Since my first guitar sonata “Mosaico” had to do with a web of small fragments speech, I wanted to do something completely different for my second sonata, something quite focused, almost monolithic. So I decided to base the entire piece in a Hindustani raga called “Gaud Sarang” (a raga is more than a scale, is an outline / behavior of a collection of notes).
All movements of Guitar Sonata No. 2 are based on the same raga with the same modal center, the note “La.” It is recommended Gaud Sarang play in the afternoon, so I added the subtitle “Afternoon Sonata” to the piece.
The sonata has three movements, plus a small “Interlude” written to change the pitch of the instrument between the second and the third movement. The first does not use a fixed meter, and although the rhythms are written in great detail, it should be played very freely, as an introductory, improvisatory cadenza. The second of the three movements is a three-voice fugue, majestic in character; and the third movement takes the B string down to an A, to reinforce the modal patterns in fast septuplets.
The Sonata No. 2 was written for the master guitarist Roberto Limón and is dedicated to him.