It was suggested to me to work on an analysis of Etude No. 2 from Heitor Villa-Lobos' Twelve Etudes for Guitar by an excellent Chilean guitarist. Because this work is still under copyright I have only included the notes within the first beat of each measure as a guide.

Who would of thought that voice-leading is present in a piece like Study No. 1 from Carcassi's Twenty-Five Melodious and Progressive Studies, Op. 60? After all, isn't it just a bunch of scales and arpeggios?

Analysis of the Allemande from Lute Suite 1, BWV 996 by J.S. Bach was most rewarding. Here is another piece I have played for generations without ever considering it's complexities.

It was suggested to me to look into Sor’s Study No. 16, Op. 31 (Segovia edition No. 8) by my friend and colleague Tony Hyman in South Africa.

Today, in honor of Dr. Martin Luther King Jr. and the Detroit Auto Show we will look at Etude 11 from the well known Twenty-Five Melodious and Progressive Studies, Op. 60 of Matteo Carcassi.

The solo 'cello suites of J.S. Bach are so well known and often played by guitarists that I thought it would be worthwhile to do an analysis of the Prelude to 'Cello Suite No. 1, BWV 1007.

“How Insensitive” by Antonio Carlos Jobim is an excellent example of how a great composer can generate new and interesting harmonic relationships through voice-leading.

Sor’s well known Study in D major, Op. 35 No. 17 (Estudio 6 in the Segovia edition) is the subject of my continuing series on analyses of popular works for guitar.

The question of how to add movement within static harmony comes up a lot. I thought I would write a practical explanation using the first seventeen bars of the tune “All of Me” as an example.

An arrangement for solo guitar of the beautiful melody "Waltzing Matilda".

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