The Waltzing Guitar

Waltz, Op. 17, No. 6 (Fernando Sor)
Waltz, Op. 23, No. 9 (Matteo Carcassi)
A Ma Mie (Alberto C. Obregon)


Classical guitar music in staff notation, which replaced versions of tablature, is thought to have been modelled after violin music at some time in the late 18th century. Coupled with the addition of the sixth string to the guitar about the same time, the expanded musical possibilities mushroomed into an abundance of composing and publications by the early nineteenth century. Historically, the era corresponded with the growth in popularity of the waltz.

In the late 18th century world of composition, the ABA form of the minuet and its cousin the waltz was taught as a template for expanding into longer, more complex pieces of music. Al of these factors - social, theoretical, musical, instrumental - contributed to a super-abundance of waltzes (or valses) by guitarist-composers.

Waltzes by Fernando Sor (Waltz, Op. 17, No. 6) and Matteo Carcassi (Waltz, Op. 23, No. 9A Ma Mie), the Valse de Concert by Alberto C. Obregon, a lesser-known guitarist of the time. These 3 pieces demonstrate that far from being routine - despite the plethora of waltzes at that time - the form was expressed in abundant musical varieties. In performance, use these pieces to show off the artistry of the carillon with fluid, expressive dynamics and phrasing.