Pedro Abreu

Sheet music temporarily unavailable

2011-11-29T01:28:00.001-08:00

Hi everyone!

For the time being it's not possible to download any sheet music which is usually available in this blog. The reason for this is that Google Groups (where the scores were hosted) went to some changes and thus terminated the file hosting feature.

Most of the scores are also hosted at my free-scores.com page which most probably I'll decide to fully use for tis purpose.

In the meantime, A2ZGuitar.com will get on it's feet once again and all guitar related content will be posted there.

PedroAbreu.com, if kept, will be maintained for a more personal use.

Please, accept my sincere apologies for this "technical difficulties".

I'll be keeping you updated on the upcoming changes.

Updates

2011-01-28T02:48:00.000-08:00

Thursday, February 3, 2011

- MIDI file added to Clown Nose

Friday, January 28, 2011

- MIDI file added to A Sunset Ago

Thursday, January 27, 2011

- MIDI file added to Chord Fun

Minuet in G by Christian Petzold

2010-02-27T04:43:00.000-08:00

Relocated to http://a2zguitar.blogspot.com/2011/12/download-link-pdf-1-page-explanatory.html

Greensleeves

2010-02-26T12:45:00.000-08:00

>>> Download score (PDF, 1 page)

Explanatory notes

This is the easiest version of Greensleeves that I've written so far. The left-hand fingering is set to exclude the use of the 4th finger. The rhythm is also simplified to the most - no dotted crochets allowed!

> To browse other scores go to List of works

Si Sol

2010-02-26T11:11:00.000-08:00

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Explanatory notes

Perhaps the first step in learning right-hand arpeggio (broken chords) patterns. Next step would be Mi Si Sol.

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Paddling On

2010-02-26T10:36:00.000-08:00

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Explanatory notes

This is just thumb stroking the 6th open string in minims (half-notes). Ideal for the guitar beginner to start developing a sense of pulse. The 1st guitar is played by the teacher (or more advanced student) and is written in a manner to enable the student's inertia.

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Mi Si Sol

2010-02-26T10:07:00.000-08:00

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Explanatory notes

This is just a simple exercise that will introduce the guitar beginner to the basic right-hand formulas used in broken chord playing (excluding the thumb). Only open strings are used. It is also my aim to present the concept of right-hand basic posture. This piece can be taken as a follow-up from Si Sol and a precedence to Merry-go-round.

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Little Choral

2010-02-26T03:56:00.000-08:00

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Explanatory notes

In this piece the guitar beginner can practice repeated notes in crochets (quarter-notes). The right-hand fingering is set for i m alternation, but other fingerings can be used as well.

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Merry-go-round

2010-02-26T03:50:00.001-08:00

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Explanatory notes

Introducing the guitar beginner to broken chords. This piece can be taken as a follow-up of Si Sol and Mi Si Sol.

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Going Phrygian

2010-02-26T02:34:00.000-08:00

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Ema

2010-01-13T01:24:00.000-08:00

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Explanatory notes

This is a simple exercise for the 2nd finger of the left hand. With this piece the guitar beginner will be practicing half and quarter notes (aka minims and crochets), G and A tones on the 3rd string (open string and 2nd fret), and, according to the teacher's plan, a particular right-hand fingering. Pizzcato is required for the 2nd guitar part (to be played by the teacher).

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A2Z Guitar forum

2009-12-02T11:16:00.000-08:00

A new guitar forum was created at http://a2zguitar.com

Hope to see you there :)

La Catedral - A guitar monument

2009-11-20T11:45:00.000-08:00

Relocated to http://a2zguitar.blogspot.com/2011/12/la-catedral-guitar-monument.html

Barrios as the messenger of the Guaraní race

2009-11-09T11:05:00.000-08:00

Being himself of Guaraní origin (the aborigine population of Paraguay), Barrios started, from 1930 to his death, to be recognized as Agustín Barrios Mangoré (Chief Nitsuga). In that same year came the birth of Barrios' new persona, Cacique Nitsuga Mangoré, the “messenger of the Guaraní race”.

Disillusioned with his success, Barrios developed this persona in order to attract a greater audience and at the same time pay tribute to his forefathers. During this episode of performances by Chief Nitsuga, Barrios would dress in full Guaraní tribal outfits.

Barrios came up with "Nitsuga" by spelling backwards his own name, Agustín, and "Mangoré" was taken from the historical figure of Chief Mangoré, leader of the Timbúes people, circa 1528.

The music of Agustín Barrios

2009-11-04T02:11:00.000-08:00

Barrios’ guitar works were largely late-Romantic in character, despite his having lived well into the twentieth century. Many of them are also adaptations of or are influenced by the folk music of Latin America, and mostly of them are of virtuosic nature.

In ways to understand Barrios' musical intent we can break down his works into three essential categories:

- folkloric;
- imitative;
- religious.

Folkloric aspects

Folkloric elements were heavily present in Barrios' guitar work. Namely, the folk music of Paraguay (including the polca paraguaya, vals and zamba) provided the young guitarist Barrios with his first introduction to music. Barrios paid tribute to the music and people of his native land by composing pieces for classical guitar modeled after folk songs from South and Central America.

He also composed Choros (which is a form born out of Rio de Janerio), Tangos (originated in Argentina), Cuecos (from Chile), and Danzas Paraguayas (from his homeland Paraguay), amongst others.

These are just some examples of a perfect marriage between folklore and classical guitar.

The imitation element

Since 1919 Barrios starts studying very seriously the music of the great composers from the previous centuries. Soon he transcribes for the guitar works from Beethoven, Chopin and Schumann.

This discovery of the European repertoire becomes a strong influence on some of his compositions such as Romanza en Imitació al Violoncello, Estudio de Concierto, Mazurka Apasionata and Allegro Sinfónico.

The affinity Barrios felt with the nineteenth-century masters no doubt served as inspiration for some of his music as is the case of his six minuets. Early in his career Barrios transcribed the well known Minuet in D by Beethoven (whom he admired to a great extent), and it is known that he also performed minuets by Fernando Sor.

Imitating the compositional style and techniques of the Baroque period (of Bach’s work, to be more precise) was another side to his craftsmanship. La Catedral may be viewed as Barrios' imitation of Bach. It is believed that this guitar master piece was inspired by a religious experience that Barrios once had which hence deserves to be categorized under religion as well.

Barrios discovered the music of the great Spanish guitarist and composer Francisco Tárrega (1852-1909) around 1917, and grew to admire him very greatly.

Recognizing the importance of the Spanish master’s work in the development of the guitar, Barrios declared: “Without Tárrega, we would not be”. Thereafter he began composing some of his best works.

In 1939 in Guatemala, Barrios composed Variations on a Theme of Tárrega which consists of a set of six variations on Tárrega’s ever popular "student" work Lágrima, creating a sophisticated virtuoso display of the theme, using arpeggios, appoggiaturas, tremolo, melodic harmonics, and other devices. This piece is one of his most mature compositions, reflecting a lifetime of devotion to and a thorough mastery of the instrument he loved.

This were just some examples on the use of imitation in Barrios' music.

Religious and cultural influences

Religious beliefs and experiences also played an important role in Barrios' compositional process. Una Limosna por el Amor de Dios (An Alm for the Love of God) is another example of a religiously-inspired work. This incredible guitar piece is also known as El ultimo trémolo (The Last Tremolo), or El último canto (The Last Song).

A clear sign of Barrios' mysticism is the birth of his new persona, Cacique Nitsuga Mangoré, the “messenger of the Guaraní race”.

Barrios' religious convictions were more theosophical than strict Catholicism. For him God and Nature are inextricably part of one another, and Man, being part of Nature, is part of God.

A Brazilian newspaper, Jornal do Recife, published an interview on January 5, 1931 containing the thoughts and opinions of Barrios' views on religion:

"In spite of a severe religious education, my primitive pantheism has pointed me in the direction of Theosophy, the most human and rational of philosophic concepts. I believe in the immutable laws of Nature. And Humanity and the Good impregnate my spirit as the ethical end of all existence."

La Catedral is undoubtedly a monument to religion but at the same a tribute to Bach.

Agustín Barrios - a short biography

2009-11-04T01:45:00.000-08:00

Early life in Paraguay

Agustín Pío Barrios (also known as Agustín Barrios Mangoré) was born in San Juan Bautista de las Missiones, southern Paraguay on 5 May 1885, and died on 7 August 1944, in San Salvador, El Salvador. He was a member of a large family - the fifth of seven sons – and all of them played at least one instrument each. Both of his parents placed great value on cultural arts, particularly literature, drama and music.

Agustín’s father, Don Doroteo Barrios, was born in Corrientes, Argentina and played the guitar himself. It is known that Doroteo, by playing together with his brothers, used to entertain the local people of San Juan Bautista. Naturally inspired by his father's guitar playing, Barrios began to play the instrument at a very young age learning what he could from his father’s “folk” skills.

His mother, Dona Martina Ferreira, was a native of Humaitá, Paraguay. She was a teacher who was very fond of literature and theatre. Agustín’s affinity for other areas such as poetry and languages must have been partly inherited by his mother (although more decisive is the social surroundings to which the young guitarist have been exposed throughout his life).

Barrios birth’s place was and still is a small and quite town. A visitor can today walk on its unpaved streets and admire the two monuments dedicated to him in the same park which is located in the main square of San Juan Bautista. One can easily assume that a young talented guitarist, as Barrios was about to become, wouldn’t conform himself to the simplicity and little cultural opportunities that this small and humble town could provide him.

Barrios would prove himself to be a multi-talented man who was a passionate for culture, once he said: “One cannot become a guitarist without having bathed himself in the fountain of culture”. Besides Spanish, he spoke Guaraní, the native language of Paraguay. He understood French, English and German. His other interests where philosophy, poetry and theology. Barrios also became a good calligrapher and a talented caricaturist.

As a young man, Barrios never studied in a formal music conservatory. In 1898, he was formally introduced to the classical guitar repertoire by Gustavo Sosa Escalada – maybe the most influent person in Barrios’ life. At that time, young Barrios had already composed works for the guitar, and also performed pieces written by his former teacher Alias, such as: La Chinita and La Perezosa.

Under the influence of his new teacher, Barrios went on to perform and study the works of Tárrega, Vinas, Sor and Aguado. Sosa Escalada was so impressed with his new pupil, that he convinced Barrios' parents to let him move to Asunción to continue his guitar education.

Now, in the capital of Paraguay, Barrios was living with his two older brothers Hector and Virgilio. At the age of 15 (by March 1901) he enrolled in the Colegio Nacional (“National High School”). Although he did quite well, particularly in languages and arithmetic, there is no evidence that he studied in the Colegio for more than two years. Obviously his interest was strongly directed to the music and by the time he quitted school he had become much more serious and involved with the guitar.

Beyond borders

By 1908 Agustín Barrios was already well known in all Paraguay. Very famous were his performances with his brother, the poet Francisco Martín Barrios. While Agustín played the guitar, Francisco recited his own poems.

After receiving his training from Gustavo Sosa Escalada, Barrios left Paraguay for the first time to give a couple of concerts in Corrientes, Argentina. So enormous was his success that his return, which was planed to happen one week after his performances, got postponed for nothing less than 12 years, during which he toured throughout South America.

In this period beautiful pieces of music came into life such as: La Catedral, Estudios y Preludios, Madrigal, Allegro Sinfónico and Las Abejas. International critic considered him as one of the greatest guitarists in the world and called him magician of the guitar. That what meant to be a simple journey to Corrientes in 1910 for two or so weeks ended up to be a turning point in Barrios life.

Since then he never settled down in a particular country. He took periodic residence in Argentina, Uruguay, Brazil, Venezuela, Costa Rica, and at last in El Salvador where he would suffer from a heart attack that was fatal to him. Besides the places where Barrios lived he also gave concerts continually in Chile, Mexico, Guatemala, Honduras, Panama, Colombia, Cuba, Haiti, Dominican Republic and Trinidad. In short, he conquered Latin America.

However, there was a time when Agustín, together with his brother Francisco, returned to Paraguay. It was in 1922, 12 years after leaving to Corrientes for that “short period of time”, and it was a turbulent time because Paraguay was under a civil war. Nevertheless, the Barrios brothers still gave several performances in Asunción and other places of Paraguay. The musicologist Juan Max Boettner recalls one of their performances under a full moon evening in San Bernadino. According to him, Francisco recited his poem “Oyendo a Beethoven” (Listening to Beethoven), while Agustín accompanied him with his own transcription for guitar of Beethoven’s Moonlight Serenade.

In January 1925 he had one of his last performances in Paraguay. The event took place in the Plaza Uruguaya. It was in that occasion that Barrios presented his famous poem “El Bohemio” (The Bohemian). In 25 of February 1925 he left Paraguay forever.

In 1929 Barrios initiated a tour around Brazil. This year came to be a very significant one to him; he fell in love with Gloria Seban who stayed his companion for the rest of life. No one knows exactly where the two met for the first time. Possibly it was in Pelotas or in Rio de Janeiro.

Barrios escaped from Latin America in 1934 to visit Europe thus being the first Latin-American guitarist of stature to perform in the “Old Continent”. During that period he performed in Belgium, Germany, Spain and England. In a concert in Brussels Barrios premiered his first transcription of Bach’s 1st Suite for Lute. It is reported that the event received lots of critics.

In 1936 he returned from his European tour and kept on performing around Latin America. But his lifetime goal was to reach the United States, something that he never came to concretize because of the failure in getting a visa for his companion Gloria.

Last years

After leaving Cuba, where he spent 6 months in 1938 and wrote the famous Preludio (subtitled “Saudade”), Barrios had a difficult and ran out of money. To make things worse his health started declining. During his stay in Mexico he was victim of a heart attack and respiratory failure. The medics who assisted him advised him to slow down with his activities.

At the invitation of some friends Agustín and Gloria went to Costa Rica in August of 1938 where they practically lived under patronage. These were difficult times that resulted in marital problems between Agustín and Gloria as the tension of the situation increased. Employment was scarce and Barrios health was retreating. One of Barrios masterpieces was written in that year, the barcarole Julia Florida.

Last years of Barrios’ life were spent in El Salvador. The very president, General Martínez, had invited him to recover his health in that country. Once Barrios felt better he got nominated Professor of guitar in the National Conservatory of Music.

In August 7, 1944, Barrios suffered an infarct that ended his life. He was 59 years old. The priest that accompanied Barrios’ last moments in agony recalls what he heard from the dying artist:

"I do not fear the past, but I do not know if I can overcome the mystery of the night."

Barrios was buried in the following day in the Cementerio de Los Ilustres (Pantheon of Distinguished Men) in San Salvador.

Dino

2009-10-29T07:30:00.001-07:00

>>> Download score (PDF, 1 page)

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Estudio VI by Emilio Pujol

2009-10-29T07:17:00.000-07:00

>>> Download score (PDF, 1 page)

Explanatory notes

This is a Pujol's guitar study that was originally published in the 2nd book of his famous guitar method "Escuela razonada de la guitarra - Basada en los principios de la técnica de Tárrega" which was first published in Buenos Aires (Argentina) by Ricordi Americana, ©1954. It was published in Spanish and French simultaneously. The version here presented is a modification (texture and fingering) of the original.

One of the goals of this study (according to Pujol's fingering) is to develop the constant alternation of the i m fingers. The written texture is monodic with the exception of a single bass note (A open string) played in the beginning of the piece.

One might judge that this study is basically composed by one single line (or voice). I believe it is not so for the following 2 reasons (among others):

- the use of motif/phrase imitation
The first 2 bars are filled up with the first phrase which is immediately imitated at the lower octave. And it goes like that throughout the whole piece.

- the use of a pedal note
This was a very common technique used in the baroque period just as the imitation one described above.

Conclusion:
This study shouldn't be used just to achieve its technical goals. There are musical goals as well - like the proper way of phrasing in ways to suggest the entrance of the new voices. Obviously Pujol intended this goals to be achieved with the simple use of i m alternation. The left hand fingering is also a very basic one - 1st position (with one little exception) using the open strings whenever possible.

About this arrangement

Considering Pujol's implicit goals I offer you a new version Pujol's "Estudio VI" with considerable changes in it's texture and fingering.

For those who wonder why did I commit such a "crime" by arranging Pujol's famous "Estudio VI", read on:

The way Emilio Pujol wrote this study is just perfect because it is destined to guitar beginners who will, with their limited technical capacities, be introduced to important phrasing concepts. And the piece sounds lovely too. Therefore I shouldn't have any reason to change it. That would be so if my goals were the same as Pujol's.

My main goal is to put into paper the musical ideas that are suggested by Pujol's apparently monodic texture. It's like if I have written an orchestration of the piece where I would have to decide which instrument would play a certain line. By doing so the guitar student can very clearly understand those latent voices just like in Bach's music for solo instruments.

But my version is technically more demanding which means that guitar beginners shouldn't play it yet - of course, this rule doesn't apply to extremely gifted beginners. In fact it is destined to those students who are not totally beginners but have too much technical problems or aren't enough talented. When you work in a public music school, like I do, that's quite a normal thing. It's not a very pleasant fact but if it wasn't so I would most probably be out of job.

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Andalusia

2009-10-27T05:46:00.001-07:00

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Lágrima by Francisco Tárrega

2009-10-27T05:29:00.000-07:00

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Explanatory notes

It is NOT my purpose to provide you with a version that is as similar as possible to the original. My version of Tárrega's Lágrima is just my own way of fingering it. I'm
not trying to imply that it is better than all other existing fingerings. This is just my interpretation and I'm glad to share it with any guitarist who would like to try it.

It is a problematic task to find out what was Tárrega's original fingering for this piece. If you're looking for a more authentic version I recommend you Gangi and Carfagna's extensive work on Tárrega's guitar works.

They made a complete publication of Francisco Tárrega's works which was published in 1971 by Berben (Italy). Lágrima is included in the 1st volume which consists only of Tárrega's Preludes.

I believe that Tárrega's Lágrima is a must play for all guitarists.

Some reactions

Bellow is an extraction of some reactions (and my response to them) to this edition of Francisco I published in some other sites as well.

I'm not including the compliments that I fortunately have received, and continue to receive. The purpose here is just to include those comments presented as discussion on my version of this wonderful guitar piece written by Francisco Tárrega during a time when the guitar was in need for such creative exploitation.

Here it goes some reactions from Delcamp's classical guitar forum (from which I'm not a member anymore).

by Sprut on Mon Mar 24, 2008 10:38 pm

Its funny, my teacher gave me a copy of lagrima, where he had removed the fingering, to see how i would solve it. I came up with the same fingering you have used. We think alike!

my reply on Tue Mar 25, 2008 7:54 pm:

Well, that's funny!

Are you sure that you came up exactly with the same fingering? Or is it just very similar? I'd love to know more about that.

To tell you the truth, I'm not so surprised since my fingering is a result of targeting for musical goals (clarity of the lines and so on) above guitarist-pattern mentality. Our matchable fingerings may well be a sign that we act very musically. I believe that your teacher did a great job in assigning you to create the fingering for the piece.

Whatever are the similarities of our fingerings that will change because I already changed my mind about some places. As soon as I type those changes I'll update the score and leave a note about it in this forum.

Stay well!

by mordent on Wed Mar 26, 2008 4:42 pm

Hi. Pedro ! I can't understand why you feel it necessary to change strings and fingers on the last 4. notes of Bar.6. I'm sure Tarrega would have fingered it as follows: from the B on string 4. finger 3. a simple little slide up to C.sharp-same string ,same finger;The next note E played open ,the F.sharp on the 3rd. with finger 4.;the A on string 2.finger 2. then another simple slide down to the G. sharp on the next fret with the same finger 2 whilst finger 1. sounds the B. on the 4. th. string same fret (IX) This allows all the 4. notes to be held on. I understand that Tarrega originally showed the last G.sharp on the 3.rd. string with the simultaneous B. open on string 2. No doubt he had a finely balanced guitar as would befit a Maestro.
I have always played it this way and it has always seemed entirely logical.

my reply on Wed Mar 26, 2008 8:04 pm:

Hi mordent,

By reading your message and quite can't take your word concerning your conviction that the fingering you use is "entirely logical".

About which "logic" are you talking about? The technical one? The musical one? Or the "archaeological" one?

My fingering aims to achieve musical goals and all its technical implications exist to serve those goals. My fingering maybe is more difficult to apply than Tárrega's but I chose it so because with it I create more clear lines. We've been too much overdosed with guitarist dogmatic mentality. We must wake-up and realize that the guitar is a medium through which we express music which is an universal language.

Of course, in some cases a certain composition is created in a narrow guitar idiom. Lágrima is not such a case. This guitar work has a 3-voice structure and it is important to know how to finger it properly so that the lines are clearly brought up.

If you want to make clean phrasing think about colors (timbre). If you're concerned about colors thing about which strings are to be used for a particular group of notes.

Imagine how would a guitar ensemble perform this piece and then you'll "understand" my fingering.

Cheers!

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Little Waltz

2009-10-27T05:02:00.000-07:00

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Boije Collection of classical guitar music

2009-10-23T13:22:00.000-07:00

This post has been relocated to http://a2zguitar.blogspot.com/2011/12/boije-collection-of-classical-guitar.html

Andantino in C by Matteo Carcassi

2009-10-23T13:11:00.000-07:00

Download files:

- standard notation
- guitar tab

This short piece is included in Carcassi's famous guitar method (opus 59). It is a must play for all guitar beginners.

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The Gondola Lift

2009-10-23T05:02:00.000-07:00

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Agustín Barrios' guitar recordings

2009-10-23T04:02:00.000-07:00

Agustín Barrios was the first classical guitarist to make a gramophone recording. Many of his works wouldn’t have survived if it wasn’t for his recordings.

He first started recording in 1913 for the Atlanta/Artigas label (Montevideo,
Uruguay). During this period were recorded, just to mention a few, Tango No.2, Tango Don Pérez Freire, Vals Pepita, Vidalita con variaciones, Jota, Milonga (estilo criollo), A mi madre (sonatina), Divagación, La bananita (tango), Aires criollos, Oro y Plata, and so on.

Included in these recordings was his guitar version of the famous paraguayan theme Ay, Ay, Ay by Perez Freire.

For a period of eight years (1921-29) he recorded for the Odeon Recording Company - today’s EMI based in Buenos Aires, Argentina and Sao Paulo, Brazil.

Some of Agustín Barrios’ most famous guitar compositions were recorded during this period. Those included Danza Paraguaya, Acomquija from Suite andina, Madrigal, and the remarkable piece of music La Catedral.

Besides his own compositions Agustín Barrios also recorded works from the past great composers (not only guitar composers) such as the Capricho Arabe by Francisco Tárrega and Barrios’ own transcriptions for the guitar of Minuet (Beethoven) and Traumerei (Schumann).

His two last guitar recordings weren’t made for a commercial label. Barrios made them in 1943 in San Salvador on a Crosley Home Recorder owned by Alfredo Massi who happened to be the owner of a local theater in El Salvador. Massi used to contract Agustín Barrios to give concerts in this theater.

It is believed that Barrios made more recordings than those that are available to us. Today, efforts are being made to relocate the missing disks.

Little Soleares

2009-10-22T13:43:00.000-07:00

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Good Morning to All

2009-10-22T13:31:00.000-07:00

Download files:

- "Good Morning to All" in C
- "Good Morning to All" in D

Explanatory notes

These are 2 different guitar arrangements of "Good Morning to All" which is the title of the original tune of "Happy Birthday to You". One is written in C major, and the other one in D major.

Each one of this arrangements presents a particular technical issue. Here follows some notes about them:

"Good Morning to All" for classical guitar in C

In this version the guitar student learns how to play in the first position of the fingerboard with a violin-like left hand posture. A good premeditate exercise is to play the diatonic natural scale in the 1st position of the fretboard - all the available notes that are not affected by a flat or a sharp signal.

When playing this scale the third finger should stop the notes G, C and F on the third fret of the sixth, fifth and fourth strings respectively. The fourth finger should stop the notes D and G on the third fret of the second and first strings. I guess some of you (the beginners) still don't know where to locate all the notes of the diatonic natural scale in the first position of the fingerboard.

I hope this will help you:

E - 6th open string
F - 6th string; 1st fret
G - 6th string; 3rd fret
A - 5th open string
B - 5th string; 2nd fret
C - 5th string; 3rd fret
D - 4th open string
E - 4th string; 2nd fret
F - 4th string; 3rd fret
G - 3rd open string
A - 3rd string; 2nd fret
B - 2nd open string
C - 2nd string; 1st fret
D - 2nd string; 3rd fret
E - 1st open string
F - 1st string; 1st fret
G - 1st string; 3rd fret

First finger should stop the notes located in the first fret. The second finger will, logically, stop those notes located in the second fret. To what concerns the third finger, read above.

By practicing this scale with the indicated fingering the guitar beginner will develop a basic hand posture that is used in a huge part of the guitar literature. This guitar version in C major is written with the purpose (in fact just one of several purposes) of learning that left hand posture.

The fingering for the right hand is a very simple and comprehensive one. The p finger plays the basses - of course! The upper voice is played with the fingers m and i which alternate constantly. Finger a is used only once in a quite logical situation in guitar playing.

For those guitar beginners who are not acquainted with the fingering terminology here it goes:

p = thumb of the right hand
i = index of the right hand
m = middle finger of the right hand
a = ring finger of the right hand
e = little finger of the right hand

1 = index of the left hand
2 = middle finger of the left hand
3 = ring finger of the left hand
4 = little finger of the left hand

"Good Morning to All" for classical guitar in D

This version frees the left hand fingers from stopping the bass notes. They're all on open strings. The contrast here is that the guitar beginner will use a left hand posture parallel to the fingerboard located in the second position. By this I mean that all the fingers of the left hand will be distributed within an interval of four frets.

Each of the fingers should be well positioned above each fret. In this case (2nd position) the first finger should stop all eventual notes located in the second fret. Second finger will take care of all the notes located in the third fret and so on.

Watch for the palm of the left hand, it should stay parallel to the fingerboard - hence the term. This is very important because of the fourth finger. It must be well located above its corresponding fret so that it can function well.

It can be a great lesson for the guitar beginner to learn these 2 guitar arrangements. Presented are the 2 basic left hand postures - the violin-like and the parallel. In the other hand he will get acquainted with the concept of key transposing - a very useful tool for guitarists and musicians overall.

And lastly, but not less, it should be a great pleasure to be able to entertain your family and friends during a birthday party.

Copyright issues of the "Happy Birthday to You" song

The melody known to us as "Happy Birthday to You" is credited to the American sisters Patty Hill and Mildred J. Hill that allegedly wrote it in 1893. It was originally intended as a classroom greeting entitled "Good Morning to All".

Here are the lyrics:

Good morning to you,
Good morning to you,
Good morning, dear children,
Good morning to all.

There are some copyright issues concerning the song. Namely, Preston Ware Orem used the melody of "Good Morning to All" and replaced the lyrics with the ones very well known to us. In the 1930's he managed to copyright the song - including the melody! The story goes on and on.

There is an interesting article (in my opinion) about the copyright history of the "Happy Birthday to You" song. It was written for kuro5hin.org by J. Byron.

After checking it better there is no question that the song "Good Morning to All" is in the public domain - every work published in the USA before 1923 is in the public domain with no terms (1909 Act). The melody used in "Happy Birthday to You" is the same as the previously mentioned apart from a split of the first quarter note into two eighth notes of the same pitch. That was done to adjust the one syllable word "Good" to the two syllables word "Happy".

Believe it or not that eighth note gave Preston Ware Orem the copyright of the melody back then in 1935!

For more information on the public domain rules in USA check the Lolly Gasaway's PD chart available from the University of North Carolina.

For some serious piece of literature check "The Public Domain: How to Find & Use Copyright-free Writings, Music, Art & More" - a book written by Stephen Fishman, an attorney himself.

> To browse other scores go to List of works

Little Rondo

2009-10-22T13:04:00.000-07:00

>>> Download score (PDF, 2 pages)

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Adelita - mazurka for guitar by Tárrega

2009-10-21T13:33:00.000-07:00

Download files:

- standard notation
- guitar tab

Explanatory notes

Francisco de Asís Tárrega Eixea (1852-1909) was a Spanish composer, guitarist and guitar pedagogue. He is historically recognized as the father of modern classical guitar playing.

Adelita is one of the six guitar miniatures that were titled by Tárrega with female names. Each one of them is written in a dance style. This one is a mazurka - a Polish national dance in triple time.

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In the Offing

2009-10-21T13:15:00.000-07:00

>>> Download score (PDF, 1 page)

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Feather Flight

2009-10-21T05:39:00.001-07:00

>>> Download score (PDF, 1 page)

Explanatory notes

This guitar composition came instantaneously into existence. It happened during a class when I was showing to my student the natural scale in the first position of the fingerboard.

In this piece the melody is played by the lower voice with the thumb. The upper voice is a simple pedal on the first open string which fills up the unarticulated beats of the lower voice.

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Clown Nose

2009-10-21T01:31:00.000-07:00

- Download score (PDF, 1 page)
- Download MIDI

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Chord Fun

2009-10-21T01:23:00.000-07:00

- Download score (PDF, 1 page)
- Download MIDI file

Explanatory notes

This is a short composition I wrote for children who need to strengthen the C major hold in the first position. It demonstrates one of my ways to teach chords on the guitar.

Performing notes

the entire composition is built on the C major chord in the 1st position
first finger stops the ton C on the second string throughout the entire composition
finger m always plays the second string
finger i always plays the third string
finger p plays the bass notes on the fourth and fifth strings
finger a is not used at all in this composition

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April Sea

2009-10-19T13:42:00.000-07:00

Download files:

- In standard notation
- With tab added
- In standard notation reduced to a monodic texture
- The same but with tab added
- Midi

Explanatory notes

This is a short guitar composition that I wrote for a student. The title was suggested by him. It was April and he had just come back from the seaside. It seams that he would rather stay there instead of coming back to practice the instrument!

This piece is basically a two voice composition. The lower voice (the bass line) is made up of the root notes of the harmonies. The note figures here used are just the whole note (semibreve) and the half note (minim).

For the absolute beginner it is a little confusing to read a guitar score written with a two voices structure. Especially if he/she is a child who is still learning the basics of solfeggio. In other words, if he/she is still learning how to read music.

Having that in consideration I included a simplified version of this guitar piece. It sounds exactly the same but it is written as a one voice composition. Examples of guitar works written with this monodic texture can be found in the opus of the great classical guitar composers such as Francesco Molino and Mauro Giuliani. Molino's opus 16 or 61 (duos for guitar and violin) are perfect examples of this style of writing.

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A Sunset Ago

2009-10-19T13:09:00.000-07:00

- Download score (PDF, 1 page)

- Download MIDI file

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Prelude

2009-10-17T09:41:00.000-07:00

Relocated to http://a2zguitar.blogspot.com/2011/12/prelude-for-guitar.html

The Ho-Oh Bird

2009-10-08T03:48:00.000-07:00

Download files:

- standard music notation (PDF, 1 page)
- guitar tab (PDF, 1 page)

Explanatory notes:

The fun of this piece is that it only requires the use of the left-hand 2nd finger to stop some notes on the fingerboard. Of course, with a combination of open strings. Rhythmically is also very simple. It lightly combines crochets (quarter notes) with quavers (eighth notes).

The composition sounds quite oriental. That have inspired me to title it "The Ho-Oh Bird". According to Chinese mythology, the legendary founder of music in ancient China, Ling Lun, is believed to have made bamboo pipes tuned to the sounds of birds.

One of his main inspirations was the phoenix, a bird used as a sacred symbol in several cultures. In China it is referred as Fenghuang and it is, after the dragon, the most respected legendary creature.

In Japan it is known as "Ho-Oh" ("Immortal Bird") and that's where I got the name from. Nothing else than my personal choise. For me music come as an immortal thing.

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Dubrovački gitarski trio u Samoboru

2009-10-03T15:20:00.000-07:00

4.10.2009. nedjelja u 20:00 sati - Galerija Prica

Dubrovački gitarski trio
Ante Skaramuca, Frano Matušić, Maroje Brčić

Program

ANTONIO VIVALDI (1678.-1741):

Koncert u D-duru, RV 93
1. Allegro
2. Largo
3. Allegro

GEORG FRIEDRICH HÄNDEL (1685.-1759.):

Passacaglia

LUKA SORKOČEVIĆ (1734.-1789.):

Uvertira (8. simfonija) u G-duru
1. Allegro
2. Poco andante a mezza voce
3. Allegro – Tempo giusto

LUKA SORKOČEVIĆ:

Simfonija br. 3 u D-duru
1. Allegro
2. Andante
3. Presto

***stanka***

FELIX MENDELSSOHN-
BARTHOLDY (1809.-1847.):

Četiri pjesme bez riječi
- Andante espressivo u Es-duru, op. 31, br. 1
- Allegro leggiero u fis-molu, op. 67, br. 2
- Andante sostenuto u g-molu, op.19, br. 6
- Allegro di molto u b-molu, op. 30, br. 2

GABRIEL FAURÉ (1845.-1924):

Pavana, op. 50

ENRIQUE GRANADOS (1867.-1916.):

Španjolski plesovi br. 4, 12 i 6
- Vilanesca: Allegretto alla pastorale
- Andante
- Rondalla aragonesca: Allegretto, poco a poco accelerando

Skladbe A. Vivaldija, G. F. Händela, L. Sorkočevića, F. Mendelsohna, G, Faurea i E. Granadosa za gitarski trio obradio je Frano Matušić.

Source: http://www.pousamobor.hr/sgj/2009/dan_04_10_2009.asp

Red Leaves

2009-10-03T14:58:00.000-07:00

>>> Download score (PDF, 1 page)

Explanatory notes

This piece is to be used as an introduction to the tone G on the 1st string (3rd fret), as well as the practice of the 3rd finger in alternation with the open string. The 3rd and 1st fingers alternation is used near the end.

The student is also introduced to the 3 beat measure and, consequently, to the dotted half-note.

The ligatura is also a new element presented to the student.

This composition is a follow-up of "Toro" in which are only used the tones E (1st open string) and F (1st fret on the 1st string).

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Twinkle Twinkle Little Star

2009-09-29T06:17:00.000-07:00

Relocated to http://a2zguitar.blogspot.com/2011/12/twinkle-twinkle-little-star.html

Virtuoso - Alla Bolognese

2009-09-16T03:41:00.000-07:00

Ovo je e-mail od ciklusa Virtuoso:

Pozivamo Vas na prvi redoviti koncert u devetoj sezoni ciklusa Virtuoso (ciklus koncerata studenata Muzičke akademije u Zagrebu). Na koncertu nazvanom „Alla Bolognese“ uglavnom će se predstaviti studenti prve generacije na Muzičkoj akademiji koji studiraju po Bolognskom sustavu i koji su upravo završili četvrtu godinu studija ili tzv. "baccalaureus“ stupanj.

Program će se izvesti u Sisku (gdje po prvi puta započinje koncertna sezona ciklusa Virtuoso), Velikoj Gorici i Zagrebu. Dodajmo i to da se gitarist Srđan Bulat upravo vraća sa prestižnog međunarodnog gitarističkog natjecanja „Francisco Tarrega“ koje se održalo u Benicassimu (Španjolska) i na kojem je Srđan osvojio drugo mjesto!

Program koncerta:

F.Parać: Muzika za gitaru
SRĐAN BULAT, gitara

R.Schumann: Izbor pjesama iz ciklusa „Dichterliebe“, op.48
MARKO MIMICA, bas
KREŠIMIR STARČEVIĆ, klavir

E.Schulhoff: Hot sonata za alt saksofon i klavir
BERNARD HOMAN, saksofon
KARLO HUBAK, klavir

- - -

F.Chopin: Balada br.1 u g-molu, op.23
S.Rahmanjinov: Muzički moment u e-molu op.16 br.4
MANUELA ŠIMUNOVIĆ, klavir

G.Ligeti: Sonata za violončelo solo
SMILJAN MRČELA, violončelo

F.Liszt: Spozalizio
MAJA CRNKOVIĆ, klavir

M.Ravel: Tzigane, koncertna rapsodija
MARCO GRAZIANI, violina
KREŠIMIR STARČEVIĆ, klavir

Raspored koncerata:

četvrtak, 1. 10. 2009, 20:00 Sisak, Glazbena škola „Fran Lhotka“, Trg Ljudevita Posavskog 2

petak, 2. 10. 2009, 20:00 Velika Gorica, Dvorana Galženica, Trg Stjepana Radića 5

nedjelja, 4. 10. 2009, 20:00 Zagreb, Hrvatski glazbeni zavod (HGZ), Gundulićeva 6a

Također Vas podsjećamo da tokom mjeseca rujna, a i na prvom koncertu ciklusa, mozete kupiti ili obnoviti svoje pretplatnicke kartice i to po cijeni od:
80 kn
50 kn – za đake, studente i umirovljenike

RASPORED KONCERATA U SEZONI 2009./2010.:

4.10.2009. - ALLA BOLOGNESE
Koncert prve generacije studenata koji studiraju prema Bolognskom procesu na Muzičkoj akademiji u Zagrebu

15.11.2009. - SKLADATELJI OBLJETNIČARI
Skladatelji čije obljetnice obilježavamo u 2009. godini – H.Purcell, G.F.Handel, J.Haydn, F.Mendelssohn, B.Bjelinski

20.12.2009. – P.I.ČAJKOVSKI
Program uključuje i integralnu izvedbu klavirskog ciklusa “Godišnja doba”

17.1.2010. – AD LIBITUM 1

21.2.2010. – F.CHOPIN
Večer oči proslave 200.obljetnice rođenja poljskog pjesnika klavira

28.3.2010. – AD LIBITUM 2

11.4.2010. – OPERA GALA

23.5.2010. – HRVATSKI SKLADATELJI

Vašu pretplatu također možete i rezervirati putem e-maila, pa će Vas Vaša kartica čekati na blagajni prije početka prvog koncerta, 4.10.2009.

Srdačno

Filip Aver Jelavić

u ime predstavnika studenata ciklusa Virtuoso

098/ 9025-678

Tuatara

2009-09-14T11:40:00.000-07:00

Download the score

>>> Standard music notation (PDF, 1 page)

>>> Guitar tab (PDF, 1 page)

Explanatory notes

Tuatara is a short composition destined to children who just started learning the instrument.

The rhythmical pattern created for this guitar piece was created with the intention of allowing the student to momentarily rest and hence be given the opportunity to concentrate him/herself for the execution of the following measures. The last articulation inside a measure happens on the third beat in the shape of a half-note (minim). This pattern goes on throughout the whole piece with some exceptions.

Used in this little guitar piece are only the natural notes found in the first position of the fingerboard on the first and second strings. From lowest to highest: b, c, d (2nd string), and e, f, g (1st string). The bass notes are made up only of the fifth and sixth open strings - a and e correspondingly.

The basses are obviously plucked by the thumb. The twice articulated notes on the upper voice are to be plucked with fingers i and m correspondingly.

Some practice tips (for teaching it to children):

let the student play the whole piece without the bass notes at the beginning
aim for good left hand position in which the fingertips target the places where they are to land
although the right hand fingering is originally p i m, don't hesitate trying out other fingerings such as p m i, p m a, and p a m
don't be too perfectionist and have fun

> To browse other scores go to List of works

Misterioso

2009-09-14T11:25:00.000-07:00

>>> Download score (PDF, 1 page)

Explanatory notes

This composition, which acts as a guitar study, is meant for guitar students who have been already introduced to the basic concepts of dynamic, agogics and, consequently, phrasing. As it is clear in the sheet music, I indicate the whole process of dynamics and agogics until the end of the piece.

Misterioso is also a technical study that emphasizes the use of double-note playing - including parallel thirds. The right hand must provide a very clean and focused sound, whereas the left hand faces the problematics of shifting as smoothly as possible.

This guitar piece ends with two harmonics played in sequence. They can be played either naturally or artificially. The former way is the safer, but the artificial harmonics are preferable because they allow the left hand to keep alive some notes of the suspended E-minor harmony.

Misterioso is the Portuguese translation for Mysterious.

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Study in G

2009-09-14T10:01:00.000-07:00

>>> Download score (PDF, 1 page)

Explanatory notes

When watching how one of my students had difficulty in keeping a left-hand parallel posture when needed, I decided to give a technical exercise that would, somehow, "shape" his hand. The result is this small guitar study which is nothing else than a technical exercise that can be played as a short composition.

What I did here was to force the little finger of the left-hand to constantly stop the ton C on the 3rd string and E on the 2nd. An easier fingering would be their counterparts in the first position of the fingerboard, but that would be avoiding the main goal of this guitar study.

By constantly stopping those notes with the little finger the student will have to keep that part of the hand nearer the fingerboard while using the other fingers to stop the melodic notes in the lower voice. This is having a left-hand parallel posture and the student does it either we wishes it or not. If he was allowed to leave his little (fourth) finger in the air, his hand would, by instinct reaction, retire to a "less stressing" posture which wouldn't be of use in all those situations that require the left-hand parallel posture.

There are plenty of exercises that follow this purpose. One example is Abel Carlevaro's exercises with left-hand fixed fingers and opposite finger movements.

While this little guitar study might not seem as any kind of innovative approach to the classical guitar technique it does, at least, spare the youngest guitar students from the rigid seriousness of those more advanced exercises which are used out of any musical context. Given the age of my student I find this solution more pleasant.

> To browse other scores go to List of works

In That Time of the Year

2009-09-14T09:52:00.000-07:00

>>> Download score (PDF, 1 page)

Explanatory notes

The original title for this song is "U to vrijeme godišta" and it is probably the most popular Christmas song in Dalmatia (a region in the coast of Croatia).

One day one of my students (of an early age) brought to me a collection of Christmas tunes in the shape of single melodies and asked me to help him playing some of them. The tune here arranged for guitar is presented in his collection under the F-major key. It's a good exercise to play such tonalities in the guitar, especially if they're single lined. Also, scales can be better learned by adding to them melodies in the correspondent key (and vice-versa).

Since I took the trouble (pleasurably trouble :) to write this arrangement for him I could see no barrier to share it with the rest of you.

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Jingle Bells for guitar

2009-09-14T08:41:00.000-07:00

Relocated to http://a2zguitar.blogspot.com/2011/12/jingle-bells-arranged-for-guitar.html

Minuet in D by Leopold Mozart (1719-1787)

2009-09-13T02:34:00.000-07:00

>>> Download score (PDF, 1 page)

Explanatory notes

This guitar arrangement is here presented in D major but the original key is F major. Changing the tonality is a common practice when transcribing music from keyboard to guitar. I wouldn't do it if I was arranging this minuet for a guitar duo, but that's not the case.

This minuet was included in Nannerl's Music Book, a book of keyboard pieces that Leopold Mozart (father of the famous Wolfgang Amadeus Mozart) wrote for his daughter Maria Anna Mozart (known as Nannerl, hence the title "Nannerl's Music Book"). The purpose for creating the notebook was mainly pedagogical, and in it are also included Wolfgang's very first compositions.

Nannerl's Music Book hosts a lot of minuets of unknown authorship, and it seems that this one here arranged for guitar is one of them, although it is usually attributed to Leopold Mozart. It also includes pieces written by Carl Philipp Emanuel Bach and the Austrian composer Georg Christoph Wagenseil, as well as some technical exercises for piano and some music theory material.

In order to expand the guitar register in the lower voice (bass) I tuned the 6th string down to the ton D. It gives space for some bass jumps that allow this guitar version to sound as close as possible to the music style of the time and the musical language of the composer.

> To browse other scores go to List of works

Sad Song

2009-09-13T02:23:00.000-07:00

>>> Download score (PDF, 1 page)

Explanatory notes

To play this composition the student should already be more or less comfortable with melodic playing in the first 3 strings of the guitar.

The upper voice only uses 2 types of notes: the eight-note, and the half-note. And the lower voice also uses 2 types of notes: the dotted half-note, and the quarter-note. And all the bass notes are on the lower open strings of the guitar.

3 simple guitar practice tips:

First, learn the melody without the bass notes' accompaniment.
Then add the bass line but simplify it to a whole-note per measure so that you only focus on the simultaneous plucking of the upper and lower lines at the beginning of each measure.
And last, after learning the melody plus simplified bass, shorten the bass whole-note to a dotted half-note and add the quarter-note at the end of the measure. This quarter-note will function as an upbeat for each next measure and will hence give this guitar piece a forward moving pulse.

> To browse other scores go to List of works

List of works

2009-09-13T01:48:00.001-07:00

(Links to the scores are gradually being added)

Index

1. Original compositions
1.1. Guitar solo
1.2. Chamber music
1.3. Student guitar pieces
1.4. Guitar pieces for children
1.4.1. Solo
1.4.2. With a second guitar part
2. Musical arrangements
2.1. Guitar solo
2.2. Guitar duo
3. Edited and revised works

1. Original compositions

1.1. Guitar solo

Heptagon
1. Prelude
2. Mecanico
3. Rockiana
4. Lento
5. Villa-Lobiana
6. Jogo do espelho
7. Finale

Suite Madeirense
1. Prelude
2. Cantiga de embalar
3. Polca
4. Interlude
5. Bailinho

1.2. Chamber music

Aria (guitar trio in e minor)

Sonata (for english horn and guitar)
1. Prelude
2. Fugue
3. Buarquerola
4. Dance

Three Guitars (guitar trio in D)

1.3. Student guitar pieces

Misterioso - Andante in e minor

Prelude - Expressivo e un poco rubato in a minor

1.4. Guitar pieces for children

1.4.1. Solo

A Sunset Ago - Meditativo in e minor

April Sea - Calmo in a minor

Chord Fun :) - In C

Clown Nose - Allegro in C

Feather Flight - Allegro in a minor

In the Offing - Allegro comodo in e minor

Little Rondo - Allegretto in D

Little Soleares - Tempo di solea

Little Waltz - Moderato in a minor

Sad Song - Andante in a minor

Study in G - Allegretto

The Gondola Lift - Andantino in e minor

The Ho-Oh Bird - Vivo in e minor

Tuatara - Movido in a aeolian (minor natural)

1.4.2. With a second guitar part

Andalusia - Andante

Dino - Allegretto

Ema - Andante

Going Phrygian - Andante

Little Choral - Andante in C

Merry-go-round - Moderato in a minor

Mi Si Sol - Andante in e minor

Paddling On - Andante in e minor

Red Leaves - Gently

Si Sol - Allegretto in G

Swan Song - Movido in a minor

Toro - Allegretto

2. Musical arrangements

2.1. Guitar solo

Good Morning to All - Title of the original tune of "Happy Birthday to You"

Greensleeves - In a minor

In That Time of the Year - Croatian Christmas song

Jingle Bells - James Lord Pierpont (1822 - 1893)

Minuet in D (originally in F) - Leopold Mozart (1719-1787)

Minuet in G - attributed to Christian Petzold (1677–1733)

2.2. Guitar duo

Twinkle Twinkle Little Star - Famous English nursery rhyme

3. Edited and revised works

Romance - Anonym/Daniel Fortea?

Andantino in C major (from the guitar method, opus 59) - Matteo Carcassi (1792-1853)

Estudio VI - Emilio Pujol (1886-1980)

Study in B minor, opus 35, No. 22 - Fernando Sor (1778-1839)

Adelita - Francisco Tarrega (1852-1909)

Lagrima - F. Tarrega

At Carlos Jorge's workshop

2009-09-13T01:34:00.000-07:00

>>> Sheet music for this composition is available here.

Contact

2009-09-13T01:25:00.000-07:00

E-mail: pedroabreu77@gmail.com

Cell phone: 00 385 91 7661349

...or just use the comment box!

Biography

2009-09-13T01:20:00.000-07:00

Pedro Miguel Pereira Abreu was born in 1977 in Madeira (Portugal). He started studying guitar in 1993 at the Madeira Conservatory of Music under the class of Pedro Zamora.

In 1999, with the support of the pianist Robert Andres, he moved to Lisbon where he got private lessons from Dejan Ivanovic - a virtuoso guitarist from Bosnia and Herzegovina who settled down in the capital of Portugal a year before. Six months after Pedro was admitted in Music Academy of Zagreb where he studied with Darko Petrinjak. He got his diploma in 2003.

Besides his regular studies Pedro participated in several master classes and seminars. Before coming to Croatia he enrolled in two summer schools learning a great deal about guitar performance with Paulo Valente Pereira - a Portuguese guitarist who studied with the historical figure Emilio Pujol. In Madeira he attended to master classes by Darko Petrinjak, Istvan Romer and Goran Listes. He also learnt baroque chamber music with Stephen Bull.

By his academic time he went to Amsterdam to learn from the best guitarists in the international guitar scene - Pablo Marquez, Zoran Dukic, Laura Young, David Russel and Dusan Bogdanovic. In Zagreb he received a master class from Thomas Muller-Pearing.

Pedro's musical activities are far broader than just playing his instrument. As a member of the Xarabanda Cultural and Musical Association he collected, transcribed and recorded traditional music material from Madeira. His work has been published in CD recordings and music sheet collections.

Besides being a guitarist Pedro is also a composer. He has been performing his own compositions in Croatia and abroad. Among other works he wrote Three Guitars (guitar trio), Calmo, Sonata (english horn and guitar), Heptagon and Suite Madeirense. His music has always received good critics.

As a solo and ensemble performer Pedro has recorded for the radio, local and international televisions (RTP Madeira, RTP International and HRT 2).

He has performed a lot of chamber music throughout his career with a wide variety of combinations and styles. One of his last projects was Trio del Sur - an ensemble formed under his own initiative with the purpose of performing his own arrangements of Latin-derived music.

Since 2004 Pedro has been performing in duo with the excellent oboist Zoltan Hornyanszky. Their first concert was held in Velika Gorica and was followed by appearances in several renowned music/art festivals such as: Budapest Spring Art Festival 2004 (Hungary); Saint Donat Festival in Zadar 2007 (Croatia); and Rijeka Summer Nights 2008 (Croatia).

Besides composing and performing Pedro works as guitar pedagogue at the music school Rudolf Matz in Zagreb.