View source for Guitar solo

{{Short description|Passage or section of music designated for a guitar}}
{{For|the Fred Frith album|Guitar Solos{{!}}''Guitar Solos''}}
{{essay|date=January 2019}}
{{More citations needed|date=September 2014}}
{{Infobox music genre
| name              = Guitar solo
| native_name       = 
| etymology         = [[solo (music)|solo]] played on [[guitar]]
| other_names       = 
| image             = Dean Ween Outside Lands.jpg
| alt               = 
| caption           = Guitarist [[Dean Ween]] soloing
| stylistic_origins = [[Blues]], [[Rock music]], [[Jazz]]
| cultural_origins  = 
| instruments       = 
| derivatives       = 
| subgenres         = 
| subgenrelist      = 
| fusiongenres      = 
| regional_scenes   = 
| local_scenes      = 
| other_topics      = 
| footnotes         = 
| current_year      = yes
}}
{{listen |filename=Wikipedia guitar solo.ogg |title=Example |description=An [[electric guitar]] solo in F# minor}}
A '''guitar solo''' is a [[melody|melodic]] passage, instrumental [[section (music)|section]], or entire piece of music, pre-written (or improvised) to be played on a [[classical guitar|classical]], [[electric guitar|electric]], or [[acoustic guitar]]. In 20th and 21st century [[traditional music]] and [[popular music]] such as [[blues]], [[Swing music|swing]], [[jazz]], [[jazz fusion]], [[rock music|rock]] and [[heavy metal music|heavy metal]], guitar [[solo (music)|solos]] often contain virtuoso techniques and varying degrees of [[improvisation]]. Guitar solos on [[classical guitar]], which are typically written in [[musical notation]], are also used in [[classical music]] forms such as [[chamber music]] and [[concerto]]s.

Guitar solos range from unaccompanied works for a single guitar to compositions with [[accompaniment]] from a few other instruments or a large ensemble. The accompaniment musicians for a guitar solo can range from a small ensemble such as a [[jazz quartet]] or a rock [[musical ensemble|band]], to a large ensemble such as an [[orchestra]] or [[big band]]. Unaccompanied acoustic guitar music is found in [[folk music|folk]] and [[European classical music|classical]] music dating as far back as the [[Musical instrument|instrument's]] first use in western music, the use of an acoustic guitar as a solo voice within an ensemble dates back at least to the [[Baroque]] [[concerto]].

==Classical guitar==
{{More citations needed|section|date=June 2024}}
[[File:Andrés Segovia (1962).jpg|thumb|Classical guitar soloist [[Andrés Segovia]] (1962)]]
The [[classical guitar]] is an acoustical wooden guitar with six strings, usually nylon, as opposed to the metal strings used in metal stringed acoustic guitars used in other genres.<ref>{{Cite web|title=guitar {{!}} History, Types, & Facts|url=https://www.britannica.com/art/guitar|access-date=2020-10-27|website=Encyclopedia Britannica|language=en}}</ref> Classical guitar is typically played by plucking individual strings with the fingernails or the fingertips.<ref>O'Toole, M. (2019). ''John Williams : changing the culture of the classical guitar : performance, perception, education and construction'' . New York, NY : Routledge. 135 - 140</ref> A classical guitar solo concert is typically called a [[Concert#Recital|recital]]; it may include a variety of works, e.g. works written originally for the lute or vihuela by composers such as [[John Dowland]] (b. Ireland 1563) and [[Luis de Narváez]] (b. Spain c. 1500), and also music written for the harpsichord by [[Domenico Scarlatti]] (b. Italy 1685), for the baroque lute by [[Sylvius Leopold Weiss]] (b. Germany 1687), for the baroque guitar by [[Robert de Visée]] (b. France c. 1650) or even Spanish-inspired music written for the piano by [[Isaac Albéniz]] (b. Spain 1860) and [[Enrique Granados]] (b. Spain 1867). [[Johann Sebastian Bach]] (b. Germany 1685) is another composer who did not write for the guitar specifically, but whose music is often played on it as his baroque [[lute]] works have proved highly adaptable to the instrument.<ref>{{Cite web|url=https://www.britannica.com/art/guitar|title=guitar {{!}} History & Facts|website=Encyclopedia Britannica|language=en|access-date=2019-04-29}}</ref>

Of music written originally for guitar, the earliest influential composers stem from the classical period.<ref>Randall Zwally. "William Kanengiser: Classical Guitar and Beyond." ''Notes'' 64, no. 1 (2007): 128–129.</ref> They include [[Fernando Sor]] (b. Spain 1778) and [[Mauro Giuliani]] (b. Italy 1781),<ref>Randall Zwally. "William Kanengiser: Classical Guitar and Beyond." ''Notes'' 64, no. 1 (2007): 128–129.</ref> it is noted that their music can be seen to be potentially influenced by Viennese classicism. In the 19th century guitar composers such as [[Johann Kaspar Mertz]] (b. Slovakia, Austria 1806) were influenced by music written for the piano.<ref>O'Toole, Michael. ''John Williams : Changing the Culture of the Classical Guitar : Performance, Perception, Education and Construction'' Abingdon, Oxon: New York, NY : Routledge, 2019.</ref> I [[Francisco Tárrega]] (b. Spain 1852) wrote more uniquely guitar music, incorporating stylized aspects of flamenco's Moorish influences into his romantic miniatures. This was part of late 19th century European trend towards [[musical nationalism]].<ref>{{Cite web|title=Musical Nationalism {{!}} Music Appreciation|url=https://courses.lumenlearning.com/musicapp_historical/chapter/musical-nationalism/|access-date=2020-10-27|website=courses.lumenlearning.com}}</ref> Albéniz and Granados contributed to this movement as they wrote within the same time period.<ref>Bohlman, Philip V., and Philip Vilas. Bohlman. ''Focus Music, Nationalism, and the Making of the New Europe'' 2nd ed. New York: Routledge, 2010.</ref>

Some classical guitarists play [[concerto]]s, which are solos written for performance with the accompaniment of an [[orchestra]]. Fewer classical guitar concertos have been written compared to concertos for multi-instrumental orchestras.<ref>  O'Toole, Michael. John Williams : Changing the Culture of the Classical Guitar : Performance, Perception, Education and Construction  Abingdon, Oxon: New York, NY : Routledge, 2019.</ref> Some potentially notable ones could include [[Joaquín Rodrigo]]'s ''[[Concierto de Aranjuez]]'' and ''[[Fantasía para un gentilhombre]]''. In the 2000s, it has been noted that classical guitar is appearing more in classical music, as contemporary composers are increasingly writing guitar concertos.<ref>O'Toole, Michael. ''John Williams : Changing the Culture of the Classical Guitar : Performance, Perception, Education and Construction'' Abingdon, Oxon: New York, NY : Routledge, 2019.</ref>

===History===
Composers of the Renaissance period who wrote for four course guitar include [[Alonso Mudarra]], [[Miguel de Fuenllana]], [[Adrian Le Roy]] and [[Guillaume de Morlaye]].<ref>Atlas, Allan W. "Anthology of Renaissance music music in Western Europe, 1400-1600 " New York: W.W. Norton, 1998.</ref> Composers of the baroque guitar include [[Gaspar Sanz]], [[Robert de Visée]] and [[Francesco Corbetta]].<ref>Tomalin, Marcus. "Lutes, Vihuelas and Guitars—filling in Some Gaps." ''Early music'' 46, no. 4 (2018): 694–697.</ref> From approximately 1780 to 1850, the guitar had composers and performers including: [[Filippo Gragnani]] (1767–1820), [[Antoine de Lhoyer]] (1768–1852), [[Ferdinando Carulli]] (1770–1841), [[Francesco Molino]] (1774–1847), [[Fernando Sor]] (1778–1839), [[Mauro Giuliani]] (1781–1829), [[Niccolò Paganini]] (1782–1840), [[Dionisio Aguado]] (1784 – 1849), [[Luigi Legnani]] (1790–1877), [[Matteo Carcassi]] (1792–1853), [[Napoléon Coste]] (1805–1883) and [[Johann Kaspar Mertz]] (1806–1856). Guitar soloist [[Andrés Segovia]]<ref>{{cite journal |last1=Clements |first1=Andrew |title=Andres Segovia |journal=The Musical Times |date=September 1987 |volume=128 |issue=1735 |page=511 |jstor=964862 |url=https://www.jstor.org/stable/964862 |access-date=23 March 2022}}</ref> popularized the guitar with tours and early phonograph recordings in the 1920s. Modern classical guitar solo performers who are known for playing modern repertoire include [[Kazuhito Yamashita]], [[Agustín Barrios]], [[Paul Galbraith]], and [[John Williams (guitarist)|John Williams]].<ref>{{Cite web|url=https://www.theguitarjournal.com/top-25-classical-guitarists/|title = Top 25 Classical Guitarists|date = 6 December 2018}}</ref>

==Traditional and popular music==

===Blues, R&B and rock and roll===
[[File:B.B. King in 2009.jpg|thumb|right|200 px|American blues guitarist and singer [[B.B. King]] in 2009]]
The term "guitar solo" often refers to [[electric guitar]] solos played in [[blues]] and in [[rock music|rock]]. The use of a guitar solo as an instrumental interlude was developed by blues musicians such as [[Lonnie Johnson (musician)|Lonnie Johnson]], [[John Lee Hooker]], [[Muddy Waters]], and [[T-Bone Walker]], and [[jazz]] like [[Charlie Christian]]. [[Ernest Tubb]]'s 1940 [[honky tonk]] classic, "[[Walking the Floor over You]]" was the first "hit" recording to feature and highlight a solo by a standard electric guitar—though earlier hits featured electric [[lap steel guitar]]s.

[[Howlin' Wolf]], Muddy Waters, [[Willie Dixon]], and [[Jimmy Reed]] played in Chicago in a style characterized by the use of electric guitar, sometimes [[slide guitar]], [[harmonica]], and a [[rhythm section]] of bass and drums.<ref name=pc4>{{Pop Chronicles|4| |Howlin' Wolf & Jimmy Reed}}</ref> In the late 1950s, a new blues style emerged on Chicago's [[West Side, Chicago|West Side]] pioneered by [[Magic Sam]], [[Buddy Guy]] and [[Otis Rush]] on [[Cobra Records]].<ref>Koroma, pg. 49</ref> The 'West Side Sound' had strong rhythmic support from a rhythm guitar, bass guitar and drums and as perfected by Guy, [[Freddie King]], [[Magic Slim]] and [[Luther Allison]] was dominated by amplified electric lead guitar.<ref>{{cite encyclopedia|url=http://www.encyclopedia.chicagohistory.org/pages/151.html|title=Blues|encyclopedia=Encyclopedia of Chicago|access-date=August 13, 2008}}</ref><ref>{{cite web|title=West Side Chicago Blues|url=http://www.allaboutjazz.com/php/article.php?id=11835|work=All about Jazz|author=C. Michael Bailey|date=October 4, 2003|access-date=August 13, 2008}}</ref> Other blues artists, such as John Lee Hooker had influences not directly related to the Chicago style. John Lee Hooker's blues is more "personal," based on Hooker's deep rough voice accompanied by a single electric guitar.

These and other blues guitarists as well as the fast-picking techniques derived from [[Country music|country]] and [[Bluegrass music|bluegrass]] inspired the appearance of many virtuoso [[blues rock]] fusion soloists, beginning in 1963 with [[Lonnie Mack]]'s first major recordings.<ref>Mack augmented his blues solos with fast-picking country techniques, and set them to a rock beat. His early recordings are widely regarded as a critical milestone in the rise of the electric guitar's role to that of a lead voice in rock music. See, Wikipedia article on Lonnie Mack.</ref> [[Jimi Hendrix]] was a psychedelic guitarist, and a pioneer in the use of [[distortion]] and [[audio feedback]] in his music.<ref>Garofalo, pgs. 224–225</ref> Through these artists and others, blues music influenced the development of rock music.<ref>{{cite web |url=http://infernality.blogspot.com/2006/09/origins-and-early-popularity-1960s-and.html|title=History of heavy metal: Origins and early popularity (1960s and early 1970s)|date=September 18, 2006|access-date=August 13, 2008}}</ref> Another important blues rock guitar soloist in the 1960s and 1970s was [[Eric Clapton]]. In the early 1970s, the [[Texas blues|Texas rock-blues style]] emerged, which used guitars in both solo and rhythm roles (e.g., [[Stevie Ray Vaughan]]).

===Rock===
The earliest rock guitar solos, as exemplified by popular recordings of [[Duane Eddy]] and [[Link Wray]] in the late 1950s, were relatively simple instrumental melodies.<ref>Describing all of these as "inherently simple": Brown & Newquist, ''Legends of Rock Guitar'', Hal Leonard Publishing, 1997, at p. 21.</ref> In the early 1960s, instrumental [[surf music]] represented a step forward in the sonic complexity of rock guitar melodies. In 1963, the dramatic, technically advanced electric guitar solo rose to the fore with Lonnie Mack's hit records, "Memphis" and "Wham!" (later covered by [[The Ventures]], Stevie Ray Vaughan and others), and soon, with the advent of blues rock and [[psychedelic rock]] in the mid-late 1960s, became a characteristic part of rock music. Later still, guitar solos became a defining feature of the rock genre of [[heavy metal music|heavy metal]], in which most songs feature a solo. Metal solos often showcase the virtuosity of the guitarists, especially in metal styles that use [[shred guitar]] techniques for rapid playing of scales and arpeggios.  Since the 1960s, electric guitarists have often altered the [[timbral|timbre]] of their guitar adding electronic [[effects unit|guitar effects]] such as [[reverb]], [[distortion (guitar)|distortion]], [[delay (audio effect)|delay]], and [[chorus effect|chorus]] to make the sound fuller and add harmonic overtones. Other effects used in solos include the [[wah-wah pedal]] and the [[talk box]].

Rock bands often have two guitarists, designated "[[lead guitar|lead]]" and "[[rhythm guitar|rhythm]]", with the lead player performing the solos and instrumental melody lines while the rhythm player accompanies with chords or [[riff]]s. In some cases, two guitarists share the lead role. Most rock music is based around songs in traditional [[form (music)|forms]]. The main formal features are [[Verse (popular music)|verse]]s, [[refrain|chorus]]es, and [[bridge (music)|bridges]]. The guitar solo is usually the most significant [[instrumental]] section of a mainstream rock song. In other rock-related genres, such as pop and dance music, the [[synthesizer]] usually plays this role.

[[File:Eddie Van Halan - 77 in New Haven.jpg|thumb|alt=A |[[Eddie Van Halen]] in 1977]]

In classic [[verse–chorus form]], it often falls between the second chorus and third verse. Extended guitar solos are sometimes used as a song's outro, such as [[Christopher Cross]]' "[[Ride Like the Wind]]", [[Radiohead]]'s "[[Paranoid Android]]", [[Lynyrd Skynyrd]]'s "[[Free Bird]]", [[The Stooges]]' "[[I Wanna Be Your Dog]]", [[Pink Floyd]]'s "[[Comfortably Numb]]", [[Guns N' Roses]]' "[[November Rain]]", [[Metallica]]'s "[[Fade to Black (Metallica song)|Fade to Black]]", [[Led Zeppelin]]'s "[[Black Dog (Led Zeppelin song)|Black Dog]]", [[Journey (band)|Journey]]'s "[[Who's Crying Now]]", [[The Cult]]'s "[[Love Removal Machine]]", [[The Beatles]]' "[[While My Guitar Gently Weeps]]", [[38 Special (band)|.38 Special]]'s "[[Hold On Loosely]]", [[The Rolling Stones]]' "[[Sway (The Rolling Stones song)|Sway]]", [[Pearl Jam]]'s "[[Alive (Pearl Jam song)|Alive]]", [[Red Hot Chili Peppers]]' "[[Dani California]]", [[Cream (band)|Cream]]'s "[[White Room]]", [[AC/DC]]'s "[[Let There Be Rock (song)|Let There Be Rock]]", [[Outlaws (band)|Outlaws]]' "[[Green Grass and High Tides]]", [[The Alan Parsons Project]]'s "[[Eye in the Sky (song)|Eye in the Sky]]" and [[Eagles (band)|Eagles]]' "[[Hotel California]]".

[[File:Bonsai Kitten - Rockspektakel 2019 31.jpg|thumb|alt=A |Guitar solo]]

Solos can take place in the intro, such as "[[Voodoo Child (Slight Return)]]" by [[Jimi Hendrix]], "[[Since I've Been Loving You]]" by Led Zeppelin, "[[One (Metallica song)|One]]"  by Metallica, "[[Lazy (Deep Purple song)|Lazy]]" by [[Deep Purple]], "[[I Want It All (Queen song)|I Want It All]]" by [[Queen (band)|Queen]], "[[Johnny B. Goode]]" by [[Chuck Berry]], "[[Don't Take Me Alive]]" by [[Steely Dan]], "[[Sails of Charon]]" by [[Scorpions (band)|Scorpions]] and "[[Wish You Were Here (Pink Floyd song)|Wish You Were Here]]" by Pink Floyd. In rarer cases, the guitar solo may come after the first chorus as opposed to the second, such as "[[Beast and the Harlot]]" by [[Avenged Sevenfold]], "[[The Importance of Being Idle (song)|The Importance of Being Idle]]" by [[Oasis (band)|Oasis]] and "[[Black Summer (song)|Black Summer]]" by [[Red Hot Chili Peppers]].

The use of guitar solos in [[hard rock]] and heavy metal was notable during the 1980s, when rapid-fire "shredding" solos were common; a virtuoso lead guitarist of a band might be more well-known than the singer (although in a few cases one artist held both roles). During this time, players began to use advanced [[harmonics]] techniques more widely. Later, guitarists who had developed considerable technical facility began to release albums with instrumental-only guitar [[Musical composition|compositions]]. Guitar solos in popular music waned in fashion in the middle 1990s, coinciding with the rise in popularity of [[nu metal]] and [[grunge]]. Nu metal differed significantly from previous sub-genres of metal and abandoned guitar solos altogether, except for a few rare lead fills here and there, whilst grunge did not wholly abandon solos and included them from time to time. Guitar solos likewise became less prominent in many [[pop music|pop]] and popular rock music styles; either being trimmed down to a short four-bar transition or omitted entirely, in a vast departure from the heavy usage of solos in classic rock music from the 1960s, 1970s, 1980s, and early 1990s. Classic rock revival music heavily features soloing, along with classic rock bands that are still active as of 2018.

Occasionally, a song contains a two-part guitar solo with both rhythm and lead guitar taking solos (e.g., "[[Master of Puppets (song)|Master of Puppets]]" by Metallica), or dual solos with both lead and rhythm playing complementary solos—such as with [[Twisted Sister]]'s "30", Iron Maiden's "[[Hallowed Be Thy Name (song)|Hallowed Be Thy Name]]", "[[The Trooper]]", [[Megadeth]]'s "[[Holy Wars... The Punishment Due]]" or  [[Deep Purple]]’s "[[Highway Star (song)|Highway Star]]". Some rock bands use harmonized dual lead guitar solos as part of their signature sound, such as [[Wishbone Ash]] and [[Lovebites (band)|Lovebites]]. This was first popularized by [[the Allman Brothers Band]] in their album ''[[At Fillmore East]]''.

===Bass guitar solos===
The bass guitar is played through a [[bass amp|specialized amplifier]] to make the instrument louder and provided control over tone. The bass guitar came into use in popular music in the 1950s.<ref>{{Cite web|title=A brief history of the bass guitar|url=https://guitarlessonspoway.com/free-resources/an-introduction-to-electric-bass-guitar/|access-date=2020-10-27|website=guitarlessonspoway.com}}</ref> While [[bass guitar]] solos are not common in popular music, some bands include bass solos in some songs, particularly heavy metal, [[funk]], and [[progressive rock]] bands. Some genres use bass guitar solos in most songs, such as jazz bands or [[jazz fusion]] groups. Bass solos are also common in certain styles of punk music. In a rock context, bass guitar solos are structured and performed in a similar fashion as rock guitar solos, often with the musical accompaniment from the verse or chorus sections. While bass guitar solos appear on few studio albums from rock or pop bands, genres such as progressive rock, [[fusion genre|fusion]]-influenced rock, and some types of heavy metal are more likely to include bass solos, both in studio albums and in live performances.

Players perform bass solos with a range of techniques, such as plucking or finger picking. In the 1960s, [[The Who]]'s bassist, [[John Entwistle]], performed a [[bass run|bass break]] on the song "[[My Generation (The Who song)|My Generation]]" using a [[plectrum]], though he intended to use his fingers—he simply could not drop the plectrum quickly enough. Many consider this one of the first bass solos in rock music, and one of the most recognizable. [[John Paul Jones (musician)|John Paul Jones]] of [[Led Zeppelin]], on "[[Good Times Bad Times]]", the first song on their [[Led Zeppelin (album)|first album]], uses two bass solos in an influentially dynamic way, as a bridge (when the band drops out after the choruses) to the next verse (after the first chorus) and the guitar solo-driven coda (after the third chorus). [[Queen (band)|Queen]]'s bassist, [[John Deacon]], occasionally played bass solos, notably in "[[Under Pressure]]" and "[[Liar (Queen song)|Liar]]". In the 1970s, [[Aerosmith]]'s bassist, [[Tom Hamilton (musician)|Tom Hamilton]], played a bass intro on the song "[[Sweet Emotion]]" from their album ''[[Toys in the Attic (album)|Toys in the Attic]]''. Thrash metal group [[Metallica]]'s 1983 debut album ''[[Kill 'Em All]]'' features a solo by bassist [[Cliff Burton]] on "(Anesthesia) Pulling Teeth", which some consider his greatest work.{{Who|date=July 2012}} [[John McVie]] of [[Fleetwood Mac]] performed a notable bass solo on "[[The Chain]]" from the record-setting 1977 album ''[[Rumours (album)|Rumours]]''.

[[Manowar]]'s bassist [[Joey DeMaio]] uses special piccolo bass for his extremely fast bass solos like "Sting of the Bumblebee" and "William's Tale". [[Green Day]] bassist [[Mike Dirnt]] played a bass solo on the song "No One Knows" from the 1992 album ''[[Kerplunk!]]'' and on the song "Makeout Party" from the 2012 album ''[[¡Dos!]]''. [[U2]] includes a bass solo most notably on "[[Gloria (U2 song)|Gloria]]", in which [[Adam Clayton]] utilizes several techniques. Bassist Matt Freeman of [[Rancid (band)|Rancid]] has a very speedy, guitar-like bass solo in the song '"Maxwell Murder". [[Blink-182]]'s "Voyeur" has a bass solo on both their studio album ''[[Dude Ranch (album)|Dude Ranch]]'' and their live album ''[[The Mark, Tom and Travis Show (The Enema Strikes Back!)]]'', in which they must "prepare for the bass solo."

Heavy metal bass players such as [[Geezer Butler]] ([[Black Sabbath]]), [[Alex Webster]] ([[Cannibal Corpse]]), Cliff Burton (Metallica), jazz fusion bassist [[Jaco Pastorius]] ([[Weather Report]]), and [[Les Claypool]] ([[Primus (band)|Primus]], [[Blind Illusion]]) used chime-like harmonics and rapid plucking techniques in their bass solos. [[Geddy Lee]] of [[Rush (band)|Rush]] performed a number of solos, most notably in "[[YYZ (song)|YYZ]]". Also, in both published [[Van Halen]] concert videos, [[Michael Anthony (musician)|Michael Anthony]] performs unique maneuvers and actions during his solos. Funk bassists, such as [[Larry Graham]], began using slapping and popping techniques for their bass solos, which coupled a percussive thumb-slapping technique of the lower strings with an aggressive finger-snap of the higher strings, often in rhythmic alternation. The [[slapping and popping]] technique incorporates a large number of muted (or 'ghost' tones) to normal notes to add to the rhythmic effect. Slapping and popping solos were prominent in 1980s pop and R&B, and they are still used by some 2000s-era funk and Latin bands.

[[Bass effects]] such as [[fuzz bass]] or wah-wah pedals to produce a more pronounced sound can be used when playing bass solos, hard rock and heavy metal bassists. Notably, Cliff Burton of Metallica used both distortion and wah-wah.<ref>{{Cite web|url=http://www.mixdownmag.com.au/gear-rundown-cliff-burton|title=GEAR RUNDOWN: CLIFF BURTON|last=Brewster|first=Will|website=Mixdown|date=11 August 2017|language=en|access-date=2019-04-02}}</ref> Bass guitar solos have a much lighter accompaniment than solos for other instruments due to the lower range of the bass. The bass guitar solo can also be unaccompanied or accompanied only by the drums.

==See also==
* [[Drum solo]]
* [[Ostinato]]

==Bibliography==
*Atlas, Allan W. "Anthology of Renaissance music music in Western Europe, 1400-1600 " New York: W.W. Norton, 1998.
*Berg, Christopher. ''The Classical Guitar Companion'' New York, NY: Oxford University Press, 2019.
*Bohlman, Philip V. ''Focus: Music, Nationalism, and the Making of the New Europe''. London: Routledge, 2011.
*{{Cite book
 | year=1990
 | editor-last=Goetz
 | editor-first=Philip
 | editor-link=Philip W. Goetz
 | title=Encyclopædia Britannica
 | title-link=Encyclopædia Britannica
 | edition=Fifteenth
 | place=Chicago
 | publication-date=1990
 | volume=5
 | page=982
 | isbn=0-85229-511-1
 }}.
*O'Toole, Michael. ''John Williams : Changing the Culture of the Classical Guitar : Performance, Perception, Education and Construction'' Abingdon, Oxon: New York, NY : Routledge, 2019.
*Tomalin, Marcus. "Lutes, Vihuelas and Guitars—filling in Some Gaps." ''Early music'' 46, no. 4 (2018): 694–697.
*Randall Zwally. "William Kanengiser: Classical Guitar and Beyond." ''Notes'' 64, no. 1 (2007): 128–129.

==References==
{{Reflist}}

==External links==
* [http://guitar.about.com/library/bl100greatest.htm Top 100 Guitar Solos of All Time] {{Webarchive|url=https://archive.today/20160305022334/http://guitar.about.com/od/guitaristsatoz/tp/100-Greatest-Guitar-Solos.htm |date=2016-03-05 }}
* [https://topratedguitar.com/best-guitar-solos-of-all-time/ Top 20 Guitar Solos  of All Time]

{{Musical ensembles}}
{{Parts of a Song}}

[[Category:Guitar performance techniques]]
[[Category:Music performance]]
[[Category:Solo music]]