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Album Name Length Format Sample Rate Price
Urbanicity (SPECIAL EDITION) 1:22:44 $39.98
Buy Individual Tracks
# Track Title Length Format Sample Rate Price
1 Urbanicity: I 6:43 44.1/16 Album only
2 Urbanicity: II 6:27 44.1/16 Album only
3 Urbanicity: III 7:59 44.1/16 Album only
4 Guitar Concerto: I 6:31 44.1/16 Album only
5 Guitar Concerto: II 6:18 44.1/16 Album only
6 Guitar Concerto: III 6:37 44.1/16 Album only
7 New York Variations: I 6:55 44.1/16 Album only
8 New York Variations: II 10:04 44.1/16 Album only
9 New York Variations: III 5:53 44.1/16 Album only
10 Guitar Concerto (no guitar, orchestra only): I 6:31 44.1/16 Album only
11 Guitar Concerto (no guitar, orchestra only): II 6:18 44.1/16 Album only
12 Guitar Concerto (no guitar, orchestra only): III 6:28 44.1/16 Album only

Price as configured: $39.98

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Special Musician Edition with 289 page music booklet

a) The complete album download in CD quality with the full liner notes written by Bill Millkowski
b) A bonus special mix of the concerto without the guitar soloist (music minus one)
c) The solo guitar part in standard notation PDF file
d) The solo guitar part in Tab PDF file
e) The full score of the Concerto for Guitar and Orchestra
f) The full score of Urbancity
g) The full score of The New York Variations

There have been ambitious attempts in the past at marrying the audacious power of electric guitar and the throbbing rhythms of rock music with a classically-trained, through-composed sensibility. Sixties rock guitar hero Frank Zappa, leader of the irreverent Mothers of Invention, composed large scale symphonic works like 1967’s Lumpy Gravy, 1979’s Orchestral Favorites and 1983’s London Symphony Orchestra, Vol. 1, though none of those prominently featured the electric guitar. One-time No Wave guitarist and composer Rhys Chatham explored the concept of large guitar ensembles on his 1982 ballet Drastic Classicism, then later assembled 100 guitars for 1989’s An Angel Moves Too Fast To See and 400 guitars for 2005’s A Crimson Grail. His colleague Glenn Branca explored the density and dissonance of alternate tunings in large guitar ensembles on majestic works like 1980’s Lesson No. 1, 1981’s The Ascension and 1983’s Symphony No. 3 while later composing for the traditional orchestra and guitar on 1987’s Symphony No. 7. Others have tried their hand at this bridging of rock and classical worlds (Norwegian guitarist Terje Rypdal achieved a successful blend on his Double Concerto/5th Symphony with the Riga Festival Orchestra of Latvia and his Undisonus with London’s Royal Philharmonic Orchestra). But none (save Zappa) has possessed the classical pedigree and compositional integrity to pull off this melding as honestly and organically as Grammy-nominated American composer David Chesky does on his Concerto for Electric Guitar and Orchestra. "My feeling is, we live in a contemporary age and we need to treat the electric guitar just like a violin," says Chesky. "It’s part of our vocabulary today. And for the orchestra world to survive, it needs to be contemporary and reflect the world around it."

Bryan Baker - electric guitar
David Chesky - composer
The Urbanicity Orchestra of New York - orchestra

Producer(s): David Chesky, Jonathan Loving, Nicholas Prout, Alex Sterling
Recording Engineer(s): Jonathan Loving, Alex Sterling
Mastered by Nicholas Prout.

Is David Chesky the Frank Zappa for the 21st Century?