One more Carulli study reharmonized. This one is a bit more difficult but should follow up nicely with the previous two. I used the Andante in A minor from Carulli's method book Méthode Complète Op. 27 as a template. I hope you enjoy it as  much as I do. It contrasts  well with the G major studies and might make a nice set of pieces for a recital when programmed with the two in G. I am interested in knowing what you think. Thanks for reading.

CarulliAndanteReharmonized.pdf

Listen: CarulliReharmAminor.mp3

 

Comments

September 30, 2014 @01:22 pm
Tony Hyman
Hi John the mystery composer is Haydn .There are no luky winners it seems
September 19, 2014 @03:24 pm
Tony Hyman
Hi John thanks for the nice demo if along with the score.I took it much slower of course andante is undifined, fortunatly. Older walking slower and all that.Anyway, this is one of those Romanic pieces I believe to be a crash course in modulation and grasping some of the concept as to why certain resolutions "taste" or work the way they do. One could apply this to any of the genres as far as tonal music goes including the so called atonal school of thought.I refer to the term atonal meaning going beyond the accepted rules or customs. What that deviding line really is not really defined , afterall just because someone chooses not to use acceptedtonal harmomic customs or rules doesnt mean they dont exist. eg. 1900 being the so called end of tonal harmony (Stefan Kostka -Tonal Harmony) Rules are only as binding as you want them to be I believe.My point being that the Romantics and Classics are locked into a certain old style is a myth suited to those who dont or cant suzz out the rules of harmony so they get laughed off accordingly, Well Im not going to say who made this following quote but He was the driving force behind folks like Mozart, Beethoven Sor and looking at this piece I am convinced Carulli as well."What is the good of such rules ? Art is free , and should be fettered by no such mechanical regulations. The educated ear is the sole authority in all these questions , and I have as much right to lay down the law as anyone"Let the guys dig about a bit.I will be back with the answer..No Time Share Hollyday for two unforunately. This piece has gives great practicle examples of of the following as I interpret it. 1,m-7 that Gm7 is something else sr of going into the Key of F then onto the dominant 7 back to tonic, 2. The sequencial modulation mm 27-28 and common tone G in 28 facilitating the Em to A7 peddling through the G7 in 29 to the C .Still sticking to its guns in 28 on the A7b9 or A# dim alt taking us smoothly to an implied G not Bm to the C in m 29. 3. The exellent example of alternatives between the m7b5 and the implied 9th chord in m 35 i.e. either F#m7b5 or a D9 .Either being chordal nomanclature resolving to the new key G , the F# s supporting my theory.Thanks for your harmony adaptions John it brings the piece into a now perspective .
September 13, 2014 @10:37 pm
David Naidu
Hello John, Would you believe I was just teaching this Carulli etude this morning?!?!? I love your re-harmonizations of classics and hope you realize how much I appreciate it (especially the contrary motion counterpoint!). I still enjoy playing Bachianas Americanas and hope to get around to posting a YouTube performance one of these days -- at least my favorite movement, the Gigue. Best wishes, David.

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