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Hello and welcome to the "Honest Guitarist" a community of musicians on  common ground to mastering music in general and the guitar specifically.
First, a thank you to J.Herman for Everything Guitar and opening the way for guitar players to communicate their experiences.
To be perfectly honest and avoid wasting the readers time, let me state clearly that the ideas presented here are targeted toward the intermediate to advanced player and represents the most basic music and guitar knowledge that an aspiring musician should have command of before moving to more advanced study.
Although the material is advanced, any player should find something of interest to study or to encourage further research. 
The idea for presenting such a project was born of my own experiences.
After many years of playing I decided to further my studies under a professional tutor, only to discover many weaknesses in areas of music, harmonic function and guitar technique.
Although the experience was inspiring it was, to a greater extent, disheartening, discouraging and expensive.
While I did continue with my studies I also kept a list of things that I realized I should have known before attempting to learn at the "bended knee" of a professional teacher.

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After using MuseScore for some time and after recently completing a "master class" (I use the term loosely) it seemed to me that this great music software program could serve an excellent teaching tool to present that exact information.
Hopefully, the "scores" presented will generate some serious thought and study while the student awaits the next book or video or Heaven forbid spends a small fortune on Skype lessons.

I'm working on Book #1 and in the mean time here is a voicing of "Christmas Time Is Here"  for guitarists this season.

Piano Battles are starting up again!

I am happy to say that there will be another piano battle. Unfortunately, the last one did not go so well. I hope this one turns out better.
Just like the last piano battle, this one will be a tournament. The best people move on.
Only join if you are able to submit on time (don't be afk)
If you lose, don't get mad, it's just a game
You have to have been playing piano for at least 1 year
More rules coming soon!

Piano Battles Website: (Once you go on the website, make an account)

If you want to advertise, please do not hesitate to do so!

Help? Any Pros?

I was just wondering; I made a string trio arrangement and tomorrow we have a trio rehearsal so I want to print out parts but I don’t have Pro and won’t for a long time, would anyone here that’s pro be willing to do me a favor and download the individual parts PDFs and email them to me? That would be great

My first Cello Sonata: Exposition finished

This is the first time that I have ever had a finished exposition for a cello sonata and the second time I have ever had a finished exposition for a duet sonata(my first duet sonata to have a finished exposition was a flute sonata).

I didn't plan the exact structure of my exposition beforehand, but this is how it turned out:

Bars  1-18: A slow period structure as the first theme, antecendent phrase ending on subdominant, consequent phrase ending with C major cadence. This theme has a canon at the beginning of both phrases.

Bars  19-26: Transition passage based on the inversion of descending motive in the last 2 bars of the first theme with little bits of countermelody thrown in while the motive gets sequenced up to G major.

Bars  27-45: Second theme where the cello starts off with the main melody. Invertible counterpoint between the piano and cello occurs here and to highlight that, I use different dynamics for the 2 hands of the piano. At bar 36, I have the cello play the melodic bass line pizzicato, but not just because it was staccato in the piano, but also to add contrast against the legato and bowed staccato that occurred beforehand. The main melody gets transferred to the right hand of the piano and the chords get transferred to the left hand of the piano. Bar 45 is when the cello goes back to playing arco.

Bars 46-69: Closing material. Bars 46-61 have invertible counterpoint once again between the piano and the cello. In bars 46-53, the left hand of the piano plays the octave bass line, the right hand of the piano plays the melody with dotted rhythms,  and the cello plays the melody without dotted rhythms. Combining these 2  melodies produces some syncopation. 

At bar 54, the cello now plays the melody with dotted rhythms, the left hand of the piano now plays the melody without dotted rhythms, and the octave bass line is  played by the right hand of the piano When the cello plays the melody with dotted rhythms, I add a bit of a spin to it. Instead of just copying the melody note for note, I add some embellishment, in particular, bariolage, as you can see by the notes with a 0 above them. 

At bar 62, the cello sustains a G as a fragmented scale is played by the piano(for which there are 2 levels of fragmentation, thirds going up and down the scale, and groups of 3 notes in stepwise motion, again going up the scale). Then the piano sustains an A as the cello plays bariolage. The cello once again sustains at bar 65. At bar 67, a G7 arpeggio in mostly contrary motion is played before the first theme repeats.

And for those that are going to complain that I don't have slurs in here and that the cellist won't know where to change bow directions, I will put in slurs when I am finished composing this cello sonata. 

What do you think of my sonata so far?

CMC Composer of the month

Put the name of the composer who you vote for in the comments, whoever gets the most wins composer of the month.

@Hazim Azlan
@Michael Dorin
@Unkown Writer
@Doctor Josua
@Robin M. Butler
@Teodor Lontos
@Josue Quintero
@Mao Zhedong
@Tchaikovsky No
If someone you want to vote for isn't on here just let me know