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Although the guitar has been part of the classical music tradition for centuries, writing for the guitar remains a formidable challenge for many composers. Where orchestral instruments have a long history of scoring guides that help composers develop their craft, the number of studies dedicated to guitar scoring remains scarce. This has led to a myriad of scoring problems in guitar works written by non-guitarist composers, often evidenced in unplayable passages and underdeveloped textures.
Throughout the 20th century, the guitar has proven itself to be an instrument of many possibilities due to the increased interest shown by avant-garde composers. Several of these composers and/or compositions are either rarely performed, or performed with considerable difficulty.
Throughout history, the classical guitar has been widely explored as a vehicle for solo performances. Its centuries-long tradition of solo music, including the repertoire of early plucked-string instruments, has probably no parallel in any instrument other than those of the keyboard family.
Is it possible to abandon the faithful reproduction of a score without rejecting the legacy of Western notated art music?