György Ligeti - Continuum (arr. Roberto Granados)
Here is my arrangement of György Ligeti's Continuum for two electric guitars, originally composed for solo harpsichord. The vast majority of the piece is performed here as various two-handed tapping patterns, taken verbatim from the original score with the two guitars respectively playing the left and right hand harpsichord parts. I hope you like it! The video for this arrangement consists of over 10000 frames rendered in about 220 hours using the 3D fractal rendering software Mandelbulb 3D, and animated using Blender. You can download this arrangement here: https://robertogranados.bandcamp.com/track/continuum-arr-roberto-granados My guitar signal chain is: DI signal - Neural DSP Fortin Nameless Suite - Valhalla Supermassive I am endorsed by Stone Age Guitar Picks. Check them out here! https://stoneageguitar.com/ https://www.facebook.com/StoneAgeGuitarPicks/ https://www.etsy.com/shop/StoneAgeGuitarPicks Follow my stuff! My Website: https://robertogranadosguitar.com Facebook: https://tinyurl.com/y86shwhj Instagram: @rgranadosguitar Inquiries: firstname.lastname@example.org -----------------------------------------------
Ripples - Randall Krieger | performed by Roberto Granados
Ripples is a work for solo classical guitar composed by Randall Krieger. The piece uses a "microtonal" tuning: strings 6, 4 and 1 are tuned in octaves to D natural (tuned as in 12-tone equal temperament), strings 5 and 3 are tuned to a perfect fifth between A-quarter flat and E-quarter flat, and the second string is tuned to the natural seventh harmonic of D. The piece features long, resonant sonorities and gesturally-based phrasing that evoke textural "ripples." Ripples was composed for the "Quarantine Composers Collaboration Project," hosted by the Bay Area Composers Group and premiering new works via livestream by composers from the Bay Area. Follow my stuff! My Website: https://robertogranadosguitar.com Facebook: https://tinyurl.com/y86shwhj Instagram: @rgranadosguitar Inquiries: email@example.com I am endorsed by Stone Age Guitar Picks. Check them out here! https://stoneageguitar.com/ https://www.facebook.com/StoneAgeGuitarPicks/ https://www.etsy.com/shop/StoneAgeGuitarPicks ----------------------------------------------- Written by Randall Krieger Performed and recorded by Roberto Granados Camera angles by Ernesto Granados
Assad 'Farewell' played by Roberto Granados
Guitar: 1987 Miguel Rodriguez (http://tinyurl.com/pl9ohhp) Here's 15-year-old Roberto Granados playing Sergio Assad's 'Farewell' on a 1987 Miguel Rodriguez classical guitar at the Guitar Salon International showroom in Santa Monica, CA. http://www.guitarsalon.com/ All proceeds from monetization of this video goes to the GSI Foundation, a non-profit organization that raises money to support music education in public schools. Visit our site for more information: http://bit.ly/2nIJMxR #gsi #friendsofgsi #classicalguitar
Feona Lee Jones – Dragsúgur (2019) – Roberto Granados, Solo Guitar
I composed a solo acoustic guitar piece, Dragsúgur (the wind that comes in through the window) that was performed by Roberto Granados at Center for New Music (55 Taylor St, San Francisco, California 94102) August 11, 2019. The solo guitar piece was highly inspired by Frank Zappa and Tom Waits so if you like their music there is a chance you might like this piece. Program Notes: Dragsúgur was written for acoustic or electric solo guitar. It features angular rhythms and dissonant chords with a Frank Zappa meets Tom Waits flavor. It features a waltz feel in the beginning, which transitions to a driving rhythmic pulse utilizing invertible counterpoint and harmonics. The ending is a return to the angular waltz but with brief interjections of earlier gestures. Roberto Granados Biography: https://www.robertogranadosguitar.com/biography Don't forget to Subscribe: https://www.youtube.com/feonaleejones ⭐️ Where to find me ⭐️ ▸ blog | http://feonaleejones.com ▸ facebook | http://facebook.com/feonaleejones ▸ instagram | http://instagram.com/feonaleejones ▸ twitter | http://twitter.com/feonaleejones ▸ soundcloud | https://soundcloud.com/feona As a composer some of my inspirations include: Maya Deren, Ligeti, Terry Riley, Penderecki, Bartok, Elliot Carter, Schnittke, Prokofiev, Stravinsky, Debussy, Chopin, Ravel, Poulenc, Wagner, Schubert, J.S. Bach, Johannes Ockeghem, Palestrina, Guillaume Dufay, Arvo Part, Beethoven, Chen Yi, Tan Dun, Elliot Carter, George Crumb, Kaija Saariaho, John Adams, Toru Takemitsu, Alan Hovhanes, Jaap Blonk, Meredith Monk, Bernard Herrmann, Cecil Tayler, Sun Ra, Miles Davis, Keith Jarrett, Michale Nyman, Yoko Ono, Robert Ashley, Sonic Youth, Tarkovsky, Kenn Russell, David Lynch, Stan Brakhage, Zhang Yimou, Tian Zhuangzhuang, Adam Elliot, Nino Rota, Coil, Aphex Twin, Plastikman, Can, John Carpenter, Tim Burton, Ang Lee, NIN, Angelo Badalamenti, Danny Elfman, Bernard Herrmann, David Raksin, Ennio Morricone, Cliff Martinez, Bauhaus, Oingo Boingo, Devo, Talking Heads, Gary Numan, Love & Rockets, Wire, PIL, Brian Eno, Roxy Music, Kraftwerk, David Wise, Dead Can Dance, Cocteau Twins, Tom Waits, David Bowie, Swans, Slayer, Metallica, Black Sabbath, Bjork, Frank Zappa, and John Zorn. BIOGRAPHY Feona Lee Jones currently lives in Santa Cruz, where she works as a freelance composer, pianist, and educator. As a composer and pianist, she continues to explore her own musical language, influenced by classical, jazz, North Indian classical, avant-garde film, experimental theatre, and electronics. Her music has been performed in the United States, Iceland, and Poland. She has been commissioned by prestigious ensembles, organizations, and artists such as the Del Sol String Quartet, Composers Inc., Awesome Orchestra, The Humane League, Opera on the Spot, Luger Hofmann-Engl, and Invoke String Quartet. Never satisfied with a single medium, she has worked in concert music, film music, interactive games, and most recently, opera. ARTIST STATEMENT As a composer, I strive to cross the cultural sound barrier, to erase existing boundaries between modern and ancient, East and West, masculine and feminine, physical and spiritual. Challenging norms and experimenting with possibilities in the sonic realm is at the core of my work as an artist. I hope to bridge disciplines working with and across disciplines. I avoid stereotypical ways of working with these media and have found my voice as a composer unifying them. Like most art forms, I believe the function of music is to create an experience, so that each work evokes a new conclusion, and is dynamic and evolving in nature.