Visit to the "library of music knowledge" and after

First composer I engaged with was António Lauro. I have been listening, speculating and reflecting in some of his works.

His Venezuelan Waltz were a sort of inspiration, specially number 2 and 3. Both waltz have the quality of having three lines working simultaneously: bass, accompaniment and melody (image 1). Lauro has the particularity of mixing in a very distinct and accurate way these three lines as if it was only one, giving to the music a sort of latin grove, rhythm, harmony transformation and fluency that sometimes is missing in the music for guitar in Europe.
Image 1 - António Lauro’s 4 Venezuelans Waltz, 3rd waltz - melody, accompaniment and bass combination in one single line 

Other particular aspect in Lauro’s waltz is the way he use harmony. Although harmony work in a very tonal way, Lauro plays with minor and major chords; and with minor 7th and major 7th (image 2). This parallel in both major and minor chords made me think about the combination of my original pole chords and opposite pole chords.

Image 2 - António Lauro’s 4 Venezuelan Waltz, 2nd waltz - harmony transformation: major and minor; and major 7th and minor 7th

Today, I started to create some guitar melodies and accompaniments, using all the material I have sketched so far. I tried to play with my original pole chords and opposite pole chords; and also constructing a self efficient guitar line with melody, accompaniment and bass (image 3 and 4).

Image 3 - melody with accompaniment A - sketches for the guitar quintet piece


Image 4 - melody with accompaniment B - sketches for the guitar quintet piece

Other idea I had was to create a melody that it can be used as a scale to create, transform or change the direction of the harmony. Also a scale-as-melody that uses the new scale I explored in the blog entry “melodic lines” (image 5)

Image 5 - scale-as-melody C - sketches for the guitar quintet piece