The emphasis is on the study of music scores by guitarist composers and on keeping in mind that the search for new possibilities and sonorities must be always present.
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The imperative for the best understanding of this article exposition is to assume that the composer or arranger has specific knowledge of harmony, counterpoint, instrumentation and orchestration. Through the given examples is presented that the guitar idiomatic writing by non guitarist composers and arrangers is quite possible and also it brings new expressive possibilities according to each composer’s or arranger’s musical personality. The author proposed and discussed the following processes by which idiomatic writing for the guitar may be developed: 1) The harmonic analysis of the material, 2) Harmonic reduction 3) Utilization of the open air strings principle, 4) Partnership with the interpreters.
#Guitar arranger professional#
Due to the strong influence of Heitor Villa-Lobos on professional guitar players and guitar students all over the world, and the fear from critical reviewers, as well as the consequent comparison of Lobos’ works, the Brazilian non-guitarist composers avoid to compose for guitar. This article describes some musical, historical and technical aspects of guitar writing carried out by non-guitarist composers and arrangers.