ISBN 9781513455044.

The presentation of this album marks a special event in classic guitar publishing! This anthology contains 11 truly representative examples of the folklore of Latin America, all highly revered folk songs considered jewels of the musical traditions of: Argentina, Bolivia, Colombia, Chile, Ecuador, Panama, Peru, Uruguay, Venezuela and Mexico. Artfully arranged by the renowned Mexican composer and guitarist, Guillermo Diego, students and professionals alike will discover multiple items of interest and important technical challenges while learning some of the most popular Latin-American folk tunes. To facilitate dialog between teacher and student, rehearsal numbers have been added at key points of each arrangement; additionally, the guitarist will find a handful of pieces faithful to various Latin-American styles composed by Diego. Written in standard notation only for the intermediate to advanced classic guitarist, these arrangements will make delightful additions to recital and concert programs. La presentacion de este album es una buena nueva para la guitarra; se trata de la publicacion de una antologia sumamente representativa de obras pertenecientes al Folklore latinoamericano, piezas por demas apreciadas y consideradas joyas de la tradicion musical. La musica incluida en este album abarca los siguientes paises: Argentina, Bolivia, Colombia, Chile, Ecuador, Panama, Peru, Uruguay, Venezuela y Mexico. Los arreglos, realizados de forma artistica y amorosa fueron realizados bajo el tamiz y experiencia del reconocido compositor y guitarrista mexicano, Guillermo Diego. Tanto estudiantes como profesionales, encontraran multiples puntos de interes y retos tecnicos importantes al abordar piezas notables de la musica latinoamericana.Como un elemento extra y para lograr el estudio mas eficaz de estas obras entre profesor y alumno, cada pieza cuenta con Numeros de Ensayo; adicionalmente, el guitarrista encontrara un punado de piezas fieles a diversos estilos latinoamericanos compuestas por Diego. Musica Tradicional Latinoamericana para Guitarra de Concierto, sin duda, una novedad para el mundo de la guitarra que aportara a los programas de concierto deliciosos ejemplos de la musica de America Latina.

Three LatinElegies to Lesbiais a setting of three poems written by the ancient Roman poet, Gaius ValeriusCatullus (84-54 B.C.E.). His muse in these poems is understood to beLesbia, the name believed to have been given by Catullus to his mistress.Lesbia was really Clodia, the sexually promiscuous wife of proconsul QuintusCaecilius Metellus Celer. Clodia was said to have many lovers, and Catullus?torment and obsession for her is well documented in 13 of his poems where thename, Lesbia, is used. His first poem addressed to Lesbia (Catullus 51) is a freetranslation of a poem by the ancient Greek poet, Sappho. Scholars havesuggested that Catullus chose the name, Lesbia, because of his affinity forSappho, who it is believed was a lesbian.

Odie et Amo (Catullus 85), one of the mostcelebrated elegiac couplets composed by Catullus, has inspired many composers withits duality of emotions. The most well-known setting is from Carl Orff?s Catulli Carmina, part of Trionfi, themusical triptych that also includes the Carmina Burana andTrionfo di Afrodite. Unlike Orff?s driving rhythms of outwardlyexpressive anguish, my setting is a more introspective interpretation. It is asif the music is surrendering to the mercurial personalities that Catullus andall humans possess, the tortured ability to hate and love at the same time.

Lesbia mi dicit semper male (Catullus 92) consists of two elegiaccouplets. Catullus? earlier poem, 83,brings some context to 92. In thefirst part of 83, Catullus says:

Lesbia keeps insulting me in front of her husband:

thisfills the fatuous idiot with delight.

Mule, doyou perceive nothing? If she shut up and ignored me

that?dshow healthy indifference;?

In 92, Catullus expounds on the idea of whyLesbia insults him in front of her husband. Catullus reckons that he is alwayscursing her, and he loves her. She always curses him, so she must love him aswell. In his desperation, Catullus uses his wit and humor to reason that hisobsessive love for Lesbia is reciprocated. This setting of 92 uses incessant driving rhythms in the women?s voices to paint thewords, ?Lesbia mi dicit semper male nec tacetumquam de me? (Lesbia always speaks ill of me, never shuts up about me). The repeating rhythmsreturn in the men?s voices when Catullus says he does the same, ?quia sunt totidem mea: deprecor illamassidue? (?it?s the same with me: I?m continually complaining.) The piececomes to a final rest after Catullus realizes the he will always be cursed tolove her.

Mea Lesbia (Catullus 87) also consists of twoelegiac couplets. Catullus was only one of Lesbia?s many lovers, and he oftenwrote of his jealousy and disdain for her unfaithful actions. This elegy waswritten at a time when Lesbia had been particularly cruel toward Catullus.Despite being broken hearted, his obsession with her never waned. In hisdespair and desperation, he basically says, ?My love for you is so great thatno other woman could possibly even know what love is.? This setting of 87 returns to a more introspectivenature where Catullus surrenders his love forever to Lesbia.

ISBN 9781513470375. 8.75x11.75 inches.

Intended as a sequel to 20 Flamenco Guitar Etudes, the longer, more developed exercises in 16 Studies for Flamenco Guitar further explore characteristic flamenco guitar techniques including: picado, arpeggio, tremolo, horquilla, the chop, ligado, and the thumb/index alzapua among others. These intermediate-level studies are written in standard notation and guitar tablature with online audio and video included for ease of learning.The pieces are designed and fingered pragmatically to enhance the students overall understanding of flamenco technique and encourage the use of a broader range of studies in daily practice. Left and right-hand digitation is provided throughout, along with occasional circled string numbers which clarify passages intended to be played higher on the fretboard, or on certain strings for a specific musical effect.This book is unique not only for its inclusion of the authors stellar online audio and video recordings, but also for insightful practice tips that vary according to the players years of experience and level of development. If youre thinking WOW! that is the appropriate response; this is flamenco instruction at its best.Includes access to online audio and video.

Charles Dancla (1817-1907) is considered to be the last great representative of the French Violin School. He was a composer, solo violinist at the Paris Opera and professor at the Paris Conservatoire and wrote numerous educational works for violin, including his well-known three-volume work Little School of Melody'. He knew, in a unique way, how to implement the principle 'no music without technique, no technique without music' in his teaching material. This is the case in his easy melodic studies Op. 84 which are available here in an arrangement for viola for the first time. These studies are perfectly suited for young beginners after the second year, but also for adult players, false beginners or those switching instruments. Most of them can be effectively used as little performance pieces, providing an excellent foundation for every advanced etude or concert piece.
Each study is preceded by new or revised exercises which either deal with specific problems relating to the playing technique, like change of string, spiccato, martele, chromaticism, change of position, octaves, or double stops, or present the tonal material of the respective study in a condensed, playful form.
Those who prefer Dancla's somewhat easier original preliminary exercises will find them in the appendix.
A little dictionary of the musical and technical terms in this volume shall make their meaning accessible to young players in particular.

Charles Dancla (1817-1907) is considered to be the last great representative of the French Violin School. He was a composer, solo violinist at the Paris Opera and professor at the Paris Conservatoire and wrote numerous educational works for violin, including his well-known three-volume work Little School of Melody'. He knew, in a unique way, how to implement the principle 'no music without technique, no technique without music' in his teaching material. This is the case in his easy melodic studies Op. 84 which are available here in an arrangement for viola for the first time. These studies are perfectly suited for young beginners after the second year, but also for adult players, false beginners or those switching instruments. Most of them can be effectively used as little performance pieces, providing an excellent foundation for every advanced etude or concert piece.
Each study is preceded by new or revised exercises which either deal with specific problems relating to the playing technique, like change of string, spiccato, martele, chromaticism, change of position, octaves, or double stops, or present the tonal material of the respective study in a condensed, playful form. Those who prefer Dancla's somewhat easier original preliminary exercises will find them in the appendix.