Guitar Technique

OF DMA PROJECT A CRITICAL AND PERFORMANCE EDITION OF AGUSTIN BARRIOS’S CUECA: COMPARATIVE ANALYSIS OF FORM, NOTATION, AND PERFORMANCE PRACTICE OF BARRIOS’S WORK TO TRADITIONAL CHILEAN CUECAS FROM THE BEGINNING OF THE TWENTIETH-CENTURY Agustín Barrios’s guitar music has become increasingly popular over the last forty years. After his death, a revival of interest in his compositions began in the 1970s, motivated by a series of publications and recordings of his music by important guitar performers at that time. The most important of these recordings came from the Australian guitar performer John Williams, who was interviewed in 1976 by ABC Television Australia for a film about the Paraguayan composer. The next year, Williams recorded a collection of fifteen works in his album John Williams-Barrios: John Williams Plays the Music of Agustín Barrios Mangoré. After this, the published editions of Barrios’s works have proliferated, many of these transcriptions of the composer’s own recordi...

The widespread popularity of video-centered social media like YouTube, Vimeo, and DailyMotion is fostering new ways of teaching and learning music online. These media allow producers of educational content to reach, interact with, and respond to a global audience of interested viewers. Through a multimodal analysis approach, this study examined guitar-related lessons, tutorials, and reviews created and shared by artists and enthusiasts who reached a "celebrity" status on YouTube. Findings show that these teachers-celebrities construct their online presence and communicate with their audience through authenticity, approachability, and humor, in short-format and high-quality videos. The seamless integration of instructional content, branding, and references to the authors' personal lives and worldviews generates a unique teaching and learning environment that challenges traditional understandings of music education.

This article offers a bird's-eye view of the evolution of guitar learning and pedagogy in the XX and XXI centuries, supported, and often propelled by emerging popular musical styles and new technologies. Specifically, the article discusses how learning to play guitar has evolved from formal teacher-student lessons in private and academic settings, to informal and self-guided forms of learning through books, magazines, and DVDs. Starting in the late 1990s, technological advancements and the diffusion of high-speed internet brought about technologies and social spaces that contributed to innovating guitar pedagogies and disrupting traditional approaches to teaching and learning the guitar. These technologies include, but are not limited to online archives and communities, social media, apps and software, subscription-based services, augmented reality, virtual worlds, and digital games. Several of these technologies are still in their infancy and their potential for impacting guita...

Canto del Cavallero. Música para vihuela (Glossa CD 920101. 1992) - José Miguel Moreno, vihuela
Luys Venegas de Henestrosa: 1. Cinco Diferencias sobre Vacas (Antonio de Cabezón?) / 2. Pues no me queréis hablar (Anon.) /
3. Cinco Diferencias sobre Conde Claros (Antonio de Cabezón?) / 4. Pavana con su Glosa (Antonio de Cabezón)
Miguel de Fuenllana: 5. Glosa sobre Tan que vivray (Sermisy - Fuenllana) / 6. Una fantasía de redobles (Fuenllana) / 7. Con qué la lavaré (Vásquez - Fuenllana) / 8. De Antequera sale el Moro (Morales - Fuenllana) / 9. Morenica dame un beso (Vásquez - Fuenllana)
Diego Pisador: 10. Dezilde al cavallero que / 11. Madona mala vostra / 12. La cortesía / 13. Pavana muy llana para tañer
Antonio de Cabezón: 14. Diferencias sobre el canto de La Dama le demanda / 15. Diferencias sobre el Canto del Cavallero
Enríquez de Valderrábano: 16. Soneto XXII (Lo que queda es lo seguro) / 17. Soneto XXVII / 18. Soneto VIII / 19. Canción VII (A mi sufle)
Luys Milán: 20. Fantasía VIII / 21. Fantasía XII / 22. Fantasía I / 23. Quie Amores Ten (villancico) / 24. Falai Miña Amor (villancico) / 25. Fantasía XI / 26. Pavana IV / 27. Pavana V
Manuscrito de Simancas: 28. Diferencias sobre Vacas (Anon.)

Canción del Emperador. Música para vihuela (Glossa CD 920108. 1998) - José Miguel Moreno, vihuela
1. Esteban Daça: Fantasía 22 de passos largos / 2. Diego Ortiz: Recercada terçera sobre la Bergamasca / 3. Diego Ortiz: Recercada segunda sobre el passamezzo moderno / 4. Luys Maymón: Diferencias de bacas / 5. Esteban Daça: Fantasía 21 de passos largos / 6. Alonso Mudarra: Diferencias de Conde Claros / 7. Anonymous: Al alva venid / 8. Luys de Narváez: Diferencias de Conde Claros / 9. Luys de Narváez: Con qué la lavaré / 10. Vásquez - Fuenllana: Vos me matastes / 11. Diego Pisador: Si la noche haze escura / 12. Sermisy - Fuenllana: Glosa sobre Tant que vivray / 13. Diego Ortiz: Recercada quinta sobre el passamezzo antiguo / 14. Diego Ortiz: Recercada settima sobre la Romanesca / 15. Francisco Páez: Diferencias de bacas / 16-17 Josquin - Narváez: Mille regretz - Canción del Emperador

Interview with Bruce Mitchell and Vini Reilly (Jan. 2013). Longer, different  version of profile for Big Issue magazine. The present doc first appeared on the band's official website. Magazine version includes comments from other musicians and collaborators and is here https://www.academia.edu/8178284/Profile_of_The_Durutti_Column_Big_Issue_article_

Resumen LA ESTABILIZACIÓN ARTICULAR EN LA TÉCNICA DE LA GUITARRA. EL PAPEL DE ABEL CARLEVARO La estabilización de las articulaciones corporales, acto también conocido como fijación, es una constante en las múltiples acciones que realizamos en la vida cotidiana, habitualmente de forma instintiva e inconsciente. En la técnica guitarrística la fijación articular ha sido entendida normalmente como un recurso biomecánico que implica la estabilización firme, circunstancial y controlada, de una o más articulaciones corporales, en ocasiones de forma consciente y deliberada, en particular durante la fase de preparación de una obra musical. El guitarrista y pedagogo uruguayo Abel Carlevaro adoptó este concepto como uno de los pilares de su técnica instrumental. En este trabajo nos propusimos indagar, principalmente, sobre el origen del uso de las estabilizaciones articulares voluntarias en la técnica de la guitarra clásica y la hipotética influencia de los métodos con argumentación científica para la enseñanza del piano, publicados durante la primera mitad del siglo XX, tales como los de Otto Ortmann y Arnold Schultz. También investigamos sobre los trabajos pedagógicos de los guitarristas Abel Carlevaro y Charles Duncan relacionados con esta temática, y el alcance que han tenido los mismos, en relación con la adopción de este concepto por la comunidad guitarrística internacional.

Abstract THE ARTICULAR STABILIZATION IN THE GUITAR'S TECHNIQUE. THE ROLE OF ABEL CARLEVARO The articular stabilization is an action known too as 'fixation' and it is very common in the multiple actions that we carry out in everyday life, usually instinctively and unconsciously. In the guitar technique, fixation is normally understood as a biomechanical resource that implies the firm, circumstantial and controlled stabilization of one or more corporal articulations, sometimes consciously and deliberately, particularly during the preparation phase of a musical work. The Uruguayan guitarist Abel Carlevaro has adopted this concept as a fundament in his instrumental technique. In this paper we set out to investigate, mainly, the origin of voluntary fixations used in the classical guitar technique and the hypothetic influence of the methods with scientific argumentation for piano teaching, published during the first half of the 20th century, such as those of Otto Ortmann and Arnold Schultz in its development. We also investigate the pedagogical work of guitarists Abel Carlevaro and Charles Duncan related to this topic, and the scope they have had, in relation to the adoption of this concept by the international guitarist's community.

The right-hand technique of guitarists needs to move forward when it comes to injury prevention. Guitarists are often diagnosed with median neuritis, carpal tunnel syndrome, lateral epicondylitis, medial epicondylitis, intersection syndrome, digital flexor
tenosynovitis, stenosing tenosynovitis, and De Quervain’s syndrome as a result
of faulty right-hand technique. The causes generally converge to the lack of warm-ups, compression of the forearm muscles, excessive wrist flexion, extension, or sideways deviations, and repetitive movements with simultaneous muscle tension or strained positions. Based on evidence, this article provides technical suggestions that reduces tension and theoretically decreases the chances of playing-related injuries.

The Guitar Method of Fernando Sor, published in Paris in 1830, is one of the fundamental works of guitar teaching. In this article we are analyzed some historical and philosophical aspects as well as the main precepts and themes of this important work of Sor.

This is the 3rd chapter of my book 'The Adaptation of Bağlama Techniques into Classical Guitar Performance', published by VDM Publishing, in Germany, 2011.

Bu yazı, 2011 yılında Almanya'da VDM Publishing tarafından basılan 'The Adaptation of Bağlama Techniques into Classical Guitar Performance' isimli kitabımın 3. bölümüdür.

Agustín Barrios’s guitar music has become increasingly popular over the last forty years. After his death, a revival of interest in his compositions began in the 1970s, motivated by a series of publications and recordings of his music by important guitar performers at that time. The most important of these recordings came from the Australian guitar performer John Williams, who was interviewed in 1976 by ABC Television Australia for a film about the Paraguayan composer. The next year, Williams recorded a
collection of fifteen works in his album John Williams-Barrios: John Williams Plays the Music of Agustín Barrios Mangoré. After this, the published editions of Barrios’s works have proliferated, many of these transcriptions of the composer’s own recordings. However, the publication of differing transcriptions has led to a lack of authoritative editions, creating a confusing situation for performers. Therefore, this research intends to highlight the importance of making critical editions of Barrios’s works based on folk music, using the Cueca as an example. This research offers an analysis and comparison of Chilean cuecas from the first half of the twentieth-century—the timeframe in which Barrios was in contact with this genre–to Barrios’s Cueca. Second, it proposes a critical/performance edition of Barrios’s work taking into account both the performance
practice of traditional Chilean cuecas, and the two primary sources of this work: a handwritten manuscript and the composer’s own recording. This research does not analyze nor compares the Argentinian and Bolivian versions of the cueca.

This is the 3rd chapter of my book 'The Adaptation of Bağlama Techniques into Classical Guitar Performance', published by VDM Publishing, in Germany, 2011.

Bu yazı, 2011 yılında Almanya'da VDM Publishing tarafından basılan 'The Adaptation of Bağlama Techniques into Classical Guitar Performance' isimli kitabımın 3. bölümüdür.

This is important for the next generation in music as well as society, to understand Autism and how it affects children’s learning processes. The purpose of this paper is to create well balanced material to suit the purpose of learning how to read music on guitar, which in turn can enhance student musicality, performance, and hand eye coordination and stimulate learning growth for ASD’s. Reading music and learning the arts can create a solid foundation in learning and discipline.

This is the 3rd chapter of my book 'The Adaptation of Bağlama Techniques into Classical Guitar Performance', published by VDM Publishing, in Germany, 2011.

Bu yazı, 2011 yılında Almanya'da VDM Publishing tarafından basılan 'The Adaptation of Bağlama Techniques into Classical Guitar Performance' isimli kitabımın 3. bölümüdür.

Esta pesquisa investigou as estratégias utilizadas na preparação de repertório vanguardista para violão solo com técnicas expandidas a partir da observação dos processos de aprendizagem dos estudantes de Instrumento (bacharelandos em Violão da Escola de Música da Universidade Federal da Bahia).
O primeiro capítulo traz uma revisão de literatura abordando como temas “Técnicas Expandidas” e “Música Contemporânea e o Ensino de Música”. O segundo capítulo traz uma breve investigação sobre como a música contemporânea vem sendo abordada no curso Instrumento (Violão) da UFBA. O terceiro capítulo descreve como a pesquisa foi organizada metodologicamente. O quarto capítulo apresenta as obras selecionadas para a pesquisa de campo, bem como, uma breve análise sobre seus principais aspectos e os resumos biográficos dos seus compositores. E por fim, os estudos de caso são descritos e analisados no quinto capítulo.

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This research investigated the strategies used in the preparation of avant-garde repertoire for guitar solo with extended techniques from observation of students learning processes of instrument (high schools in Classical Guitar School of Music of the Federal University of Bahia).The first chapter provides a review of the literature addressing how themes "Extended Techniques" and "Contemporary Music and Music Education". The second chapter provides a brief research about contemporary music has been addressed in the course "Instrumento" (Classical Guitar) at UFBA. The third chapter describes how the survey was methodologically organized. The fourth chapter presents the works selected for field research, as well as a brief analysis of its main aspects and biographical summaries of their composers. And finally, the case studies are described and analyzed in the fifth chapter.

Las teorías musicales actuales incursionan en la utilización de diversas tecnologías y saberes para poder alcanzar nuevos planteamientos en la guitarra. A lo largo del siglo XX se recuperan y desarrollan los conceptos de tratadistas renacentistas y románticos que desembocan en la emancipación del ruido, el cromatismo extremo, la micro-tonalidad y la síntesis electrónica.
Así considero pertinente el desarrollar las ideas actuales al respecto, de la manera más simple y concisa posible, pero con la terminología y propiedades pertenecientes y actuales de la jerga musical microtonal y la acústica.

This master’s thesis is concerned with the role of musical gesture in the development of musical styles that have become syncretic. It seeks to define in detail the popular guitar style of assiko, particular to the Bassa of Southern Cameroon, as represented
internationally by the guitarist and traditionally initiated percussionist, Atna Njock. Through a dialogic and participative approach, the techniques that underlie assiko guitar
playing are explored by comparison with European, African American, and African examples. The influences that define Atna’s playing are contextualized within Bassa culture, with its troubled history of colonial and missionary influence, and elaborated by
an account of his particular musical philosophy (or spirituality) and background. The participatory approach provides an emic perspective, meaning internal to the culture, of assiko playing technique and structure while subjecting the musician’s statements to our own analytical scrutiny. The comparison with the various percussion instruments on which Atna was initiated demonstrates how these instruments shaped his guitar playing.
His role as “guarantor” of Bassa musical tradition underlies his approach to music, which manifests as a particular concern for “authenticity” in the reproduction of the rhythms of a given musical “language”. His connection to Bassa culture is ultimately expressed through his reproduction of the playing style of his master, originator of modern assiko, Jean Bikoko “Aladin”. Atna’s particular contribution to Bikoko’s guitar technique is
conceived as adding to the ancestral lineage. An analysis of a current assiko piece from Atna’s most recent album demonstrates how his incorporation of “modern” styles reflects traditional processes of incorporating foreign cultural elements.

En esta tesis se identifican recursos técnicos congruentes con la enseñanza-aprendizaje de la guitarra en siete obras de compositoras, intérpretes y pedagogas del siglo XXI. Específicamente, se seleccionan obras compuestas por Annette Kruisbrink, Clarice Assad, Dale Kavanagh y María Linnemann, entre el periodo de 1980-2018.
A través de la elaboración de entrevistas, del análisis de ejes-problema y la codificación por medio de cuadros descriptivos, se determina la aplicabilidad de las obras seleccionadas para el estudio de la técnica guitarrística, secuenciando los aprendizajes según el nivel de dificultad (principiante, intermedio y avanzado).
Como resultado de dicha investigación se demuestra la viabilidad en la utilización de repertorio de compositoras para la enseñanza-aprendizaje de la guitarra en contextos formativos semiprofesionales y profesionales, vinculando la apropiación, síntesis y solución de dificultades motrices centradas en las singularidades de quien aprende.

Giddes Chalamanda is without any doubt a key figure in Malawian music both as an acoustic guitar player and a songwriter. He was born in 1930 in Chiradzulu (Malawi); he taught himself to play the guitar when he was twelve years old, and he is now teaching his children to play the instrument. Today his songs are very popular all over Malawi, especially among teenagers. Giddes’ compositions are frequently played by local radios, and he furthermore plays at the main musical events in Malawi and abroad. Giddes’ songs talk about everyday life experiences; most of them are about his wife or his sons and some of them are about important problems of contemporary society.
In this paper, in order to investigate Giddes Chalamanda’s individual style both as composer and a guitar player, I am going to analyze one of his most famous songs: Che Meri (Miss Meri). The musical transcription will highlight the unique and very interesting motional pattern of the right hand to sound the strings of the instrument and how this guitar accompaniment ‘converses’ in a continuous interlocking game with the vocal line.

This article examines transpositional strategies in the music of progressive rock band King Crimson, focusing on a series of instrumental pieces composed over several decades. Using Cohn’s transpositional combination to model instances of sequence, planing, and canon, a fundamental scalar approach is uncovered, whereby transpositional patterns are linked to particular scalar collections. Two “families” of works are investigated in detail: (1) “Fracture,” featuring even transpositions and whole-tone collections, and (2) “Larks’ Tongues,” using minor-third transpositions and octatonic collections. Besides chronicling a growing fluency with transpositional combination, I demonstrate how bandleader Robert Fripp’s guitar methodology is relevant to understanding the phenomenon, regarding both technical issues of fretting/picking as well as tuning systems.

The main focus of the study entitled The Competence of Playing Electrical Guitar of Classical Guitar Division’s Members in Rumah Gitar Mahasiswa Community Indonesia University of Education is to investigate how the effects of classical guitar’s right hand technique toward electrical guitar’s right hand are, and how the effects of classical guitar’s left hand technique toward electrical guitar’s left hand are. In addition, this study intends to portray how the competence of RGM’s members in playing electrical guitar is. This study used analytical descriptive method through qualitative which employs qualitative approach, all of the findings and discussions are elaborated in some details.  The techniques of data collection are observation, interview, and pre-test and post-test. The subject of the study is focused on two members of classical guitar division in RGM who are able to play electrical guitar and have taken instrumen pilihan wajib gitar’s subject in Department of Music Education. The findings show that the left and right hand’s technique in classical guitar is influenced positively toward the left and right hand’s technique in electrical guitar. Then, the exercise process occured in RGM includes four steps which are warming up, tuning, fingering, and reading a score. Therefore, it can be concluded that RGM’s members have good competence in playing electrical guitar.

This article offers a bird's-eye view of the evolution of guitar learning and pedagogy in the XX and XXI centuries, supported, and often propelled by emerging popular musical styles and new technologies. Specifically, the article discusses how learning to play guitar has evolved from formal teacherstudent lessons in private and academic settings, to informal and self-guided forms of learning through books, magazines, and DVDs. Starting in the late 1990s, technological advancements and the diffusion of high-speed internet brought about technologies and social spaces that contributed to innovating guitar pedagogies and disrupting traditional approaches to teaching and learning the guitar. These technologies include, but are not limited to online archives and communities, social media, apps and software, subscription-based services, augmented reality, virtual worlds, and digital games. Several of these technologies are still in their infancy and their potential for impacting guitar learning and teaching may still to be fully harnessed and explored.

This short paper will demonstrate how derived sets created from trichordal combinations and some common transformational techniques when applied to Schoenberg's Op. 24 Movement 5 Tanzscene set creates all six all-combinatorial hexachords and two symmetrical hexachords related by the retrograde inversion function that also form the complete aggregate at interval class (ic) 6 or a tritone interval.

El presente método brinda un catálogo de escalas disponibles para el sistema de afinación 39EDT, mostrando las diferentes posiciones distribuidas en cada temperamento, buscando hacer claro el panorama de todo el diapasón y las secciones alcanzables por los dedos. Además de una lista de acordes computados en “triadas armónicas”, formadas por aproximaciones a diversos Radios.

This is the second chapter from my dissertation entitled "Anton Webern's Use of Guitar in Op. 18 and its Influence on His Late works." This chapter describes the various methods used in order to make a case for the connection between Webern's use of the serial method, his voice-leading practices, and the physical manifestations of these practices as they appear on the guitar.

As a conceptual tool, the Artist’s Meta-Praxis depicts commonalities and amplifies profound connections between artistic action and the art of entrepreneurial action. The framework is presented as a step towards empowering arts students for the complexities of effective entrepreneurial action by identifying and ordering the scope of knowledge and skills artists need for entrepreneurial success. Further, the model demonstrates how entrepreneurship education and training can be integrated into higher education arts programs.

Guitarists are susceptible to multiple injuries directly related to faulty left-hand technique: carpal tunnel syndrome, lateral epicondylitis, median epicondylitis, neuropathy of the ulnar nerve, supinator syndrome, osteoarthritis and capsulitis of the first carpometacarpal and digital neuritis. A literature review shows that the causes of these injuries are all related to excessive flexion or extension of the wrist, exaggerated bending of the elbow, prolonged periods of maximal supination of the wrist and large amounts of tensioned positions. The article analyzes guitar left-hand technique and proposes technical and postural approaches that address these causes and theoretically decrease the risk of playing-related injuries.

1. Gaspar Sanz: Folías, for guitar (from Instrucción de música sobre la guitarra española, Book 2)
2. Juan Hidalgo: Paynándose estaba un olmo
3. Juan Hidalgo: ¡Tonante dios!
4. Antonio Martín y Coll: Canarios (from Huerta ameno de varias Flores de Música)
5. Juan Hidalgo: Ojos, pues me desdeñáis
6. Bartolomé de Selma y Salaverde: Susana Pasegiata Basso Solo (Canzoni, fantasie et correnti No. 7)
7. Juan Hidalgo: Cuydado Pastor for voice & ensemble
8. Gaspar Sanz: Instrucción de música sobre la guitarra espanola, Book 1: Canarios
9. Juan Hidalgo: ¡Ay, que sí, ay, que no!, tono
10. Lucas Ruiz de Ribayaz: Españoletas, for guitar (or harp)
11. José Marín: Aquella sierra nevada
12. Bartolomé de Selma y Salaverde: Fantasía
13. José Marín: No piense Menguilla ya
14. Francisco Guerau: Marionas
15. Sebastián Durón: Sosieguen descansen
16. Juan Hidalgo: Ay, que me río de Amor
17. Gaspar Sanz: Instrucción de música sobre la guitarra española: Lantururú
18. Juan Hidalgo: De las luces que en el mar, for voice & ensemble

Most (classical) guitar music comes from guitarist-composers. Yet according to guitarists who collaborate with composers, color research on this instrument is better achieved by those who do not play the instrument. Thus the guitar lags behind many instruments in regard to color research. Various reasons can be faulted for the tendency of non-guitarist composers to avoid the instrument. Examples of such reasons may be: the difficulty to write for the instrument, and its weak projection and lack of sustain, all of which are intrinsic to the guitar. This is, however, not the case of the paradigmatic sound for which the instrument is also dismissed, which is rather the legacy of the conservative guitarist Andres Segovia, who was one of the main promoters of the guitar in the twentieth century. When composers dismiss the guitar for being difficult to write for, collaboration with guitarists has proven fruitful. Given that Segovia's conservatism still prevails among many guitarists, ...

Resumen Las tablaturas convencionales de guitarra son utilizadas desde hace muchos años, y sustituyen o complementan a la notación usual basada en el pentagrama. Estas tablaturas pueden confeccionarse en texto, pero su naturaleza es esencialmente gráfica. En este artículo se propone la crea-ción de tablaturas de guitarra basadasúnicamente en texto. El propósito de esto es por un lado obtener un método alternativo para memorizar partituras de piezas musicales y por otro, brindar una entrada textual a programas de cómputo, como es ejemplificado precisamente por la utiliza-ción de Python para aprender la "Canción de cuna" de Brahms, aunque el potencial en la utilización de esta formulación potencial textual de ta-blaturas es amplia.

El presente método brinda un catálogo de escalas disponibles para el sistema de afinación 16EDO, mostrando las diferentes posiciones distribuidas en cada temperamento, buscando hacer claro el panorama de todo el diapasón y las secciones alcanzables por los dedos. Además de una lista de acordes computados en “triadas armónicas”, formadas por aproximaciones a diversos Radios.

O Queen lançou seu primeiro álbum em 1973 e imediatamente o público e
a crítica reconheceram que tinham uma sonoridade diferente entre as bandas do cenário
inglês do Rock no início dos anos 70. Enquanto bandas como o Led Zeppelin, Black
Sabbath e Deep Purple exploravam sonoridades pesadas e performances improvisadas;
bandas como o Pink Floyd, Yes, Genesis e Emerson, Lake & Palmer, proporcionavam
viagens psicodélicas com longas e complexas seções instrumentais; o Queen misturava
qualidades destas duas vertentes e ao mesmo tempo trazia uma sonoridade polifônica
com arranjos vocais gravados em overdub (gravação em múltiplos canais que permite
que um mesmo músico toque ou cante em várias camadas). Esta textura polifônica que
foi criada na banda especialmente pelo vocalista e pianista Freddie Mercury, influenciou
de forma decisiva o estilo do guitarrista Brian May que já no segundo álbum, Queen II,
fez a sua primeira orquestração de guitarras gravadas em overdub na música Procession.
A partir de então, as orquestrações de guitarra passaram a ser uma das marcas
registradas do Queen e alguns dos solos mais marcantes deste importante guitarrista,
como Killer Queen, Good Company, God Save The Queen (arranjo com orquestração
de guitarras para o hino da Inglaterra), The Milionare Watz, Good Old-Fashioned Lover
Boy, All Dead, All Dead, Bicycle Race, It’s a Kind of Magic, Innuendo, entre muitos
outros, utilizaram as técnicas de gravação em overdub. Neste artigo que apresento para
o simpósio temático Histórias do Rock, farei uma análise da evolução destas
orquestrações de guitarra através de transcrições inéditas e de recriações de suas
gravações (que serão mostradas em vídeo na apresentação).
PALAVRAS CHAVE: Queen; Brian May; Overdub.