and harpsichord or piano. Stephen Dodgson wrote his Duo Concertant
for guitar and harpsichord and won first prize with the composition in the 1970 Office
Radiodiffusion Tlvision Franaise competition in Paris.
The Fantasia pour Guitare et Piano by Swiss composer Hans Haug was written for
Viennese guitarist Louise Walker in 1957. The composer masterfully balances the melody and
harmony between the two instruments. References to the past are made, for example, by
integrating the ballade that needs to be played as a chant dun troubadour. A year later, although
still unpublished, Brazilian composer Radams Gnattali wrote his guitar-piano Sonatina para
violo e piano and dedicated it to guitarist and composer Dilermando Reis. The composition
consists of three movements. Clearly one can hear Latin jazz influences in this work.
Guido Santrsola wrote Sonoridades 1971 for guitarist Monina Raitzin de Tavora and
uses many techniques typical for the guitar such as tremolo, glissando and golpe. The third and
final movement is a fugue. His compositional style balances between neo-Baroque and serialism.
Belgian composer Franz Constant wrote three short pieces for the duo: Estampe opus 81 in 1976,
Serenit opus 80 in 1978 and Danse opus 82, also from 1978. Constant was highly influenced by
composers such as Bla Bartk and Igor Stravinsky, which is reflected in the music of these
short pieces.
American composer Charles Wuorinen wrote Sonata for Guitar and Piano in 1995 and
uses twelve-tone composition techniques with influences from Stravinsky, Schoenberg and
Babbitt. The music is highly complex and demands virtuosity from both performers challenged
through wide leaps and fast dynamic contrasts. Del Rosato Albeggiare, a recent piece by Italian
26
guitarist-composer Angelo Gilardino, composed in 2010, is a work of four movements in a

pattern style of writing for both guitar and piano and are thus very idiomatic. Gilardino often
uses polymodal harmonies in this work, which also can be heard in his guitar concerti.
References
By far, not all guitar-piano duos are included in this historical overview. It is not the
intention of this treatise to comprehensively list the repertoire for the guitar-piano duo. All of the
aforementioned composers have a broad knowledge of guitar through either being guitarists
themselves or extensive experience by working with guitarists in the process of writing. The
author does see the value of a repertoire list for composers and performers and therefore included
Eugenio Becheruccis catalogue in the appendix of this writing.41
Many of the nineteenth century compositions are public domain and available in digital
format on the website of the Danish National Digital Sheet Music Archive. A continually
growing database compiled by Klaus Heim and Seth Josel of contemporary solo and guitar
chamber music can be consulted at: http://www.sheerpluck.de/
41
Eugenio Becherucci, Chitarra e Pianoforte: Breve Storia Della Letteratura Del Duo DallOttocento ai
Nostri Giorni, Il Fronimo, 70 (January, 1990): 14-28. Eugenio Becherucci, Chitarra e Pianoforte: Breve Storia
Della Letteratura Del Duo DallOttocento ai Nostri Giorni, Il Fronimo, 72 (July, 1990): 17-29.
27
CHAPTER THREE
PRACTICES TO FACILITATE COMPOSING FOR GUITAR-PIANO DUO
During the late nineteenth and first half of the twentieth century, more linear writing was
exploited in compositions for the guitar. Combined with the creative use of texture and form and
the innovative use of colors, composers began writing remarkable guitar-piano chamber music.
Today however, many composers still think of the guitar primarily as a harmonic
instrument. Some composers avoid writing for two harmonic instruments, which could interfere
with each other. Not only this misconception regarding the guitars perceived limitations, but
also the dynamic imbalance between the two instruments, might lead one to completely abandon
the idea of composing for a guitar-piano duo. The following offers an overview of orchestration
of both instruments and adds suggestions on how a composer can combine both instruments.
Possibilities and Limitations
Guitar
Hector Berliozs orchestration treatise was first published in 1843 and revised in 1855.
The composer, who also was a guitarist, writes about the difficulties a composer faces when
writing for the guitar:
It is almost impossible to write well for the guitar unless one is a player oneself.
Yet most composers who use it are far from any familiarity with it and write things of
unnecessary difficulty with no sonority or effect To get a good idea of what the great
players can do in this sphere one must study the compositions of famous guitarists.42
42
Hector Berlioz and Hugh Macdonald, Berlioz's Orchestration Treatise a Translation and Commentary
(Cambridge: Cambridge University Press, 2002), 80.
28
Ophee does not agree with Berliozs statement and suggests observing compositions by
non-guitarist composers such as Manuel Maria Ponce, Alexandre Tansman and Mario
Castelnuovo-Tedesco, all of whom did succeed in writing successfully for the instrument.43
However, all the aforementioned composers worked closely with renowned guitarist Andrs
Segovia during the process of writing. Also note that Berliozs treatise is almost over a hundred
years old and ever since, composition techniques for the guitar have changed tremendously.
Pitch Range
Guitar music, since the end of the eighteenth century, has been notated on a single treble
clef. The guitar is a transposing instrument: the guitar sounds one octave lower than it is notated.
The range of the guitar is about three and a half octaves and spans from E2 on the open sixth
string to B5 on the first. Scordatura is an extended technique, where an alternative tuning of the
open strings can expand the range or permit the guitarist to play in keys that are otherwise hard
to execute.
Fig. 3.1. Guitar Range.
The modern guitar has six strings and the fingerboard divides them with nineteen frets
per string. More recent guitar models might have an extra fret for the first three strings. Each fret
43
Matanya Ophee, Guitar Chamber Music, Why? One Amateurs View Point, Soundboard 3 nr. 3
(August, 1976): 47.
29
is a half step. Alternatively, the fifth and/or sixth string are occasionally tuned one whole step
lower. The third string is often tuned a half step lower in combination with a capodastro (a tool
used on the neck to raise the pitch) on the second or third fret to resemble the tuning that was
used in the Renaissance.
Fig. 3.2. Standard Tuning of Open Strings.
Dynamic Range
Even though recent luthiers are trying to broaden its range, the guitar is a relatively quiet
instrument compared to other instruments such as string or brass instruments or piano. Its range
varies from each instrument but could reach 65 to 80 decibels. As a result of this, the lowest and
highest dynamic level are much closer together compared to many other instruments such as the
piano.
Texture
Stephen Dodgson, a non-guitarist composer explains: It is definitely a mistake to think
of the guitar (as many do, apparently) as first and foremost a harmonic instrument; a mistake,
because it leads the innocent into writing too many notes.44 Polyphonic writing with three or
four voices definitely limits the playability on the guitar. Playing full chords in higher positions
is an example of non-idiomatic writing. Moderate spacing between voices or between the lowest
44
Stephen Dodgson, Writing for the Guitar: Comments of a Non-Guitarist Composer, American String
Teacher 33 (1983): 52.
30
voice and upper voices tends to work better. Doing so also creates a much easier approach for the
guitarist to emphasize a particular voice. Reginald Smith-Brindle, another non-guitarist
composer, recommends observing the single-strand music of Johann Sebastian Bachs lute and
violin works, which often creates the illusion of a number of voices, making the sound much
more pleasant than a single voice.45 Many composers have used this technique and excellent
examples of this type of writing can be found in the music of Manuel Maria Ponce, or more
recently, in the repertoire of Dusan Bogdanovic.
Style
Almost any style is playable, but some are more idiomatic for the guitar, such as
contrapuntal Renaissance and Baroque music. British guitarist Julian Bream and even earlier
players such as Francisco Trrega and Emilio Pujol, were masters in transcribing this repertoire.
The latter two, both being Spanish guitarists and composers, also arranged a substantial amount
of music from the Spanish piano repertoire by such composers as Isaac Albniz, Enrique
Granados and others, who often used folkloric themes.
Articulation and Ability to Sustain
A guitarist can give vibration to a note if it is not an open string, but this cannot be
combined with a crescendo. Once a note is plucked on the guitar, the sound can no longer be
controlled. The guitar is limited in playing sustained legato melodies, but can use the tremolo
technique to create the illusion of a long, sustained melody.
45
Reginald Smith-Brindle, The Composers Problems, Guitar Review 83 (Fall 1990): 27.
31
Harmonics and Timbres

Guitar harmonics produce a rich, unique sound timbre and are frequently used to create
musical variety. Often guitarists replace notes that are hard to reach by harmonics to facilitate an
easier left hand shifting to the next note or harmony.
In many cases, the same note or harmony can be played in other positions with different
colors as a result. Notes higher up the neck are warmer, but harmonies tend to sound muffled.
Similar colors can be achieved when moving the right hand in different angles or moved close to
the fretboard for warm tones. When the right hand is positioned closer to the bridge, clearer
timbres are formed. A composer would be wise to study the fretboard in order to know what
combinations of color and position on the guitar are possible. By muting the strings with the
right hand another color is produced very similar to that of other string players such as the violin
or cello who pluck their strings instead of bowing them.
Technical Considerations
For non-guitarist composers, Dodgson suggests using a fingerboard chart to gain a better
understanding of the fretboard.46 When the texture is light or thin, the free left-hand fingers can
more easily prepare what is following. Often the right-hand thumb plays a full bass line by itself
and limits the movement of the other fingers, so when writing thicker harmonies one should
compose a less active bass part.
The use of open strings is a great tool for the guitarist to overcome large shifts for the left
hand. Unfortunately, this often limits the composer to the use of certain keys, but can also be
used to an advantage by allowing these open strings to resonate over other notes. For this reason,
the majority of the guitar literature is written in keys up to four sharps or flats. In recent years
46
Dodgson, 48.
32
many composers have experimented with different tunings to create the possibility of playing in
those keys that are otherwise difficult for the guitarist.
Piano
Pitch Range
A modern piano has 52 white keys and 36 black keys. The pitch range spans Ao to C7 and
is larger than most other Western instruments (some organs have a slightly bigger range). The
music is notated on a treble and bass clef, but can change to either two bass clefs or two treble
clefs depending on the range of a passage.
Fig. 3.3. Piano Range.

Dynamic Range
The piano has a very wide dynamic range. Pianists need to take care not to overpower
other acoustic instruments in a chamber group setting. A piano could reach its limit between 60
and 100 decibels.
33
Texture
In her treatise, Abbott states that a piano can handle single-note melodies to partial or
sometimes even full orchestral sonorities.47 The music can go up to four or five parts, if the
outer voices in each hand-part are not straining more than an octave. Often the piano is used for
orchestral reductions of concertos to accompany soloists.
Pedals
By using the damper pedal, a pianist can create thick textures and play legato. The pedal
can preserve many voicings at once. The sostenuto pedal keeps selected notes or chords ringing,
while the hands are free to play other notes at the same time. Caution is needed, since too much
use of these pedals often result in muddy harmonies.
In his orchestration treatise, Berlioz states that the soft pedal could be used for vocal
accompaniment, but it could also be useful to when paired with instruments that have a limited
dynamic range, such as the guitar:
A pedal used much less frequently than the one that raises the dampers is the una
corda (soft pedal) pedal, treated with enchanting effect by Beethoven and others.
Not only does it provide an excellent contrast with the normal sound of the piano
and with the grand effect of the sustaining pedal, it is also especially useful for
vocal accompaniment when the singer has a weak voice or, more often, to give
the performance a character of gentle intimacy.48
Style
Perhaps the piano is the most versatile instrument in common use and can more or less
handle all styles. Hector Berlioz was very much aware of his contempories: One can form a fair
47
Arrangements by the Author (Ph.D. diss., University of Miami 2001), 17.
48
Berlioz, 96.
34
idea of the point which the art of piano playing has reached today by studying the compositions
of the great virtuosi, those of Liszt especially.49
Articulation and Ability to Sustain
Similarly to the guitarist, the pianist has no control over dynamic levels once a note/chord
is struck. The piano does have a longer sustaining quality as a result of more tension on the
strings, use of sustaining pedal, and the size of the instrument.
Technical Considerations
Writing parts that lie well in the hands can be achieved by avoiding too many large leaps,
awkwardly voiced chords and consecutive stretches in the hands. A stretch can go up to a tenth,
but tenths are a lot easier when the third or the octave is left out.50 Due to a stretch between
fingers 2,3 and 4 of the same hand, chords can sometimes be hard to execute.
Fig. 3.4 Awkwardly-voiced piano chords.

Options for Pairing the Two Instruments
Berlioz mentions the problems a guitar might face in an ensemble setting, but does point
out that composers should consider incorporating guitar in chamber music:
49
50
Ibid., 91-92.
Ibid., 90.
35
As soon as the guitar is used in combination with other, more assertive

instruments, many of these subtleties, so worth storing in the mind for a solo capacity, are
lost. Yet the guitar is a splendid instrument for duo-, trio-, quartet-type ensemble, and its
potential here is still astonishingly under-explored.51
A general analysis of guitar-piano compositions with focus on dynamics, imitation,
texture, harmony and melody, use of register, and use of effects will bring insight in how
composers still manage to bring out theses subtleties of the guitar.
The following works have been selected for analysis:
- Gran Duo in E minor, Op. 86 by Ferdinando Carulli (ca. 1813)
- 2 rondos op. 68 by Mauro Giuliani (ca. 1820)
- Fantasia by Mario Castelnuovo-Tedesco (1950)
- Fantasia by Hans Haug (1957)
- Sonata for Guitar and Piano by Charles Wuorinen (1995)
- Del Rosato Albeggiare by Angelo Gilardino (2010)
Ferdinando Carulli and Mauro Giuliani, who successfully composed chamber music
works for the guitar and piano during the nineteenth century, were highly regarded as concert
performers and composers. The guitar seems to have a reputation among non-guitarist composers
of being difficult to write for. Therefore the fantasias by pianists Mario Castelnuovo-Tedesco
and Hans Haug are included in the selection. Both had experience in composing chamber music
and orchestral music for the guitar and worked closely with renowned guitarist Andrs Segovia.
These two compositions are perhaps the most recorded and performed by guitar-piano duos of
today. The first piece written by American pianist, conductor and composer Charles Wuorinen
51
Dodgson, 54.
36
that uses the guitar is in his Sonata for Guitar and Piano and worked closely with contemporary
guitarist William Anderson in the process of writing. Angelo Gilardino is best known as a
musicologist, but at an early age he had a brief, but extensive career as a concert guitarist. It was
Mario Castelnuovo-Tedesco who encouraged him to start composing.
Dynamic Levels or Markings
The most obvious choice to balance the two instruments is to mark the piano part one or
more dynamic levels below that of the guitar. One should keep in mind that, for example, a forte
on the piano is possibly not at all the same dynamic level as the forte on the guitar. Composer
Charles Wuorinen underlines the importance of dynamic markings in his Sonata for Guitar and
Piano and clarifies what should be taken into account when performing the composition:
Because of the disparity in dynamic range between the instruments, the piano
dynamic must generally be adjusted to that of the guitar. To show this, dynamics that are
to be balanced are shown bracketed between the piano and guitar staves. Only when
markings appear in the piano part alone should the pianist exert the full dynamic range of
the instrument.52
Fig. 3.5. Charles Wuorinen, Sonata for Guitar and Piano, mm. 1-2.
52
Charles Wuorinen, Sonata for Guitar and Piano (New York: Edition Peters, 1995): ii.
37
At the beginning of the Gran Duo (see Ex. 3.6 and 3.7), Carulli opens strong with an
octave played forte, but immediately changes the dynamic level to be better balanced with the
guitar which enters with the right-hand piano part. Note the repetition of the p when this theme is
first played by the piano, as if Carulli wants to remind the pianist of the lightness of the guitar.
The technique of omitting the right-hand in the piano and have it played by the guitar, slightly
modified, when repeated is also used by Angelo Gilardino (see Ex. 3.8 and 3.9).
Fig. 3.6. Ferdinando Carulli, Gran Duo Op. 86, mm. 1-3.
38
Fig. 3.8. Angelo Gilardino, Del Rosato Albeggiare, mvt. 1, mm. 4-5
Fig. 3.9. Angelo Gilardino, Del Rosato Albeggiare, mvt. 1, mm. 7-8.
39
Immediately, from the opening of Castelnuovo-Tedescos duo (see Ex. 3.10), the
dynamic levels for the piano are marked pp. Only then, the long, ringing opening chord will form
a good accompanimental background without overwhelming the guitar. Gilardino uses this
technique in the Lento e Remote section of his first movement as well (see Ex. 3.11).
Fig. 3.10. Mario Castelnuovo-Tedesco, Fantasia pour Guitare et Piano, Op. 145, mvt. 1,
mm. 1-2.
40
Imitation
Quite often, not only melodies are repeated in a different voice, but also chords or
arpeggios, which are both very idiomatic for both the piano and the guitar. In the following
example by Carulli (see Ex. 3.12), the arpeggiated structure of two bars that begins in the guitar
is literally taken over by the right-hand piano part. In bar 78, the guitar begins playing a repeated
high D, previously played by the piano. Castelnuovo-Tedesco uses the same technique in his
fantasia as well (see Ex. 3.13). This time, however, the rhythm is changed slightly for the piano
after one bar and is notated a fourth higher. Wuorinen uses imitation as well, but mostly by
repeating rhythmic cells between the two instruments, rather than repeating the melody (see Ex.
3.14). Imitation is a compositional technique that is associated with many musical forms as such
as the fantasia, illustrated here by Castelnuovo-Tedesco and Hans Haug. The ricercare or the
fugue could also form a great basis for guitar-piano compositions.
41
Fig. 3.12. Continued
mm. 9-13.
42
Fig. 3.14. Charles Wuorinen, Sonata for Guitar and Piano, mvt. 1, m. 2-3.
Use of Thin Texture and Open Chords
In order to balance the two instruments, many composers often write a thin texture for the
piano to avoid overwhelming the guitar. At times this can be very effective when only a single
line is thoughtfully written out. Another option is to include open chords or long, sustained
harmonies in the piano part. This way, an audience will better perceive and differentiate each
instrument. In the second Rondo by Giuliani, the wide octave chords in the piano part provide
ample space for the guitar to play a clear melody (see Ex. 3.15). Combining different registers in
the piano parts is definitely creating room for the guitar. In the earlier imitation example from
Castelnuovo-Tedesco, the piano reflects the thin texture of the guitar as well (see Ex. 3.13). The
beginning of the second movement of the same fantasia also has a thin piano texture (see Ex.
3.16). Thin texture can also be found in the notation of Wuorinens Sonata for Guitar and Piano
(see Ex. 3.17)
Fig. 3.15. Mauro Giuliani, 2 Rondos Op. 68, mvt. 2, mm. 60-65.
43
mm. 1-5.
Fig. 3.17. Charles Wuorinen, Sonata for Guitar and Piano, mvt. 1, mm.10-11.
Chromaticism and Parallel Chord Structures
Although chromaticism is a composition technique that was seen more frequently during
the second half of the nineteenth century, it has been explored by Giuliani as well (see Ex. 3.18
and 3.19). In the first instance, one can clearly hear the ascending half steps in the tenor voice of
the guitar part within the parallel chord structure, beginning from bars 22 to 28. CastelnuovoTedesco employs parallel chords, again with imitation alternating between the instruments (see
Ex. 3.20). Gilardino also clearly uses chromaticism in his guitar-piano duo (see Ex. 3.21).
44
Fig. 3.18. Mauro Giuliani, 2 Rondos Op. 68, mvt. 2, mm. 19-28.
Fig. 3.19. Mauro Giuliani, 2 Rondos Op. 68, mvt. 2, m. 75.
mm. 28-33.
45
Melody Played by Both Instruments Simultaneously

Allowing both instruments to play the same notes can be highly effective for emphasizing
certain thematic material (see Ex. 3.22 and Ex. 3.23).
Fig. 3.22. Hans Haug, Fantasia pour Guitare et Piano, mm. 98-101.
Fig. 3.23. Charles Wuorinen, Sonata for Guitar and Piano, mvt. 3, m. 131.
Playing in Different Registers
Carulli differentiates the two instruments by writing the piano part in a much lower
register than the guitar (see Ex. 3.24). In the case of Gilardino, the range treatment is exactly the
opposite (see Ex. 3.25).
46
Fig. 3.25. Angelo Gilardino, Del Rosato Albeggiare, mvt. 1, m. 18.

Combine Arpeggios with Chords
Foster states that In terms of balance, the midrange is the hardest to project as the
pitches fall into the same range of the accompanying texture.53 As a solution, Haug writes
arpeggiated melodies in the guitar part, which are accompanied with thin, wide chords.
53
Texture and Form, (Ph.D. diss., Florida State University, 2011), 24.
47
Musical Dialogue or Solo Sections
Musical dialogue between the two instruments can enrich a performance, and even solo
sections can be included to highlight the capabilities of both instruments. Hans Haug employs a
chorded conversation between the two instruments in the opening of his fantasia and a guitar
solo guitar part in the middle section (see Ex 3.27 and 3.28). In the first bar of Sonata for Guitar
and Piano of Wuorinen, both instruments are playing in the same register and therefore blend in
nicely. They share a melody created by playing one note alternately. Because each instruments
attack being on a different time, both instruments are heard individually (see Ex. 3.29).
48
Fig. 3.29. Charles Wuorinen, Sonata for Guitar and Piano, mvt. 1, m. 1.
Use of Techniques, Effects
Although not appearing often, composers may indicate specific playing techniques or
effects or use written instructions that suggest that musicians use a different color. In the case of
Castelnuovo-Tedesco, sul legno means knocking on the wood of the guitar (see Ex. 3.30).
49
Composer Stephen Dodgson points out that no string instrument is richer than the guitar in the
excellence of its harmonics.54 The harmonics creates a timbre that clearly distinguishes itself
from other timbres, and can be highly effective if combined with lower dynamic levels on the
piano (see Ex. 3.31).
Fig. 3.30. Castelnuovo-Tedesco, Fantasia pour Guitare et Piano, Op. 145, mvt. 1, mm. 44-47.
54
Dodgson, 52.
50
Conclusion
Koplewitz states that it was during the nineteenth century that the seeds were sown for
the compositional progress of the modern ensemble literature for the guitar.55 Examples of both
time periods that are shown in this chapter illustrate similarities in how composers pair the two
instruments.
As the twentieth century began, new styles and compositional techniques were added to
benefit the writing for the guitar-piano duo. However, standard compositional techniques such as
imitation are still used in both fantasias for example. A thin texture, mainly in order to not
overpower the guitar, seems to be another consistent characteristic. Occasionally scores exhibit
fragments where only one hand is playing in the piano part, almost as if the piano becomes a
melodic instrument.
Treating the piano as an expressive instrument, a composer will leave more room for
performers to bring out multiple colors on their instruments. Rarely can full chords be used
effectively, but in case of the opening of the fantasia by Haug, it certainly works as a musical
dialogue tool. A composer is recommended to avoid having both the guitar and piano playing in
the same register. If impossible to avoid, one can work with combining chords on one instrument
and arpeggios in the other. Or as revealed in the example of Wuorinen, the instruments attack
can be placed at different times. Both the piano and guitar being polyphonic instruments means
that there are common techniques and performance styles. It is up to the composer to be
inventive in order to avoid the instruments clashing and allow audiences to fully enjoy the beauty
of colors that both instruments have in abundance.
55
Laura Koplewitz, The Guitar as an Ensemble Instrument. Guitar Review 78 (Summer, 1989): 7.
51
CHAPTER FOUR
PRACTICES FOR GUITAR-PIANO DUOS TO FACILITATE
PERFORMING
This chapter will explain why performance practice matters and how a guitarist and
pianist can perform early music on original or copies of instruments of past time periods, or use
the knowledge to play the repertoire in a responsible manner on modern instruments.
Furthermore, advice will be covered on how to overcome dynamic level barriers that guitarpiano duo performers face by offering insight in acoustics and amplification. The chapter ends
with discussing the revival of salon music and why this could benefit chamber music groups
such as the guitar-piano duo.
Performance Practice in Early Music
People who play historical instruments or musicians who play historical music on modern
instruments need to be aware of the period performing styles as much as possible. Rowland
mentions that editions of historical music dating from the end of the nineteenth or even the
beginning of the twentieth century are very often not as historical as they may seem. The music
was occasionally transposed, or parts were rewritten and performance directions were added.56
As noted in chapter two, many composers rewrote or arranged popular pieces for entertainment
purposes. Examples of these arrangements and adaptations can be found in the potpourris,
mlanges, aries favorites in the guitar literature as well.
56
David Rowland, Early Keyboard Instruments: A Practical Guide (Port Chester: Cambridge University
Press, 2001), 3.
52
During the second quarter of the nineteenth century, Mauro Giulianis duo partner, Ignaz
Moscheles organized a concert series to underline the importance of stylistically correct
performances based on keyboard treatises of the past.57 As a performer of historical music, one
should not only investigate the performance practice but also the history of the instrumentation
and consider certain choices or compromises that may be necessary when performing the
repertoire on a modern instrument. Awareness is needed to achieve historically informed
performances.
Romantic Guitar
As described in Chapter Two, a transition period for the guitar occurred at the end of the
eighteenth century, in which at least four different types of guitars were in use, each with
different stringing, tuning and playing techniques. With only a few exceptions, the guitar-piano
repertoire during the Biedermeierzeit at the beginning of the nineteenth century is played on an
early six-string guitar model. Scholar Richard Savino points out the importance of performance
practice for guitarists who would like to play classical or romantic repertoire:
The subject of performance practice on the guitar is a most complex issue. With every
variable that one encounters in tuning, instrument construction, nationalistic tendencies,
and style, there is a corresponding technical and aesthetic judgment to be made.58
57
Ibid., 4.
58
Richard Savino, Essential Issues in Performance Practices of the Classical Guitar, in Performance on
Lute, Guitar, and Vihuela: Historical Practice and Modern Interpretation, edited by Victor Anand Coelho
(Cambridge, New York: Cambridge University Press, 1997): 200.
53
Sitting Position
Many different positions were used to support the Romantic guitar. Even today, guitarists
are still experimenting with seating and how to support the guitar. Modern guitarists often use a
footstool, as introduced by Francisco Trrega, but when used with smaller guitars from the early
nineteenth century, the guitar is still too low for many players. Therefore, a footstool combined
with a small cushion on the left leg may be used to elevate the guitar more sufficiently.
Fernando Sor used a small table to support the guitar while playing, and Dionisio Aguado
used a tripodium, a supporting device for the guitar that made it possible to play standing up.
Players from the seventeenth century through the nineteenth century occasionally used a strap
that was attached to a pin at the right side of the guitar, wrapped around the shoulder and they
either sat on it or attached it to the neck or bottom of the guitar. This was often done in
combination with supporting the guitar on the right upper leg. A few guitar players today are still
using this technique. This is a serious consideration, as the angle of holding the guitar certainly
has an influence on the finger stroke when plucking the strings.
The Right Hand and Fingernails
There are many indications that both playing with and without nails has been common
since the seventeenth century, as specified by lutenists and guitarists such as Alessandro
Piccinini, Domenico Pellegrini, Fernando Ferandiere, Dionisio Aguado and many others.
Aguado stated in his Nuovo Mtodo para Guitarra that either the strings with the fingertips or
with a combination of fingertip and part of the nail could be played. These two techniques
require a different use of the fingers of the right hand. Without nails, the guitarist should bend
the fingers. With nails, the fingers need to be bent less, so the string can follow through the
54
nail.59 After hearing Fernando Sor play, Aguado questions this way of playing. As a modern
interpreter, one must make a certain commitment to either one or the other approaches in order to
develop his own technique to its fullest potential. Savino states that a nail player can make a tone
that is close to the sound of playing without nails, and that the advantage of playing with nails
creates a larger volume and a more defined articulation.60 When a guitarist plays without nails on
a modern guitar, there is markedly less control over sound and can barely develop a dynamic
range on the instrument. Therefore, a player who wants to combine playing on an historical
instrument with playing on a modern guitar would do well to play with nails, but perhaps need to
compromise their length. Savino remarks that Giulianis compositions contain many rapid, unslurred passages, which are most effectively executed with nails.61 Certainly for his and other
guitar-piano duos playing with nails will help project the guitars sound.
The point of contact with the string, the angle of the stroke and the follow-through all
influence the guitars sound quality. On most Romantic guitars, there is very little space between
the strings and the soundboard for a good follow-through. The modern apoyando or rest stroke,
where the finger rests on the lower string after plucking, advocated by players such as Francisco
Trrega, Emilio Pujol and Andrs Segovia, is likely to be too strong and create an unclear,
buzzing tone. A tirando or free stroke is when the finger avoids resting on the lower string after
plucking, combined with the angle of the stroke pointed more towards the top of the instrument.
Some nineteenth century guitar players put the right-hand little finger on the soundboard, a
technique that lutenists often used as well. By the mid-nineteenth century, guitarists no longer
59
Dionisio Aguado, Nuovo Mtodo para Guitarra, trans. Brian Jeffery (London: Tecla Editions, 1984): 10.
60
Savino, 200.
61
Ibid., 207.
55
used this technique, but it is known that players such as Fernando Carulli advocated the
technique, as explained in his Mthode Complte pour Guitare.62 The hand needs to rest lightly
on the little finger, between the bridge and the rosette. He also mentions that the hand has no
fixed position, which is an indication that Carulli was a practitioner of changing the timbre on
the guitar by repositioning the right hand either closer to the bridge for a clear tone or closer to
the fretboard for a warmer sound.
In many works and studies by Mauro Giuliani, who was a contemporary of Ferdinando
Carulli, a guitarist needs to use the ring finger quite often, therefore it is not possible to play with
the little finger fixed on the soundboard.
The Left Hand
Other than using the thumb to play the lowest string or to play higher up the neck of the
guitar, the technique for the left-hand used for playing Romantic guitar is not much different than
the modern technique. The use of the thumb was easier on the Romantic guitar due to the neck
being much more narrow than on a modern guitar. Players such as Mauro Giuliani, Johann
Kaspar Mertz and Ferdinando Carulli often included the thumb in their fingerings.
Savino explains that it has become clear after examining many late eighteenth- and early
nineteenth-century manuscripts and editions, that most authors expect the performer to execute
difficult passages using the most efficient and least difficult means.63 As clarified in Chapter
Three, modern guitarists often play a note on a different string for color purposes, which often
increases the difficulty. Another option could be for the guitarist to adapt Carullis method for
coloring by shifting the right hand rather than changing to a different string.
62
Ferdinando Carulli, Mthode Complte pour Guitare Op. 241 (Paris, 1825).
63
Savino, 213.
56
Ornamentation
Romantic period guitar method books are for the most part vague on the subject of
executing ornaments. According to Carulli, grace notes and ornaments have no value but take
half the note value of the principal note (that follows) and help to elaborate the music. Also, both
of these notes should be slurred together.64 Giuliani worked closely with pianists Johann
Nepomuk Hummel and Ignaz Moscheles. For this reason, one might consider investigating the
keyboard literature or keyboard treatises of that time for more information regarding
ornamentation of this time period.
On a modern guitar, a trill can be executed either by a slur on a single string, or by a fast
cross-string plucking of two separate strings, which creates a more harpsichord-like sound.
Modern players such as the Presti-Lagoya duo or David Russell often use the latter technique.
Dutch guitarist Jan De Kloe recently wrote a small instruction book with several exercises on
this subject.65
Fortepiano
One of the principal differences between these pianos and the modern piano is the
dynamic range. As a comparison, Rosenblum roughly describes the piano being one level louder
than the pianos of the eighteen and nineteenth century.66 Todays pianists have thus two options:
maintain the full dynamic range of the modern instrument or play all dynamic levels equally
down.
64
Carulli, 50.
65
Jan De Kloe, Cross String Ornamentation Technique, A Practical Guide for Guitarists (Quebec:
Doberman-Yppan, 2007).
66
Sandra P. Rosenblum, Performance Practice in Classic Piano Music: Their Principles and Applications
(Bloomington: Indiana University Press, 1991): 55.
57
Piano Pedaling
By the end of the eighteenth century most music publications have pedal markings.
Around that time the damper-raising pedal was used frequently to play parts that are out of reach
of one hand. This resulted in different composition styles that are difficult if not impossible to
play on harpsichord or clavichord. A pianist cannot fully rely on pedal markings found in scores
of that time since it was difficult to indicate a precise reflection of the use of the pedal.
Hand Position and Finger Technique
During the second half of the eighteenth century, a shift occurred in keyboard technique,
changing from a more detached playing style to the legato style that became the standard by the
beginning of the nineteenth century.
Since the sixteenth century the pianos key resistance or key depth gradually increased
and keys became bigger. This resulted in changes in the position of the hands and the technical
aspects of keyboard playing. Pianists still played with a curved hand, firm finger joints and
movement in the fingers by the beginning of the nineteenth century, but slightly began to add
more weight of the arm rather than just moving from the fingers.
Ornamentation
Many times ornaments are fully written out, as many of them function thematically. As
with the Romantic guitar, virtually no composers wrote out execution instructions. Some
suggestions on this matter are given by Rosenblum:
The several kinds of one-note ornaments used in the Classic period were all represented
by similar looking small notes. Sometimes composers slurred a small note to the main
note preceding or following it; this notation helped to determine the type and rhythmic
position of the ornament. Generally, however, the small notes were left unslurred, giving
58
the performer the freedom and the responsibility of making a choice according to the
immediate context in which the ornament is found.67
Appoggiaturas were often played between beats rather than on the beat. From about 1800,
beginning the trill from the main-note seems to have become more frequent.68
Combining Guitar and Piano
Very often guitar-piano duos prefer to program a combination of modern and historical
repertoire. In reality, a guitar-piano duo rarely has a fortepiano or harpsichord available in
concert venues, where the only choice is a modern piano. Unfortunately, the burden falls upon
the pianist to create the balance between the instruments. In the following table, Maria Sicca has
some advice to share on this matter:69
Table 4.1. Performance Guidelines to Facilitate Volume Balance
Suggestions
1. Choose pianos having a brilliant, but not aggressive, sonority. It is better to exclude the
concert grand pianos.
2. Play with a precise, but light, touch, using action of the fingers alone, rather than hand
action. Keep your hands and forearms extremely light. (For guidance you may listen to the
recordings of Arturo Benedetti Michelangeli playing the Sonatas of Scarlatti; he produces
exactly the sonority, which you may use as model.)
3. Whenever the guitar has the chief part, make liberal use of the damper pedal.
4. Cut off completely the right pedal in the accompaniments and try to sustain the bass note
longer than its value, similar to the performance of repertoire of the first Viennese School
(Mozart and Haydn in particular).
67
Ibid., 218.
Ibid., 252.
69
Mario Sicca, The Guitar and the Keyboard instruments, Guitar Review 39 (Summer 1989): 19.
68
59
Table 4.1 Continued

5. Try to avoid the unending crescendos, extended over a long phrase consisting of an
enormous number of measures, as often found in piano music. Instead, use shorter phrases,
with dynamics, which vary frequently and are sustained over a reduced number of measures,
and employ a reduced amount of volume.
Fortepianos occasionally have the ability to play una corda, where the hammer strikes
only one string rather than three. This can drastically reduce the volume of the instrument, but
also influences the color of the instrument. This function however is not offered on modern
pianos, where the left pedal or soft pedal can adjust the hammers to strike only two strings.
Unfortunately, this limits the range of colors drastically and creates a more muffled sound. Many
venues that program chamber music series do simply not have a fortepiano available or only
have a grand piano, therefore performers can experiment with the height of the piano lid, and
with use of the soft pedal when appropriate. However, these adjustments significantly affect the
tone quality of the piano. Completely closing the lid can make it difficult for the pianist to hear
his own part in order to play together with the guitarist. An acoustic blanket can be used that
hangs down from the case of the piano to block parts of the sound that sometimes keeps the
guitarist from hearing his own part. Ultimately the performers will need to use their own
judgment in making these types of decisions. Differences in dynamic levels between the
instruments can also be overcome through articulation, the touch, tone, and pedaling, all of
which affect the balance as well. Dynamic markings in the score need to be considered carefully.
A serviceable adjustment for this duo is suggested by having the piano play one or two dynamic
levels underneath of what a pianist is accustomed to.
60
Roughly two approaches have been used by guitar-piano duos when it comes to
positioning the two musicians relative to one another. When a guitarist is seated in front of the
sideways positioned piano, more traditional for duos such as violin and piano, the guitarist might
be too overwhelmed with the piano sound and audiences would have a harder time
differentiating the two instruments. This method makes it tough for the musicians to visually
communicate while performing as well. An alternative method would be if the guitarist were
positioned on the left side of the piano. This avoids having the guitar sound being overwhelmed
by the piano. By positioning the two instruments in a V-shape the musicians can have better
visual contact as well. Guitarists often look to their left hand for executing big leaps on the neck
of the guitar. This alternative seating position will line up the left hand of the guitarist, the music
stand and the pianist, avoiding too many head movements of the guitarist.
Selected Repertoire Suggestions
The very accessible Sehr Lechte Stcke from Anton Diabelli might not be technically
challenging for the performers, but therefore leaves more room to focus on matching tone,
dynamics and playing chamber music. There is much variety in character of the thirty short
pieces, written in keys that are comfortable to play on the guitar. The collection includes dances
such as Marcias, Polonaises, Menuets, Allemandes and a Hongroise. Another great beginner
piece by the same composer is the Sonatine fr Gitarre und Klavier, opus 68. The second
movement is a joyful Rondo and could be a great piece to end a guitar-piano program.
Ferdinando Carulli masterfully convinces players and audiences of his skills for writing
for this duo in his Grand Duo, opus 86. Both instruments have equal roles to fulfill and at times
bring out the full capabilities of the instrument in short virtuoso passages. The Two Rondos, opus
68, are contrasting each other in both tempo and character. In the first rondo, the pianist has a
61
more accompaniment role, and should be careful not to overpower the guitar when playing short,
full chords. The second rondo has an intimate character and does a better job in balancing out the
roles of the two instruments.
At a more advanced level, a guitar-piano duo might consider playing the reductions of
Giulianis guitar concertos opus 30, 36 and 70. The arrangements of Diabelli have piano-parts
that are adjusted resulting in valuable chamber music pieces. Opus 30 and 36 are originally
written for terz guitar (tuned a minor third higher), but one can find modern editions where the
guitar part is rewritten for a standard tuned guitar.70 Franois de Fossa also made rearrangements of orchestral works that resulted in high-level chamber music pieces. The
continuing virtuosic passages of his Duo Concertante, Ouverture pour lOpera du Barbier de
Seville, opus 14 and 16 throughout the piece are technically challenging the guitarist and pianist.
The themes of the Rossini Opera were well known during the nineteenth century and have been
arranged for many different chamber music settings. Almost two hundred years after the
premiere of the opera, the Ouverture theme is still well known.
The two movements of the Fantasia by Mario Castelnuovo-Tedesco have either a very
linear writing for the guitar or use parallel chords. The biggest test for the duo is when both
instruments are playing sixteenth notes. These passages need to be practiced together in a slow
tempo to create a secure alignment of both instruments.
Hans Haugs Fantasia has a variety of tempo markings in the score, and therefore
a guitar-piano duo would do well to have visual contact at those points to set the tempo for the
new parts. Although the composer worked closely with guitarist Andres Segovia in the process
of writing, at times a guitarist will reach his or her capable tempo limits. This is not the case for
70
Giuliani, Mauro, and Anton Diabelli, Premier Grand Concerto pour la Guitare avec Accompaniment de
Pianoforte, oeuvre 30 (Vienne: Ant. Diabelli et comp, 1824).
62
pianists as long chords and arpeggios are integrated in the piano score. Therefore there is a risk
of having the tempo increased by the pianist.
Perhaps one of the most challenging pieces for aligning both instruments during a
performance is Charles Wuorinens Sonata for Guitar and Piano. The composer makes use of
uncommon time signatures that frequently change. The guitar part is demanding, has many leaps
over the entire fretboard and requires a good left hand technique.
The guitar part of Del Rosato Albeggiare by Angelo Gilardino also has many leaps but
because of the use of open strings, a guitarist can overcome those difficulties. For both
instruments fragments often consist of recurring patterns in different positions. The guitar-piano
duo scores of Wuorinen and Gilardino do not come with separate parts for each instrument, but it
is recommended to rehearse with the full score for a longer time period due to the nature of the
composition techniques used that are hard to master together as a duo.
Acoustics and Use of Room: General Criteria and Modifications
Basically, the needs of musicians and audiences are simple. As a musician, one wants to
hear his or her own instrument and those of the ensemble members. One also wants to know if
the audience can hear everything clearly. An audience needs to hear and see the musicians
together but also separately. As it is important for a musician to know how the sound is produced
by his or her instrument, equally important is to know how the environment can alter these
sounds. Some basic understanding of acoustics will help musicians in choosing a performance
venue, or recognize the need to slightly modify a room to their or their audiences advantage. A
63
few criteria for evaluating the acoustics and remedial recommendations are made by Campbell
and Greated71 and Hall:72
Table 4.2. Acoustic Criteria
Criteria
Explanation
Clarity
Notes should arrive clearly, crisply and unobscured
Uniformity
Listeners in all parts of the hall should hear as nearly the same sound as
possible.
Envelopment
Early reflections should arrive not just from front or back walls, but form
sides and ceiling as well.
Reverberation
Continuation or hanging of the sound in the room must have both an

appropriate loudness relative to the original sound and a pleasing rate of
decay.
Performing
The stage must be free from distracting echoes and at the same time provide
Satisfaction
enough enclosure that performers in a group can feel they are in good
communication with each other.
Freedom from
Soft passages in the music should not be disturbed by traffic noise outside or
Noise
by noise in the auditorium ventilating system.
Table 4.3 Acoustic Remedial Measures

Criteria
Clarity
Remedial Measures
Audiences should be positioned as close to the stage as possible. If the
listener has a good unobscured sight line, the acoustical clarity is more likely
to be good.
71
Murray Campbell and Clive Greated, The Musicians Guide to Acoustics (New York: Schirmer Books,
1987): 542.
72
Donald E. Hall, Musical Acoustics: An Introduction (Belmont: Wadsworth Publishing Corporation,

1980): 341-347.
64
Table 4.3 Continued

Uniformity
Use slopes and balconies so that the last row will not have to be so much
farther away than the first. The total reflected sound must have similar
strength everywhere. Avoid concave walls and rooms with plain flat walls
that make sound to bounce back and forth repeatedly over the same path
Envelopment
Ceilings and sidewalls are preferably not flat, but include enough structure to
provide several early reflections from each that will truly surround the
listener with sound.
Reverberation
Placing reflecting surfaces toward the front of the auditorium can minimize
too much echo. Doing so will have the first reflected sounds avoid traveling
too much farther than the direct sound. A happy medium must be struck
somewhere between dead and muddy sound. Reverberation is controlled by
the size of the auditorium and by the relative amount of absorption or
reflection of sound by the materials placed on walls, ceiling, and floor. Use
curtains of heavy fabric that are hung in pleats to increase absorption.
Performing
Project the sound out to the audience. The stage should not have hard
Satisfaction
parallel sidewalls, which cause a very annoying problem called flutter echo
in which you can hear any sharp percussive sound bounce back and forth
many times. Flutter echo is doubly bad because it means part of the sound is
trapped on stage and not reaching its intended audience. The rear wall should
not return a single strong echo to the stage. But a blend of many reflections
should return to the stage strongly enough to give the performer some sense
of what the audience is hearing.
Freedom from
Use substantial construction, double doors, and felt stripping for airtight
Noise
closure of all doors.
65
Before a concert begins, one could announce to the audience to sit closer to the stage so a
better clarity could be achieved. An external member of an ensemble can walk around during
dress rehearsals in the area where the audience is located to make sure that all places have a
uniformity of sound and if needed adjustments can then be made. Musicians themselves can
invest in acoustic curtains or blankets to adjust reverberations or create a better freedom of noise
when playing in unconventional locations.
Amplification Systems and Microphones
Volume and projection have always been the guitars weakest points. It seems in a room
of moderate size the guitar works well, but in large concert halls or in combination with other
instruments the problem becomes more obvious. The contributions of modern guitar luthiers
have drastically improved the dynamic range in the last hundred and fifty years. However,
designing a guitar that works equally well in big concert halls and in a small intimate space
seems to be the true challenge. As a result of the lack of power, the guitarist often uses too much
force to pluck the strings, which leaves less attention for articulation and the use of color, and
only leads to frustration. From this viewpoint, convincing an audience of the potential of the
guitar is a daunting task to take on. For a guitar-piano duo the problem is exacerbated when
playing in concert halls where most often only large grand pianos are available.
A musical artist cannot ignore knowing the past, but perhaps a new age has arrived and it
is time to embrace the present. Barbosa-Lima seems to agree: A purist attitude toward
amplification is ridiculous and pretentious. Perhaps those who refuse to move forward with the
times are afraid of having their faults or weaknesses magnified and exposed by amplification.
66
Sound engineering has arrived at the computer age and the guitar should benefit from it.73 The
guitarist no longer needs to force the instrument and can finally project all the notes clearly
and focus on what really matters: the music. Villa-Lobos composed his Orchestral work with
guitar Introduo aos Choros in 1929 and already included the instruction com microfone in the
score.74 For many guitar chamber music groups such as the guitar-piano duo this option
definitely facilitates performing.
In his book about amplification, Pinksterboer gives us valuable information on what to
look for in a amplification system: The highest compliment you can pay to an acoustic amp is
that you dont notice its there: the instrument sounds exactly the same as if it were unamplified,
although a little or a lot louder.75 In other words, the amplification system should not alter the
guitar sound, nor should it generate noise when the guitarist stops playing. There are a few
proven approaches to amplify the guitar.
A small condenser microphone just inside of the guitar is one option that has been used
frequently. The disadvantage of this approach is that the microphone is attached to a specific spot
on the guitar, and often sounds very bright, as it does not pick up the full resonance of the body
of the guitar. The advantages are that it limits the wiring, no sound is picked up other than that of
the guitar, and limits the feedback. Another option is to simply put a microphone in front of the
soundhole. Colors and dynamics are then picked up exactly how they sound as if there was no
amplification. This is a big advantage for musicians who obviously want to hear the guitars true
73
Carlos Barbosa-Lima, letter to the editor, Pick Up the Gauntlet: Should the Guitarist use
Amplification? Guitar Review, no. 56 (Winter, 1984): 35.
74
Heitor Villa-Lobos, Ouverture Introduction aux Choros = Introduo aos Choros (Paris: M. Eschig,
1987): ii.
75
Hugo Pinksterboer, Tipbook Amplifiers and Effects: The Complete Guide (Milwaukee, Wisconsin: Hal
Leonard Corporation, 2009): 138.
67
sound with no compromises. In the past, an acoustic amp in combination with an external
microphone often caused a significant amount of feedback, a phenomenon that generates a
sudden loud pitch when the sound produced by the amp goes back into the microphone and
forms a loop. In recent years several improvements have been made and amp companies have
integrated features to combat this problem.
In an interview, world-renowned guitarist John Williams, who performs almost
exclusively amplified, said:
I heard Segovia often in London. Once you get past the magic of the great old
man walking on the stage and all the history that goes with it, it was ridiculous, to be
honest. Youd be sitting in the back of the festival hall and youd hear the odd little plink
and plonk The guitar is just this fantastically beautiful, wonderful instrument. Theres
such a range of sound and color, and the more you can hear it, the better.76
According to Williams, a microphone should be pointing at the middle of the soundhole
and the bridge of the guitar. A microphone needs to pick up the sound that is caused by the
vibrating soundboard and air around it. A microphone that is set up towards the soundhole
creates a wooly bass sound. In smaller rooms up to an audience of three hundred people, John
Williams uses a microphone in combination with two amplification speakers behind him. The
two speakers are about five feet apart from each other, facing outwards. Williams explains that
by using only one speaker, the sound can clearly be identified as a speaker instead of the
amplified sound of the guitar. Facing the speakers slightly outwards reproduces the natural
spreading of sound caused by a guitar.77
76
Mark C. Davis, John Williams, Guitarplayer.com, http://www.guitarplayer.com/artists/1013/johnwilliams/19162 (accessed January 6, 2014).

77
John Williams Interview by Sam Desmet. Personal Interview. The Florida State University, March 1,
2014.
68
If a guitarist uses only one speaker, it should be positioned close to the guitar to generate
a realistic connection between what the audience and performer see and what they hear.
Moderation is the key to use amplification in a chamber music setting, especially when not all
members of the ensemble make use of it. If a guitarist combines solo music with chamber music
during the same concert, the guitar should be kept amplified to maintain the same color and
projection throughout the concert. Though, a guitarist may choose the option to program
unamplified solo pieces at the beginning of the concert. Slight modifications in volume might be
needed if other instrument combinations are programmed in the same concert.
Back to Nineteenth Century Salon Music
Abbott mentions: the classical guitar/piano duo in Europe was one of the most widely
popular ensembles heard during the first half of the nineteenth century. This duo flourished in
intimate salons and small estate concert halls, as well as in the living rooms of the middleclass.78 The idea of playing Hausmusik originated from the late eighteenth century. In recent
years, interest has re-flourished to organize small house concerts. In this setting, music lovers
and musicians work together and go back to the very roots of chamber music. For a guitar-piano
duo, this could be a great opportunity with many advantages. First, as Ku states: performing for a
smaller audience could be a great way to try-out new repertoire or as a preparation before a
bigger concert. Second, a chamber music group could benefit by mingling with the audience
before, during and after the concert to build a fan base.79 And third, the acoustics of a smaller
78
Arrangements by the Author (Ph.D. diss., University of Miami 2001), 5.
79
Anne Ku, House Concerts for Art Music: Multiple Stakeholders, Audience Development and
Sustainability (Paper presented at the 16th International Conference on Cultural Economics, Copenhagen June 9-12,
2010).
69
room are usually better suited for small chamber groups in comparison with a small group of
musicians on a big concert stage. Minor adjustments such as re-organizing furniture or using
acoustic curtains can be employed to improve the rooms acoustics, which are harder to control
or adjust in larger halls.
Conclusion
Richard Savino states that it would be too much to ask of a guitarist who wants to play
the Romantic guitar to adapt to all the variables such as playing techniques and mastering
different instruments, as the musician would spend more time practicing these than actually
using them.80 The same is true for pianists exploring historical music. However, what is
important is that the musician studies the literature in depth and is aware of these issues, whether
the music is performed on an historical or modern instrument. For this matter, Robert Donington,
a well-known early music scholar, differentiates between historical authenticity and essential
authenticity81. The first indicates that musicians will use all available knowledge for any
performance and perform on authentic instruments, and the second is the use of the knowledge
and musicianship to perform aesthetically without an authentic instrument.
During an interview with composer Charles Wuorinen discussing his sonata for guitar
and piano, the composer explained that when composing in a more linear single lined technique
for the piano, he does not see any reasons why others are reluctant to write for this duo. When
the pianist performs in a restrained way in a good acoustic environment, musicians can easily
program guitar-piano music. Wuorinen does not have any objections if amplification is added to
80
Savino, 219.
81
Robert Donington, The Interpretation of Early Music, New Version (New York: St Martins Press,
1974): 61.
70
the guitar if the performance benefits from it and even recommends it for performances of his
cello and violin concerto. 82
Having insight into acoustics and understanding how to influence them can contribute to
a better performance experience for both musicians and audiences, and if needed, amplification
can be used in order to overcome balance problems, an issue that is perhaps less pronounced in a
house concert. In venues like this, musicians are able to bond with their audiences on a different
level and audiences enjoy a more intimate experience as well.
82
Charles Wuorinen Interview by Sam Desmet. Personal Interview. The Florida State University, April 11,
2014.
71
CHAPTER FIVE
FURTHER RESEARCH
The importance of chamber music for a guitarist should not be underestimated. Similar
research could be considered with instruments that are not part of standard orchestra settings.
Other examples are: piano, recorder or accordion. Insight into how musicians generate income
through various types of performance opportunities could be very useful to many. A clear
overview of the evolution of guitar construction and the materials that were used throughout
history will help the reader understand what has the increase in volume and what more is still
needed for improving volume.
Further, the research in this treatise focuses on the guitar-piano duo, but a similar
approach with different ensembles such as marimba-piano or harp-piano duos will demonstrate
differences and similarities that may be valuable to both composers and performers. The art of
transcribing and arranging works for the guitar and piano have been discussed in the work of
Abbott.83 However, transcribing existing duos for other settings and making them work for the
guitar-piano duo is not addressed in her treatise.
A case study of chamber music duos experimenting with different halls, different
instruments and different approaches of seating and amplification would illuminate both the
advantages and the disadvantages for musicians and audiences.
83
Arrangements by the Author (Ph.D. diss., University of Miami, 2001).
72
APPENDIX A
CATALOGUE OF GUITAR-KEYBOARD REPERTOIRE
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
REFERENCES
Published Sources
Abbott, Lorraine Ann. Arranging Music for the Classical guitar/piano Duo, Including Three
Arrangements by the Author. PhD diss., University of Miami, 2001.
Aguado, Dionisio. Nuovo Mtodo para Guitarra translated by Brian Jeffery. London: Tecla
Editions, 1981.
Artzt, Alice. Letter to the editor. Pick Up the Gauntlet: Should the Guitarist use Amplification?
Guitar Review, no. 56 (Winter, 1984): 34.
Assad, Sergio. From Interpreter to Composer. Soundboard, Vol. 39 no. 3 (2013): 8.
Barbosa-Lima, Carlos. Letter to the editor. Pick Up the Gauntlet: Should the Guitarist use
Amplification? Guitar Review, no. 56 (Winter, 1984): 35.
Becherucci, Eugenio. Chitarra e Pianoforte: Breve Storia Della Letteratura Del Duo
DallOttocento ai Nostri Giorni. Il Fronimo, no. 70 (January 1990): 14-28.
---. Chitarra e Pianoforte: Breve Storia Della Letteratura Del Duo DallOttocento ai Nostri
Giorni. Il Fronimo, no. 72 (July 1990): 17-29.
Belt, Philip R. and Maribel Meisel. Pianoforte. The New Grove Dictionary of Musical
Instruments. Edited by Stanley Sadie. London: Macmillan Press, 1984. III: 71-107.
Berlioz, Hector, and Hugh Macdonald. Berlioz's Orchestration Treatise: A Translation and
Commentary. Cambridge: Cambridge University Press, 2002.
Brindle, Reginald Smith. The Composers Problems. Guitar Review, no. 83 (Fall, 1990): 2530.
Bone, Philip J. The Guitar and Mandolin: Biographies of Celebrated Players and
Composers. London: Schott and Co., 1954.
Campbell, Murray, and Clive Greated. The Musicians Guide to Acoustics. New York: Schirmer
Books, 1987.
Chiesa, Ruggero. The Guitar Works of Ferdinando Carulli. Classical Guitar, Vol. 10, no. 29
(May 1992): 35-37.
Cooper, Colin. The Guitars Place in Danish Chamber Music. Classical Guitar, Vol. 7
(October 1988): 16-18.
90
Dodgson, Stephen. Writing for the Guitar: Comments of a Non-Guitarist Composer. American
String Teacher, no. 33 (1983): 48-52.
Foster, Adam. Hans Haug: The Chamber Works Featuring the Guitar, An Evolution of Style,
Texture, and Form. PhD diss., Florida State University, 2011.
Grunfeld, Frederic V. The Art and Times of the Guitar; An Illustrated History of Guitars and
Guitarists. New York: Collier Books, 1974.
Hall, Donald E. Musical Acoustics: An Introduction. Belmont, California: Wadsworth Publishing
Corporation, 1980.
Koplewitz, Laura. The Guitar as an Ensemble Instrument. Guitar Review no. 78 (Summer,
1989): 7-11.
---. The Guitar as an Ensemble Instrument. Guitar Review no. 79 (Fall, 1989): 32-36.
Ku, Anne. House concerts for art music Paper presented at the 16th International Conference
on Cultural Economics, Copenhagen 9-12 June, 2010.
Mattingly, Stephen Patrick. Franz Schuberts Chamber Music with Guitar: A study of the
Guitars Role in Biedermeier Vienna. PhD diss., Florida State University, 2007.
Oltman, Laura and Michael Newman. Introducing Guitar Students to Chamber Music.
American String Teacher no. 39 (1989): 53-54.
Ophee, Matanya. Guitar Chamber Music: Review of a Decade. American String Teacher no.
38 (1988): 60-63.
Pinksterboer, Hugo. Tipbook Amplifiers and Effects: The Complete Guide. Milwaukee,
Wisconsin: Hal Leonard Corporation, 2009.
Rosenblum, Sandra. Performance Practices in Classic Piano Music. Bloomington and
Indianapolis: Indiana University Press, 1988.
Rowland, David. Early Keyboard Instruments: A Practical Guide. Cambridge, New York:
Cambridge University Press, 2001.
Savino, Richard. Essential Issues in Performance Practices of the Classical Guitar. In
Performance on Lute, Guitar, and Vihuela: Historical Practice and Modern
Interpretation, edited by Victor Anand Coelho, 195-219. Cambridge, New York:
Cambridge University Press. 1997.
Shearer, Aaron. The Classic Guitar Grows Up. Music Educators Journal, Vol. 58, No. 2
(October 1971): 53, 64-65.
91
Sicca, Mario. The Guitar and the Keyboard Instruments. Guitar Review No. 39 (Summer,
1974): 17-22.
Sparks, Paul. Guitar Performance in the Nineteenth and Twentieth Centuries. Performance
Practice Review Vol. 10, No. 1, Art. 7 (1997): 1-9.
Usher, Terence. The Spanish Guitar in the Nineteenth and Twentieth Centuries. The Galpin
Society Journal Vol. 9 (June 1956): 5-36
Scores
Carulli, Ferdinando. Gran Duo Op. 86. Edited by Mario Martino. Bologna, Italy: Ut Orpheus
Edizioni, 2001.
Castelnuovo-Tedesco, Mario. Fantasia: pour guitare et piano, Op. 145. Mainz: B. Schott's
Shne, 1954.
Gilardino, Angelo, Del Rosato Albeggiare. Ancona: Edizioni Musicali Brben, 2010.
Haug, Hans. Fantasia pour Guitare et Piano. Ancona: Edizioni Musicali Brben, 1973.
Villa-Lobos, Heitor. Introduction aux choros = Introduo aos chros: ouverture. Paris: M.
Eschig, 1987.
Villa-Lobos, Heitor. Sextuor Mistique = Sexteto Mistico. Paris: M. Eschig, 1957.
Wuorinen, Charles. Sonata for Guitar and Piano. New York: Edition Peters, 1995.
92
BIOGRAPHICAL SKETCH
Belgian native Sam Desmet studied guitar performance and music pedagogy at the Royal
Conservatory in his home country of Belgium and graduated with highest distinction for guitar.
Sam is active as a soloist and an enthusiast of guitar chamber music. Over the years, Sam had
additional training through Master classes and individual lessons with Leo Brouwer, Alvaro
Pierri, David Tanenbaum, Denis Azabagic and Thomas Johnson. Other major teachers include
Yves Storms, Bruce Holzman, Johan Fostier and Filip Rath.
As a soloist, Sam has performed in Belgium, France, the Netherlands, Germany and the
US. Together with his wife and pianist Elizabeth Hsieh he formed La Folia duo to promote
guitar-piano chamber music. They shared stages in Belgium and the US.
Sam likes to share his passion for music and has taught guitar and ensemble at Belgian
Municipal Music Academies of Harelbeke, Waregem, Diksmuide and Roeselare and at the
Conservatory of Brugge.
With his first CD study < > study, Sam promoted and recorded guitar etudes and
compositions of renowned composers such as Leo Brouwer, Angelo Gilardino and Simone
Iannarelli, who praise the cd as an example of Sams refined musical personality.
Sam assisted, reviewed and proofread Concerto pour Guitare et Petit Orchestre opus 155
by Belgian composer Jean Absil which was published in 2009 under Italian label Berben upon
request of musicologist Angelo Gilardino. Together with Dr. Gonzalo Gallardo, Sam translated
and published Solfges and Vocalises Op. 195 by Ferdinando Carulli based on manuscripts of
1822-6. It may still be the only tutor intended for guitarists to read, sing, and play two lines of
music simultaneously. The edition is published in 2012 under the Canadian label Production
dOz.
93

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Florida State University

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A Practical Guide for Composing and Performing

Follow this and additional works at: http://diginole.lib.fsu.edu/etd

FLORIDA STATE UNIVERSITY

A PRACTICAL GUIDE FOR COMPOSING AND PERFORMING

A Treatise submitted to the

Sam Desmet defended this treatise on April 18, 2014.

Jane Piper Clendinning

PRACTICES FOR GUITAR-PIANO DUOS TO FACILITATE PERFORMING ......................52

APPENDIX A: CATALOGUE OF GUITAR-KEYBOARD REPERTOIRE ..............................73

Heitor Villa-Lobos, Sextuor Mistique, mm. 4-6 .................................................................19

Guitar Range ......................................................................................................................29

Standard Tuning of Open Strings ......................................................................................30

Piano Range .......................................................................................................................33

Awkwardly-voiced Piano Chords ......................................................................................35

Ferdinando Carulli, Gran Duo Op. 86, mm. 1-3 ...............................................................38

Ferdinando Carulli, Gran Duo Op. 86, mm. 14-17 ...........................................................38

Angelo Gilardino, Del Rosato Albeggiare, mvt. 1, mm. 4-5 ............................................39

Angelo Gilardino, Del Rosato Albeggiare, mvt. 1, mm. 7-8 .............................................39

Mario Castelnuovo-Tedesco, Fantasia pour Guitare et Piano, Op. 145, mvt. 1,

Angelo Gilardino, Del Rosato Albeggiare, mvt. 1, mm. 32-35 .........................................40

Ferdinando Carulli, Gran Duo Op. 86, mm. 75-78 ...........................................................41

Mario Castelnuovo-Tedesco, Fantasia pour Guitare et Piano, Op. 145, mvt. 1,

Mauro Giuliani 2 Rondo Op. 68, mvt. 2, mm. 60-65.........................................................43

Mario Castelnuovo-Tedesco, Fantasia pour Guitare et Piano, Op. 145, mvt. 2,

Mauro Giuliani, 2 Rondo Op. 68, mvt. 2, mm. 19-28........................................................45

Mauro Giuliani, 2 Rondo Op. 68, mvt. 2, m. 75 ................................................................45

Mario Castelnuovo-Tedesco, Fantasia pour Guitare et Piano, Op. 145, mvt. 1,

Angelo Gilardino, Del Rosato Albeggiare, mvt. 2, mm. 91-93 .........................................45

Hans Haug, Fantasia pour Guitare et Piano, mm. 98-101 ...............................................46

Ferdinando Carulli, Gran Duo Op. 86, mm. 59-62 ...........................................................47

Angelo Gilardino, Del Rosato Albeggiare, mvt. 1, m. 18 .................................................47

Hans Haug, Fantasia pour Guitare et Piano, mm. 70-75 .................................................48

Hans Haug, Fantasia pour Guitare et Piano, mm. 1-4 .....................................................48

Charles Wuorinen, Sonata for Guitar and Piano, mvt. 1, m. 1 .........................................49

Mario Castelnuovo-Tedesco, Fantasia pour Guitare et Piano, Op. 145, mvt. 1,

Angelo Gilardino, Del Rosato Albeggiare, mvt. 1, mm. 32-34 .........................................50

Performance Guidelines to Facilitate Volume Balance .....................................................59

Acoustic Criteria ................................................................................................................64

Acoustic Remedial Measures .............................................................................................64

Benefits of Guitar Chamber Music

Oltman and Newman, 53-54.

Oltman and Newman, 54.

Oltman and Newman, 53.

Oltman and Newman, 54.

The Fortepiano in Germany

The Final Developments of the Piano

Fig. 2.1 Heitor Villa-Lobos Sextuor Mistique, mm. 4-6.

Guitar-Piano Repertoire in Vienna

Twentieth Century Literature for the Guitar-Piano Duo

guitarist-composer Angelo Gilardino, composed in 2010, is a work of four movements in a

Fig. 3.1. Guitar Range.

Fig. 3.2. Standard Tuning of Open Strings.

Harmonics and Timbres

Fig. 3.3. Piano Range.

Fig. 3.4 Awkwardly-voiced piano chords.

As soon as the guitar is used in combination with other, more assertive

Fig. 3.12. Continued

Fig. 3.19. Mauro Giuliani, 2 Rondos Op. 68, mvt. 2, m. 75.

Melody Played by Both Instruments Simultaneously

Fig. 3.25. Angelo Gilardino, Del Rosato Albeggiare, mvt. 1, m. 18.