Peter Warlock
SONGS OF PETER WARLOCK for Solo Guitar
Goodmusic GM529
Eight songs by Peter Warlock arranged for solo guitar by Adam Soper.
This book is intended to open up the work of Peter Warlock to a world of musicians for whom he never scored, that is, guitarists. Many of the inspirations that seep into Warlock’s work, and the compositional style make his work particularly useful as repertoire for a wide range of guitar players. For classical guitar players, Warlock offers something more unusual than the standard repertoire of ‘guitar composers’ (such as Mateo Carcassi, Fernando Sor, Heitor Villa-Lobos, etc.), and some of these pieces would work particularly well in a performance programme that bridges the renaissance music regularly played on guitar, such as that of John Dowland, with more modern approaches to harmony and performing. Outside of classical guitar, this material would benefit the jazz player who wishes to extend their vocabulary and explore adjacent styles whilst still retaining a familiar syntax (such as seventh, extended, and quartal chords); and folk guitarists who wish to broaden their harmonic vocabulary and incorporate more dissonant and ‘modern’ approaches to arranging harmonic accompaniment to traditional tunes.
These arrangements are intended to be played by intermediate to advanced players, and as such feature some difficult chord shapes and position changes, as well as the use of advanced extended techniques such as artificial harmonics.
The arrangements are presented in both notation and tablature so as to provide the highest amount of accessibility for the material.
This book is intended to open up the work of Peter Warlock to a world of musicians for whom he never scored, that is, guitarists. Many of the inspirations that seep into Warlock’s work, and the compositional style make his work particularly useful as repertoire for a wide range of guitar players. For classical guitar players, Warlock offers something more unusual than the standard repertoire of ‘guitar composers’ (such as Mateo Carcassi, Fernando Sor, Heitor Villa-Lobos, etc.), and some of these pieces would work particularly well in a performance programme that bridges the renaissance music regularly played on guitar, such as that of John Dowland, with more modern approaches to harmony and performing. Outside of classical guitar, this material would benefit the jazz player who wishes to extend their vocabulary and explore adjacent styles whilst still retaining a familiar syntax (such as seventh, extended, and quartal chords); and folk guitarists who wish to broaden their harmonic vocabulary and incorporate more dissonant and ‘modern’ approaches to arranging harmonic accompaniment to traditional tunes.
These arrangements are intended to be played by intermediate to advanced players, and as such feature some difficult chord shapes and position changes, as well as the use of advanced extended techniques such as artificial harmonics.
The arrangements are presented in both notation and tablature so as to provide the highest amount of accessibility for the material.
