Help finding specific classical guitar music (ravel/debussy)

[czardas]

Although these older methods are still taught, I believe they are used more as exercises and portrayed in a historical context. Very helpful to aspiring young composers but I see it as being a bit like the difference between Greek geometry and calculus. It would be no surprise to me if these old methods were one day to be removed from the standard music theory curriculum, unless you specialize in music from a particular relevant period.

[Steve Montgomery]

This won't help you in the slightest with your project, but give a listen to my jazz version of Debussy's "Prelude to the Afternoon of the Faun," if you haven't eaten recently. Actually, it's not so bad, with the exception of a big fat G natural in the walking bass line on the first beat of a Abmaj7 chord.

[JohnRoss]

...but I see it as being a bit like the difference between Greek geometry and calculus. It would be no surprise to me if these old methods were one day to be removed from the standard music theory curriculum...

Oh right, mathematics without, e.g., Pythagoras (too square, I suppose) and music without voices. Isn't the Internet wonderful?

[Steve Montgomery]

I noticed RonJazz had some pertinent comments about the harmonic limitations of guitarists in comparison to pianists. This is true, but I've been using a technique that allows for some improvements on this score. But I don't use taps, loops, extra strings, alternate tunnings or overdubs, and can still play chord clusters like (descending): F, E, C, A, G.

Give a listen to my "Lulu by Carlight" (parts of Alban Berg's "Lulu" and "Stella by Starlight" and see if you can here what I'm talking about. For the most part, it can't be played with conventional chording. Check the Finale copy.

[czardas]

Oh right, mathematics without, e.g., Pythagoras (too square, I suppose) and music without voices. Isn't the Internet wonderful?

Well umm, triangles haven't changed that much in the last 4000 years. Parrallel lines still don't meet in Euclidean geometry, but parallel octaves are a different kettle of fish. Also your argument is like saying Leibniz couldn't exist without Newton.

I have no idea why you think I'm suggesting music should not have voices.