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).

The aim was to create 55 studies for the first part of this phase, and then 45 studies for A further approach. For the third part, Just continuing, the purpose was 40 more studies, and for the fourth part of this phase the aim was 35 studies, as Poetry for a magical space. This title captured my intention for the present compositions, and furthermore the relation to my living place near to the Landgrave castle and in the Oberstadt of Marburg. Also I framed since that time - after nine years of composing in the second period - my project as A homage to this area This is mainly due to the fact that my music is visually reflected on all covers of the CDs with images from this area since the beginning - see the complete vision of the project. For the fifth part of this phase the purpose was again 35 studies, titled Rescue of a child soul that expressed a deeper motivation for my musical work in this area. The sixth part is named Step into nothingness and refers to an application within my day evaluations.

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  ~  111 - 120  ~  121 - 130
131 - 140  ~  141 - 150  ~  151 - 160  ~  161 - 170
171 - 180  ~  181 - 190  ~  191 - 200  ~  201 - 210
211 - 212
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 - .