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Women Composers - Guitar Transcriptions

Salon Music for Guitar by Women Composers

Women Composers : Guitar Works by Caroline V. Hayden

Mestiza

A piece composed for the Six Fours Guitar Meetings in 2015, Mestiza (Métisse) mixes sounds and rhythms from various sources: Argentine tango, English rock, rhythms from Eastern European countries... The level of the students ranged from 1st to 4th year of cycle 2 of the conservatory (5 to 9 years of study)

Sonata No. 2

"Sonata No. 2, commissioned by Bokyung Byun and composed in 2024, represents the most extensive solo guitar sonata I have created to date, comprising four movements. This sonata is characterized by its flashy, mysterious, dark, and highly virtuosic nature, making it an ideal piece for both competitions and concert performances. While the Scherzo and Finale can be performed independently, or the first, third, and fourth movements can be paired for time-constrained concerts, it is advisable to perform all movements together due to their interconnectedness."

Violin Partita III, BWV 1006a/1006

In all Bach’s cyclic works, we see evidence of Bach as a pedagogue; even his most sublime music is fundamentally didactic in nature. Within the Sonatas and Partitas there is an overall arch between all the movements. The very first gesture in the G-minor Adagio, with its sweeping chord is, in a sense, is the violin’s signature chord in the same way that E major can be thought of as the guitar’s signature chord––and it acts as a harbinger of things to come. The complete set systematically explores a rich variety of challenges both to the composer and the performer and, throughout the movements, all aspects of composing and playing become increasingly more demanding. Just as C.P.E. Bach wrote about knowing nothing better than his father’s Sonatas and Partitas for helping one learn to become an accomplished violinist, so can we, too, discover much of what is possible on the guitar through studying this timeless collection.