Romantic Guitar Music Mp3 Free Download

The early romantic guitar, the guitar of the Classical and Romantic period, shows remarkable consistency from 1790 to 1830.[1] Guitars had six or more single courses of strings while the Baroque guitar usually had five double courses (though the highest string might be single). The romantic guitar eventually led to Antonio de Torres Jurado's fan-braced Spanish guitars, the immediate precursors of the modern classical guitar.

From the late 18th century the guitar achieved considerable general popularity though, as Ruggero Chiesa stated, subsequent scholars have largely ignored its place in classical music.[2] It was the era of guitarist-composers such as Fernando Sor, Ferdinando Carulli, Mauro Giuliani and Matteo Carcassi. In addition several well-known composers not generally linked with the guitar played or wrote for it: Luigi Boccherini and Franz Schubert wrote for it in several pieces,[3] Hector Berlioz was a proficient guitarist who neither played keyboards nor received an academic education in music,[4] the violin virtuoso Niccol Paganini played guitar informally and Anton Diabelli produced a quantity of guitar compositions (see List of compositions by Anton Diabelli).

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The first known guitar built to be strung with single strings rather than pairs of strings was built in 1774 by Ferdinando Gagliano in Naples. This guitar, which was displayed in the Heyer Museum, Cologne before that museum was dispersed, showed some important differences from the modern classical guitar. It had 5 single strings, inlaid brass frets, a long neck relative to string length (the fretboard meeting the body at the 11th fret), a pegged bridge and a characteristic figure-8 shaped tuning head. It lacked only a sixth string to make it identical with the early romantic guitar.[1]

Around the same time France also began to produce guitars with six single courses and Spain soon followed. Italian, French, and Spanish six-string guitars differed from the baroque guitar in similar ways. In addition to the advances already mentioned the guitar was gradually given more pronounced curves and a larger body while ornamentation was more restrained, remaining mostly around the edges of the body and the sound hole, which lacked a decorative rose to allow more volume. Frets were no longer of tied gut but fixed strips of some harder material, first ebony or ivory then metal. Wooden pegs were later replaced by metal tuning machines.[1][8][9]

The many instructional books of the time show no standard playing technique but rather a reliance upon earlier traditions. For example, they often recommend that the right hand be supported on the guitar's table although the Spanish guitarist Nicario Juaralde took the modern view, warning against a loss of right-hand freedom. The thumb and first two fingers were mainly used for plucking with, in the 19th century, a free stroke (tirando) more commonly than the rest stroke (apoyando) that was favoured in the 20th century. Unlike most classical guitarists today, players were divided as to whether or not use fingernails. Fernando Sor, for example, did not use them while his compatriot Dionisio Aguado did.[8][10]

The narrower fretboard of the romantic guitar allowed the left-hand thumb to be used by some guitarists to fret the sixth string although Fernando Sor deprecates this in his method, recommending that the left-hand thumb remain at the rear centre of the neck and noting that the "high" thumb position aids neither bass-string fingering nor support of the guitar. Romantic guitars often had a neck-strap around the player's neck while Dionisio Aguado invented a "tripodion" for holding the instrument. Aguado also advocated a relaxed posture, leaning back in a chair with both feet solidly on the ground rather than using a footstool to achieve the later conventional posture, the edge of the chair being used to keep the guitar from sliding down to the right, bringing the neck upward, closer to the player's torso, rather than projecting to the left.[11]

Music Page: Interpretation, Composers, Sheet Music, etc. Guitars Page: Information, Early romantic guitars for sale, etc. Artists Page: Recordings, Specialists in ERG --> Email Welcomed: Mail@EarlyRomanticGuitar.com

Browse Singer-GuitaristsWhat you might not think about straight away are your wedding ceremony songs and music choices. The church organ or a string quartet are timeless, traditional wedding ceremony music options, but for a more modern vibe, many couples are turning to acoustic guitarists and singer-guitarists to accompany their nuptials.

You can add as much (or as little) music into your wedding ceremony as you would like. Normally couples will pick out two pieces of music for their ceremony, the first being a processional song, sometimes called the wedding march. This is when the bridesmaids and bride enter the ceremony and walk down the aisle. The second piece of music normally chosen for the ceremony is the recessional song. This is played after the wedding ceremony, when the happy couple are officially announced as husband and wife, walking back down the aisle together as a married couple. You may want to add a piece of music in the middle of your ceremony, or during the registry signing. This is often called the interlude.

New albums by classical guitarists Thomas Athanaselos and Pascal Valois have caught our ear recently. Here we review both to take a trip through time and around the world with three albums featuring a wide variety of compositions.

At the moment, this self-released album is available only through the Danish music publisher Bergman Edition. Hopefully it will turn up eventually on free streaming platforms, because this deserves to be heard!

Polaris has a deep, longing vibe that could fit perfectly with an intimate or emotional montage. Whether you need royalty-free music for a wedding video or a commercial project, this might just be it.

Featuring a twirling classical guitar, Love Me Under The Stars is a powerful, emotional piece. With its romantic and sweet tone, it might just fit perfectly as the backdrop to an equally as powerful scene.

Whatever your direction, this guide will help you understand the different musical approaches a serious guitarist can choose to explore and master at Berklee, home of the largest and most stylistically diverse guitar program in the world. We'll also share wisdom from some of the 52 players on faculty here, each of whom has crafted a unique, versatile personal sound drawing from the traditions below and is dedicated to passing those skills on to their students.

Every guitar style is valued equally here, and of course, new styles are born whenever innovative players decide to bring unfamiliar sounds together. So ultimately, the choice is yours: What kind of guitarist do you want to be?

Blues guitar is the root of so many styles that flourished over the past century. Rock, jazz, funk, soul, metal, pop, bluegrass, country, and many forms of contemporary guitar playing all draw from blues influences, and the history of blues as its own genre is richly varied. Students of blues guitar at Berklee study the whole range of this history, from the pre-World War II days of ragtime, delta blues, and boogie-woogie, through Chicago and Texas styles, rockabilly, country swing, hard rock, and the style's current innovations.

"I felt an immediate connection with the blues music I was initially exposed to," says Dan Bowden, professor of guitar. "I felt the performers I listened to understood my experience in an exciting and appealing way that left me feeling good and wanting more. As a young guitarist I heard elements of blues guitar in much of the music that appealed to me and that was being played on the radio, so I was well-primed for when 'authentic' blues guitarists came to my attention."

If you're committed to blues guitar, there are a handful of guiding principles all students need to learn: "the development of repertoire, vocabulary for soloing, a musical touch, phrasing, tone, pacing, and groove are all inherent to blues guitar studies at Berklee," says Bowden. There are also a number of specific techniques that blues guitarists are constantly working to perfect, including slide guitar, fingerstyle playing, string bending, double stops, dyads, rhythmic phrasing, and rhythm guitar grooves.

One of the best ways to dive deeper into any style of music is to join a group of other players dedicated to the same repertoire. At Berklee, blues guitar students can join performance groups dedicated to the music of greats including Robert Johnson, Muddy Waters, Howlin' Wolf, Sister Rosetta Tharpe, B. B. King, Eric Clapton, Stevie Ray Vaughn, and more.

"I feel attracted to the complex writing of classical pieces; they open up to you in layers that never seem to end: always refreshing, always challenging," says Rojas. "Classical is a style in which the majority of the pieces, at least those written before the more experimental techniques from newer music, were thoroughly composed. Every note has been thought of. We have the job of giving life to those masterpieces, finding new meanings, new avenues in the search for our own version of them."

All classical players have to be heavily invested in developing their tone and the overall sound of their playing, and to their right-hand and left-hand techniques. "There are countless techniques," says Rojas. "Scales, arpeggios, pizzicati, tremolos, colors that go from dark and obscure sounds you can produce near the sound-hole to the clarity obtained when playing near the bridge, tambora effects when you use the guitar as a percussive instrument... There is so much to explore!"

It's impossible to adequately describe the sound of jazz music. The style encompasses so many vantage points, and is guided by a spirit of exploration, improvisation, and discovery. Jazz guitar students at Berklee immerse themselves in the full range of the style's distinctive traditions, which include swing, bebop, menouche, Latin, contemporary, and neo-soul; and they learn from faculty mentors who are masters in each of these approaches. 2351a5e196