Needless to say that all those recourses were used only when it has been strictly necessary. Some phrases or fragments had also to be written an octave higher or lower (that can be perfectly understandable if we consider the very wide melodic range of the piano and the extensive way with which Nazareth uses it). Thus, for instance, in some arrangements it was necessary to transpose the original key to a more appropriate one (at the guitar view-point, of course). That thought has guided us in the making of this book.In spite of the huge obstacles that resulted from the transposition of a piece originally written for the piano вЂ“ a very rich instrument regarding the expressive recourses вЂ“ to the more modest guitar, we always kept in mind our principal intention: to preserve at the most all the melodic dialogues of the scores, in special the ones between the melody and the bass line, both the elements that form the soul of Nazareth's compositions. If one did that, the result would be only a pale and incomplete portrait of what was intended by the composer. piano school which spreads from the choro to the samba and the bossa- nova.ДЄ collection of 28 Ernesto Nazareth compositions expertly transcribed for classic guitar solo.One of the major difficulties in trying to arrange Ernesto Nazareth's themes for any instrument, but the piano, is to separate the melodic line from its accompaniment: both are so closely together (that is one of the strongest characteristics of his pianistic style of composition) that it becomes almost impossible to treat one of the features disregarding the other. regarding the expressive recourses вЂ“ to the more вЂњmodestвЂќ guitar.

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