SKU: A0.1262076

I offer an arrangement in D major of the traditional Flamenco Tanguillo de Cádiz as a second guitar to accompany my arrangement of the Tanguillo for solo guitar. The solo guitar arrangement is written in A major. To work as guitar 1 in the duet, the solo version must be played with the capo at the fifth fret to transpose the score to D major. This is normal practice in Flamenco guitar playing. The guitarist simply plays the score as if the capo were the nut. The tones/notes are then referred to as if they were being played in the first position, but they sound of course different.

I created the arrangement in D major to accompany a student I taught to play the solo version so we could play and perform together. It was a lot of fun working on the arrangement and we had a great time playing the Tanguillo as a duet. It was also a big hit with audiences. I particularly recommend this arrangement for instructors teaching the solo version to intermediate students of Flamenco guitar, especially young students who will find it easier to play the Tanguillo at the fifth fret in D major. It is a great inspiration for  students to play along with their instructor, making music together. The arrangement also, of course, works just as well as a duet for two students or two experienced guitarists.

The D minor section contains the typical Andalusian cadence found in the more â??jondoâ?� styles of Flamenco and serves as a first introduction to these darker more serious â??sonidos negrosâ?� as Manuel de Falla referred to them. The many taps or â??golpesâ?� found in the score are, as I said in the description of the Tanguillo solo, not absolutely essential, but they definitely add more â??punchâ?� to the performance and give the arrangement a more earthy Gitano Andaluz character.

SKU: A0.955445

This set of exercises is for guitar quartet and can be played by both classical/nylon guitars and steel string guitars or a combination of both. These exercises can be a great introduction to score and ensemble reading using primary rhythms and notation. Each exercise is multi-dimensional in that each player can try every part. By doing this the student hones important skills such as entering and the piece, sight and score reading, listening to musical partners, counting through the rests, as well as enhancing the corresponding technical skills that accompany proper execution off the exercises.   Guitarist Neal Fitzpatrick has a B.M. from the Hartt School where he studied with Alan Spriestersbach and his M.M. from The Yale School of Music where he studied with Benjamin Verdery. He also studied  extensively with Sharon Isbin and Sal Salvador. Based in Connecticut, he is active as a soloist and in the chamber music scene. You can contact him here:http://www.nealfitzpatrickguitar.com
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