I have a little Thanksgiving gift for everyone: a free arrangement of Satie’s Gnossienne No. 1.
Download it! (PDF file)
Here’s a quick recording of what it sounds like:
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Some notes about the arrangement:
- I prefer cross string ornaments, so most of the grace notes are written as cross string. This can be change depending on your personal preferences, but I think the cross string ornaments make it easier.
- The grace notes should be placed on the beat. They borrow time from the following note.
- The phrasing slurs are not mine, they are in the piano score.
- A phrase slur generally indicates a slight crescendo and diminuendo. Combined with a bit of ritard at the end of the phrase.
- I’ve added some dynamics, mostly at the end of phrases.
- All the text in the score is also in the piano version.
If, for some reason, you’d like to download the audio, here’s the file address: http://www.christopherguitar.net/audio/satiegnossienne1.mp3.
Happy Thanksgiving!
A great composition by English composer Lennox Berkeley. Just finished recording this one.
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I’m going to be posting the images of my various programs here for archiving purposes.

I’m on a recording kick! Here’s three more from Sor’s Op. 23.
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Another audition CD recording.
Bach, J.S. – Prelude, BWV 995
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I’ve been doing some recording lately for an audition CD. This is was made with my brand new Michael Thames Guitar and a Zoom H4. There’s no reverb or EQ added. Just the recorder sitting about three feet in front of the guitar.
Giuliani, Mauro: Variations, Op. 45
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p i m, Giuliani RH study no. 2. One of the most basic arpeggios, and easy to master.
original
Here’s two ways to make it more exciting.
- Start with different fingers. This shifts the accent and completely changes the feel of the arpeggio. It’s strangely challenging even though it seems very basic.


- Put fingers on the same string. This requires more precise sequential planting to get a good sound. In some cases (the last one), it’s very awkward, and one of those instances where you take something further than needed to the original feels easier.


These two methods of varying p i m can be applied to any arpeggio.
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