Welcome to the International Journal of Music

Arthur Zanin, Editor in Chief
Eric Anderson, Editor

We are so excited to present you with this new, fully online publication. All my life, I’ve participated in the time-honored tradition of music education, sharing my knowledge with my students just as my professors shared their knowledge with me. The IJM widens the pedagogical circle for any musician willing to learn, publishing academic and performance-based insights by seasoned musicians, educators and ambitious students. You will find articles for different instruments in their respective magazines, such as this one. You are able to access, submit, and review articles on our IJM website (https://ijm.education).

Sincerely,

Arthur Zanin, Editor in Chief

tango guitar adam tully

Tango Guitar: The Secret Style

Tango is Argentina’s best-known musical export. However, the traditional tango guitar style, which includes a specific set of techniques and concepts, is virtually unknown outside of Argentina. Adam Tully fell in love with this particular way of playing nylon-string guitar and spent almost 30 years studying it, eventually moving from his native New York to Buenos Aires, where the tango scene, and tango on six strings, is stronger than ever. And although many classical guitarists have studied and performed the repertoire of Astor Piazzolla, that music in a way is tango, and in a way isn’t. In this article Adam Tully describes what tango guitar is, and how we can learn to play it.
Colin Davin Guitar fingering

Exploring Contrapuntal Fingerings in Bach’s Allegro from BWV 998

When played on the modern classical guitar, the music of Johann Sebastian Bach presents a special set of challenges to overcome, as well as opportunities to enrich the listener’s experience. In the case of the Allegro from Prelude, Fugue and Allegro, BWV 998, there is a bounty of interesting contrapuntal material to explore, and chances to bring out polyphonic textures that are not necessarily apparent at first glance. A deep level of analysis and understanding is necessary to begin the process of creating left-hand fingerings that fully realize the potential of Bach’s music. In this exploration, we will consider the concepts of implied counterpoint and contrapuntal motives to reveal polyphonic textures in what seems to be only single-line music. This in turn will inform our choices in the left hand, causing us to sometimes pursue seemingly unrealistic options in the name of musical faithfulness. While these might not always be practical in performance, they nonetheless offer us the opportunity to engage with and understand the music more fully, expanding our knowledge of fretboard harmony and the perceived limitations of technique.
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