Christmas with Classical Guitar Solos & Duets: Guitar Book

This collection respects both the guitar and the listener. Duncan's arrangements preserve the melodic integrity of these carols while writing idiomatically for the instrument, and the pairing of solos with duets gives directors flexibility in how they present the material—whether as individual student recital pieces or as ensemble numbers for winter concerts.

These arrangements glow with warmth and familiarity. The harmonies feel full without overwhelming the melody, and the fingerings allow the music to emerge with clarity and resonance. Playing through them feels less like technical study and more like honoring tradition on the classical guitar.

Intermediate classical guitarists who are comfortable with position changes and polyphonic texture will find these arrangements sit right in their wheelhouse. Teachers can use the solos as recital pieces for advancing students or program the duets as crowd-friendly holiday concert offerings that showcase ensemble playing.

• Balance the melody clearly in solo arrangements by voicing it on higher strings and letting bass notes recede slightly; the familiar tunes do the storytelling work, so let them sing.
• In the duets, establish a steady tempo together before you begin; rehearse the opening unison passages carefully to lock the rhythmic foundation.
• Pay attention to the fingering suggestions in the score; Duncan's voicing choices serve both playability and tone color, so honoring them usually yields better results than rewriting.
• Shape phrases by threading the melody across string breaks naturally rather than forcing note-by-note evenness; these carols have sung ancestry and benefit from vocal-style phrasing.

Program one or two solos in a student recital to give intermediate players a piece with immediate melodic appeal and seasonal interest. Reserve the duets for a holiday concert finale or as an ensemble number to involve multiple guitarists in a unified piece; they're engaging for both players and audience without requiring a large ensemble.

• Reading polyphonic texture on a single staff
• Managing position shifts and string crossing in a musical phrase
• Balancing melody and accompaniment within one instrument
• Adapting to duet ensemble textures and shared responsibility for phrasing
• Applying fingering strategies that prioritize tone quality over convenience