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Concerto Per Guitare Op73 Thomas Lorenzo

Concerto per Guitare – The Balance of Nature Op: 76 – composed by Thomas Lorenzo

An Inspiring Peaceful Guitar Sunrise. Llinars del Vallés, Catalunya, Spain.

July 1, 2021

I woke up at around 5.30 am and decided to climb the hill and play the guitar to accompany the summer sunrise.  Please enjoy my composition called the Balance of Nature.

I have spent many years walking through these hills and all those mountains you can see in the background.

This is such a peaceful and inspiring landscape. Most of my family live in the village below so in a way this is also my hometown. There must be around 200 family members running around.

The town is called Llinars del Vallès located in the province of Barcelona, Catalunya, Spain.

Concerto per Guitare - The Composition

This composition is divided into three sections:

Section 1

The tonal centre of this guitar piece in this section is G# aeolian, however the cadences are not targeting this tonal center until the end of each section.

The first two bars target the C# phrygian major mode and from then on,  E lydian becomes the main target or tonal center until the very end where G# aeolian becomes predominat.

Section 2

The new tonal center is A aeolian and all progressions are pretty standard.

Section 3

The new tonal center is C ionian.


Learn more about Composing on the guitar at my Creative Guitar Academy.

How I composed this song

The composition narrates a musical story where the first section invites the listener to explore the natural balance of the bush where everything grows in an order that is chaotic but beautiful.

Section two then invites the listener to feel the bush as a human would when we try to understand what we see.

Section three invites the listener to simply move away from understanding and to become a mere spectator of our inner feeling of hope which I believe serves as the catapult to peace in our lives.

How did I bring it to life this Concerto per Guitare

have been playing this composition for over a year and I never did feel I was getting it right until I played it in this vibrant location which made me play softer, slower, more articulate and with a stronger tempo.

Personally I find it frustrating to have to spend a year waiting for the right setting to pop up. The truth is that no matter how hard I try I cannot rush things and I know that the frustration keeps me looking for a solution which sooner or later always comes across.

This way I trust my inner gut and have learnt that my frustration is my friend asking me to keep on looking with warmth and love.

Thomas Lorenzo

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