Music for Guitar - a journey through time and distance

2nd period: 2010 - present
After eight years of improvising on guitar without an intention to make something out of it, I returned to the nylon string guitar, where I started at the age of approximately 16. In 2008 I discovered the music of Oregon (Ralph Towner, Paul McCandless, Collin Walcott/Trilok Gurtu/Malk Walker, Glen Moore), which was world music in the best sense. Specifically, Towner's ability to improvise and to compose fascinates me, and listening to the music of this group replaced enjoying intensively the music of Pentangle. I suppose this process will last another three decades (Insha'Allah).

In 2009, I bought a guitar from Tobias Berg, a lute maker near by Marburg with a very sympathetic philosophy of making guitars. From the first moment I loved this instrument. I was also very lucky to find a classical and jazz guitar player in Darmstadt, Stefan Hladek, who plays works from my master, so we could start a Ralph Towner project. This means to learn as much as possible about his style and the music of Oregon which he composed. Since the end of 2010 the lessons lead so far have meant that I could start again to compose instrumentals, this time in a first serious approach of classical compositions in a jazz style, and on a level that allows me to work with stylistic parts of the first period of my guitar playing. After several books I wrote, my wish is now to learn to compose for guitar as far I can approach for the whole of my present decade of life. Starting from springtime 2012 I direct myself to Ralph Towner after his concerts in five minutes' short conversations for open questions (see photos below). If you have a question for him that is related to the context of my project, that you would like me to put to him, you can write to: dr.dech(at)t-online.de.

The aim was to create 55 studies for the first part of this phase, and then 45 studies for A Further Approach. Now for the third part, the purpose is 40 more studies, for Just Continuing.
Here are the results of this second period so far:
1 - 10      11 - 20      21 - 30      31 - 40      41 - 50      51 - 55
56 - 65      66 - 75      76 - 85      86 - 95      96 - 100
101 - 110     

The classical notation for these pieces:
Please note: During the process of recording there were always minor variations in each study, so that the written versions given here are just an example of how the pieces can be played. Feel free to make changes if you want. The classical basis for notation is not given as an obligation to imitate precisely. Each study was just an exercise for me to explore something new, so the notations were not intended to represent exactly the final edited version. For that reason the material is meant as a documentation of a learning process that has not yet finished. It would make sense for me if you use it to develop your own style.
All content © Uwe Christian Dech, 2011 - .