I love the use of the minor circle of fifths in the B section and so could utilise this in my composition and also the polyphonic texture created from exchanging the melody from instrument to instrument allows both instruments to become the melodic and rhythmic focus. The major and minor 6th are used frequently in this piece with a ‘tonicisation’ circle of fifths used in the B section, meaning the piece never fully escapes the key of A minor, hence the importance of the tonic pedal note. There is use of a pedal note on the note ‘A’ in order to solidify the key, since this piece doesn’t modulate. The harmony revolves around Am minor with the use of the harmonic minor and some diminished chords. This arrangement accelerates at 4:13, building the tension until a glissandi in the cello and spread chord in the guitar concludes the piece
Organization Arrangement for normal tuning guitars. It is a masterpiece that is perfect for playing guitar solo. Tatyana Ryzhkova and Daisuke Suzuki are also often performed by guitarists. The performance of cellist Yo-Yo Ma is famous. After this section, the cello improvises around the melody and the guitar becomes more chordal leading up to the faster section at 3:20. This is a musical score (TAB score) arranged for solo guitar from 'Libertango' composed by Astor Piazzolla. In Section B, the legato countermelody is introduced and is more staccato than the original theme and enters at 2:35 with the guitar being more chordal. It is filled with trills and glissandi in this arrangement (trill at 2:12 and glissando at 2:11). After this point, the cello plays pizzicato and the guitar takes the melody. The melody is predominantly in the cello but it switches halfway through.Īt 1:13, the A section is apparent and the guitar comps with the main staccato, descending chord progression ostinato of which the cello plays legato melody lines over the top. This version commences with melodic fragments split between the guitar and cello, introducing the main ideas but with the musicians’ own interpretation. The structure is in ternary form and in the traditional score, goes as follows: A (Bars 1-48), B (Bars 49-64) and A’ (Bars 65-80). Full of syncopation with an emphasis on the second beat of the bar, this piece is in 4/4 and uses the typical tango ‘3,3,2’ feel or ‘long- long-short’ syncopation. One of my most favourite Tango pieces, Libertango by Piazzolla, first recorded in 1974, has been arranged by many different musicians but the one I will be analysing is arranged for cello and guitar.
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