Song List:

El Colibri

El Faro

Gratitud

Cancion De Cuna

English - French - German.

The third volume is the latest addition to the Baroque Guitar Anthology series and contains 16 original works by composers of the 17th and 18th centuries, transcribed for guitar by co-author Stuart Willis.

Including pieces by Weiss, de Visee, Hagen and Daube amongst others, it presents a carefully selected range of work, and, as with the other volumes in the series, is ideal for any players interested in gaining an insight into the richness and variety of the Baroque guitar and lute repertoire.

The book contains composer biographies and teaching notes on all of the works.

Suitable for students of ca. 6-7 years of playing experience, or those of grades 5-6 level.

Also available:

Baroque Guitar Anthology:
Vol 1 - ED 13357
Vol 2 - ED 13437
Vol 4 - ED 13489
Romantic Guitar Anthology:
Vol 1 - ED 13110
Vol 2 .- ED 13111
Vol 3 - ED 13112
Vol 4 - ED 13113



BAROQUE GUITAR ANTHOLOGIES - press reviews

This is a significant contribution to Baroque literature... teacher and student are the lucky beneficiaries of this great collection. Jens, Stuart and Schott are all to be congratulated. - COLIN TOMMIS, EUROPEAN GUITAR TEACHERS ASSOCIATION

G. I. Gurdjieff travelled for many years through Central Asia and the Middle East collecting melodies and ritual dances, which his friend and pupil Thomas de Hartmann wrote down and arranged as piano pieces. (Vol. 1 = ED 7841, Vol. 2 = ED 7842, Vol. 3 = ED 7844, Vol. 4 = ED 7844) CD recordings: Vol. 1 = WER 62842 Vol. 2 = WER 62922 Vol. 3 = WER 66252 Vol. 4 = WER 66432.

This beautiful anthology of graded pieces, presented in a progressive order includes repertoire new to the graded framework. It contains a wide stylistic range of works, which have been selected to develop a student?s musical and technical facility. The repertoire is suitable for competitions and includes both mainstream and lesser-known works of the period. It works as the perfect progression from Romantic Piano Anthologies volumes 1?3 (ED12912?4). It total, all four volumes contain 94 pieces by 41 composers from 13 countries. Book 4 is suitable for students with 7 or more years? experience: Grades 7?8, and comes with an accompanying audio downloads which demonstrate all the pieces played by Nils Franke himself.

German - English - French.

In the compilation of this collection of studies, the author was moved principally by the desire to produce a work which would introduce the student gradually to all the problems of the piano technique, give him confidence and technical facilities, develop his pianistic gifts, and thus provide him with the technical and musical background to enable him to master the purely musical material without too great an effort. Studies are also useful in developing a musical sense, if played with taste and charm and not practiced in a dull and mechanical manner. The more gradually the technical difficulties are introduced, the more will be gained from these studies from the purely musical side. The majority of the studies in the first volume have been chosen purposely in the triad form, along with those in diatonic scales. Proceeding from the triad, the student is afforded to the opportunity of combining these exercises with his other musical studies. Ear training is given practical application by singing the triad to the syllables la or do mi sol (or bi gu la), and then playing it in different positions. Short verses of folk or children's songs within a range of five tones can also be played in the same way so that the transposition of the first exercises into other keys will no longer offer any great difficulties for an ordinary musical ear. In this way, the student is gradually introduced to the chromatic signs, tonally and technically, which makes it possible to use other keys than C major much earlier than usual, as is suggested in the present work. Attention should also be paid to dynamics. first awaken a sense of the contrast between loud and soft tones by practical illustration, which the student should then imitate on the instrument. He himself must decide if his tone corresponds to his musical intentions, which accustoms him from the start to listen critically to his own playing. In the first exercises, the right hand part in the original has been divided between both hands for pedagogic reasons, without altering the melodic line of the original. A number of studies have been transposed into other keys.