ISBN 9781513459691. 8.75x11.75 inches.

Silvius Leopold Weiss (1687 1750) is known to guitarists as the greatest baroque composer for the lute, yet most are only familiar with the earlier portion of Weisss prolific output found in the British Library in London. Inspired by a forty-year friendship with the late Douglas Alton Smith - a major figure in the scholarly study of the history of the lute - guitarist, composer, and head of the guitar program at Temple University in Philadelphia, Allen Krantz explored the Weiss manuscripts found in other European cities, particularly the Dresden editions which contain the fifteen sonatas that Weiss produced from the late 1730s to the end of his life. Transcriptions of three of those fifteen late sonatas are featured in this book in modern standard notation along with the original lute tablature as found in the Sachsische Landesbibliothek - Staats- und Universitatsbibliothek, Dresden. While the baroque lutes tuning makes some works awkward or impossible on the guitar, the three works presented hereSonatas No. 35 in D minor, No. 42 in A minor and No. 45 in A Major are in their original keys which happen to be guitar-friendly. The authors generous and scholarly Preface provides thorough historical and performance notes for the music in this volume. While just three of Weisss 109 multi-movement lute sonatas are represented here, the importance of this publication cannot be overstated. It contains some of the greatest music of a masterful lutenist Weiss once faced-off with J. S. Bach on keyboards in a counterpoint improvisation contestnow made accessible to the modern classical guitarist.

ISBN 9781513470702. 8.75x11.75 inches.

In the authors words, this collection of 10 modern classical guitar pieces was composed to emulate the elusive, graceful, fragile, subtle, elegant, stealthy qualities of cats. Inspired by a rich tapestry of styles including classical, flamenco, jazz, pop, avant-garde, Balkan, and more generallyworld music, this book is perfect for anyone wishing to expand their guitar repertoire and technique. As cat fanciers abound, this collection is sure to please audiences and performers alike.The pieces consist mainly of notated improvisations, gently shaped to give them a sense of structure and completion. Five of the pieces are in drop-D or another scordatura tuning. Some have a simple folk-like form and harmony while others are more abstract. Written in standard notation only for the intermediate to advanced guitarist, performance notes and online audio recordings are provided for each cat-like composition.

Isaac Albéniz (1860? 1909) è, senza dubbio, il vero fondatore della musica spagnola moderna.

Bambino prodigioe instancabile viaggiatore, la sua opera è impregnata dei colori e dei saporidella Spagna, paese che ha amato profondamente per tutta la vita. L?influenzadel Flamenco è accertata: Albéniz era un habitué delle taverne dove si cantavae suonava questo genere. ASTURIAS, ispirato dalla Granaína (stile flamenco di Granada) è uno di quei brani che ha superato i confinidella musica prettamente classica, raggiungendo un pubblico planetario.

Questatrascrizione, pur conservando alcune idee geniali di Andrés Segovia (latonalità di Mi minore, le terzine a partire dalla terza frase, gli armonicinella sezione centrale), presenta una scrittura chitarristica più precisa, curatanei minimi particolari e una maggiore coerenza con l?originale. Diteggiature esoluzioni nuove per la mano sinistra danno vita a una partitura fresca, riccadi sonorità inedite.

Bojano, 16 Settembre 2020.

Flavio Sala.

* * *

Isaac Albéniz (1860 - 1909) is, without doubt, the truefounder of modern Spanish music.

Child prodigy and tireless traveler, his works are full of colorsand flavors of Spain, a country he has deeply loved all his life. The influenceof Flamenco is proven: Albéniz was a regular in taverns where this genre wassung and played. ASTURIAS, inspired by the Granaína(flamenco style of Granada) is one of those pieces that went beyond theboundaries of purely classical music, reaching a global audience.

This transcription, while retaining some brilliant ideas ofAndrés Segovia (the key of E minor, the triplets starting from the third phrase,the harmonics in the central section), presents a more precise guitar writing,with attention to the smallest details and greater coherence with the original.New fingerings and solutions for the left hand give life to a fresh score, fullof new sounds.

Bojano, September 16,2020.

Flavio Sala.

Small piece in a contemporery funk style for classical guitar

Small lirical piece for classical guitar

Small lirical piece for classical guitar

Small lirical piece for classical guitar

Small lirical piece for classical guitar

Small lirical piece for classical guitar

Small lirical piece for classical guitar

Lirical pieces for classical guitar
Ballad in Violet 3
Ballad in Magenta 6
Ballad in Blue 9
Amber Ballad 13
Ballad in Orange 15
Ballad in Yellow 20
Aquamarine Ballad 24
Emerald Ballad 27

Landscape II is the second piece of a series of short contemporary pieces for guitar written by Argentine-born American composer Pablo Emiliano Fedele.

This is the standard guitar edition with tuning D A D G B E. (Originally written for 10 strings classical guitar F# G# A# D E A D G B E, also available).

Written in a modern language, it's time signature is 3/4 in the Key of D Major. Following the path of Landscape I, the piece explores chords and textures, layers of sound and rhythmic complexity with a strong detail in the technical use of both hands.

Although not specifically detailed, some rhythm patterns of this piece are similar to those found in Argentinian folkloric music that influenced the composer.

The piece was written for an intermediate and advanced level. This edition contains a suggested fingering and positions to create the sound the composer believes is the essence of the piece. Students, teachers and artists are welcome to visit Pablo Fedele's website and social media to get in contact and ask all the questions about practice and performance of the piece.

Performance suggestion: This music could be performed with an additional media, like a video animation, a painting, a short film or live presentation, if possible.

Landscape II is the second piece of a series of short contemporary pieces for guitar written by Argentine-born American composer Pablo Emiliano Fedele.

This is the 10 strings classical guitar edition F# G# A# D E A D G B E (Standard guitar edition with tuning D A D G B E, also available).

Written in a modern language, it's time signature is 3/4 in the Key of D Major. Following the path of Landscape I, the piece explores chords and textures, layers of sound and rhythmic complexity with a strong detail in the technical use of both hands.

Although not specifically detailed, some rhythm patterns of this piece are similar to those found in Argentinian folkloric music that influenced the composer.

The piece was written for an intermediate and advanced level. This edition contains a suggested fingering and positions to create the sound the composer believes is the essence of the piece. Students, teachers and artists are welcome to visit Pablo Fedele's website and social media to get in contact and ask all the questions about practice and performance of the piece.

Performance suggestion: This music could be performed with an additional media, like a video animation, a painting, a short film or live presentation, if possible.

Landscape III is the third piece of a series of short contemporary pieces for guitar written by Argentine-born American composer Pablo Emiliano Fedele.

This is the standard guitar edition with tuning C A D G B E. (Originally written for 10 strings classical guitar F G Bb C D A D G B E, also available).

Written in a modern language, it's time signature is 3/4 in the Key of C Major. Following the path of Landscape I and Landscape II, the piece explores chords and textures, layers of sound and rhythmic complexity with a strong detail in the technical use of both hands.

Although not specifically detailed, some rhythm patterns of this piece are similar to those found in Argentinian folkloric music that influenced the composer.

The piece was written for an intermediate and advanced level. This edition contains a suggested fingering and positions to create the sound the composer believes is the essence of the piece. Students, teachers and artists are welcome to visit Pablo Fedele's website and social media to get in contact and ask all the questions about practice and performance of the piece.

Performance suggestion: This music could be performed with an additional media, like a video animation, a painting, a short film or live presentation, if possible.

Landscape III is the third piece of a series of short contemporary pieces for guitar written by Argentine-born American composer Pablo Emiliano Fedele.

This is the 10 strings classical guitar edition F G Bb C D A D G B E (Standard guitar edition with tuning C A D G B E, also available).

Written in a modern language, it's time signature is 3/4 in the Key of C Major. Following the path of Landscape I and Landscape II, the piece explores chords and textures, layers of sound and rhythmic complexity with a strong detail in the technical use of both hands.

Although not specifically detailed, some rhythm patterns of this piece are similar to those found in Argentinian folkloric music that influenced the composer.

The piece was written for an intermediate and advanced level. This edition contains a suggested fingering and positions to create the sound the composer believes is the essence of the piece. Students, teachers and artists are welcome to visit Pablo Fedele's website and social media to get in contact and ask all the questions about practice and performance of the piece.

Performance suggestion: This music could be performed with an additional media, like a video animation, a painting, a short film or live presentation, if possible.

Landscape I is a contemporary piece for guitar written by Argentine-born American composer Pablo Emiliano Fedele.

This is the 10 strings classical guitar F# G# A# D E A D G B E (Standard guitar edition with tuning D A D G B E, also available).

Written in a modern language, it's time signature is 6/4 without a key signature indication. The piece explores chords and textures in combination with single notes passages, creating layers of sound.

The piece was written for an intermediate and advanced level. This edition contains a suggested fingering and positions to create the sound the composer believes is the essence of the piece. Students, teachers and artists are welcome to visit Pablo Fedele's website and social media to get in contact and ask all the questions about practice and performance of the piece.

Landscape I is a contemporary piece for guitar written by Argentine-born American composer Pablo Emiliano Fedele.

This is the standard guitar edition with tuning D A D G B E. (Originally written for 10 strings classical guitar F# G# A# D E A D G B E, also available).

Written in a modern language, it's time signature is 6/4 without a key signature indication. The piece explores chords and textures in combination with single notes passages, creating layers of sound.

The piece was written for an intermediate and advanced level. This edition contains a suggested fingering and positions to create the sound the composer believes is the essence of the piece. Students, teachers and artists are welcome to visit Pablo Fedele's website and social media to get in contact and ask all the questions about practice and performance of the piece.

Performance suggestion: This music could be performed with an additional media, like a video animation, a painting, a short film or live presentation, if possible.

This is a solo fingerstyle guitar piece in standard notation and standard notation with tab. Intermediate to lower advanced arrangement suitable for players proficient with classical or fingerstyle guitar.

Études for Solo Guitar
The subject of creating an educational aid for guitar students of an intermediate level that will serve also as a similar aid for theory and composition students fascinates me and motivates my compositional thought for quite a while. The objective was to create miniature complete works for the guitar, as J. S. Bach did with his fifteen inventions, in the ?manner? of an Étude that deals with specific aspects of guitar techniques and musicianship in general.


These Études are gradually graded based on their difficulty and style. They cover all the positions of the guitar and explore known and some unfamiliar techniques for the contemporary guitarist.
I used a compositional language more familiar for the level of the intermediate guitarist but without sacrificing my original compositional voice so these pieces could be used as concert works by the advanced musicians as well. My intention is to educate students in a multilevel study environment and to be able to promote the music of our time. During my teaching years I found that students become better musicians when they have been taught to adapt certain performance difficulties and compositional techniques at an earlier level of their training.
Titles:

1 with false optimism

2 with moderate sadness

3 with just the two of you

4 with a touch of impatience

5 with a touch of grandeur

6 with a counterpoint attitude

7 with a touch of shame

8 with a touch of boredom

9 going and never coming back

10 with a peaceful anger

11 without the heavy ones

12 without hope

13 without sense of humor

14 with a masculine attitude

15 with two little bears in mind

16 without hesitation

17 with shameless vibrato

18 with a touch of distress

19 without fear of failure

20 with this and that

21 with a kind motion

22 with a rondo attitude

23 with suspense

24 with everything you may have

Written in the 17th century by Japanese composer Yatsuhashi Kengyo, Rokudan no Shirabe (六段の調) is perhaps the best-known Edo Period composition in modern Japan. This arrangement for guitar simulates the harp-like sound of the 13 string koto. Includes 9-page score with tablature. Cover art by Shizuka.

Kenneth Pasciak Music Publishing, ASCAP
kenpasciak.com

Also for solo guitar:

Akikaze no Kyoku by Mitsuzaki Kengyo, S0.723919

This is another beautiful modern worship song which I hope I have done justice to in this guitar arrangement of majesty. It sits well under the fingers with a few stretches which are less severe due to the use of the capo.


This would sit nicely in amongst any repertoire as a nice, soft, thoughtful piece.

ISBN 9781619119529.

This unique book presents 18 of the most popular classical compositions typically performed at weddings. Rather than being written for the classic guitar, however, each piece is arranged for solo pick-style guitaraa.k.a., plectrum or flatpicking guitarain both standard notation and tablature. Like classical guitar arrangements, these settings utilize the full spectrum of the guitaras capabilities with bass lines, chords and melodies happening simultaneously. Although written for intermediate to advanced plectrum guitarists, fingerstyle players will also find these arrangements rewarding. This collection would serve as a convenient resource for pros who should be able to sight read most of this material on the job. Given that these arrangements sound complete and appropriate as plectrum guitar solos, pick-style students will also enjoy and benefit from working on these familiar melodies by Baroque, Classical and Modern masters.