SKU: SP.TS348
ISBN 9781585607327.
Classical Masterpieces for Fingerstyle Guitar is a rare compilation of carefully selected masterworks from the Baroque, Classical, and Romantic periods arranged for Classical Guitar. While there are many collections which feature lesser-known works for Classical Guitar, we believe none comes close to our complete collection of these most well-known and beloved works created by the greatest composers that ever lived. These great works of the masters from the 17th, 18th, and 19th centuries have stood the test of time as they continue to be revered to this day. Classical Masterpieces for Fingerstyle Guitar eliminates the need for multiple teaching resources and musical supplements, since many of the greatest pieces ever written are now contained in this one outstanding publication. Each piece has been carefully transcribed and specifically arranged in a classic style perfectly suited for guitar. Extreme care was given in the choice of key signatures and fingering demands of the left-hand, with a careful focus on understanding octave ranges, and placement of page turns in order to make every arrangement extremely playable. The recording that accompanies this book is performed by one of the greatest classical guitarists working in the Miami area today. We are confident that you will be impressed by the performance, but even more so by the exceptional work of the arrangers and editors involved in making this recital collection. It is truly the only curriculum choice for every one of your students today, and for many years to come.
SKU: UT.CH-106
ISBN 9790215315921. 9 x 12 inches.
The first impulse to compose these 3 Little Suites for Guitar came from the desire to offer very young students compositions not framed by the usual features of â??music for childrenâ?? but, rather, meant to introduce into their musical horizon sonorities, rhythms, and expressive modalities not generally experienced in the more â??traditionalâ?? courses of study. As the compositions developed, the project underwent some slight modifications, so that in the end one could say that the three suites became progressively more difficult, though remaining, in their deep essence, quite â??simpleâ??.I would recommend paying careful attention to the titles of the pieces and to the expressive markings. Although it was not my intention to write â??descriptiveâ?? music, I have tried to handle these pieces like stage scripts, giving each a specific â??characterâ??. For this purpose my long experience as a composer of theatre music has been very helpful.It would give me great satisfaction if guitarists of every age would enjoy performing these suites. I would like teachers to find in them cues for proposing to their pupils further refinements concerning both technique and expression, never forgetting how inexpressible music truly is.(Carlo de Nonno).
SKU: CF.CM9591
ISBN 9781491154137. UPC: 680160912636. 6.875 x 10.5 inches. Key: Bb major. Italian. Gedicht Goldoni. Original.
There is not a lot written about the history of La Pastorella by Austrias classical composer, Franz Schubert (17971828). An extremely prolific writer, Schubert died before his thirty-second birthday. With lyrics from the libretto Il filosofo di campagna by Carlo Goldoni (17071793), this simple, charming part song about a little shepherd girl, was originally written for four-part male chorus and piano and is believed to have been written sometime between 1813 and 1817. Be careful not to sing with too much weight in the voice so that you dont get bogged down in the sixteenth note runs. I would suggest speaking the Italian words in rhythm many times before singing them in rhythm. Once youve learned it, youll find it very rewarding to sing. PHONETIC PRONUNCIATION La pastorella al prato contenta se ne va lah pah-stoh-REHL-lah ahl PRAH-toh kohn-TEHN-tah seh neh vah Collagnellino a lato Cantando in liberta kohl-ah-neh-LEE-noh ah LAH-toh kahn-TAHN-doh een lee-behr-TAH Se linnocente amore Gradisce il se lee-noh-CHEN-teh ah-MOH-re grah-DEE-sheh il suo pastore eel SOO-oh pah-STOH-reh La bella pastorella contenta ognor sara lah BEHL-lah pah-stoh-REHL-lah kohn-TEHN-tah oh-nor sah-RAH NOTE: All R's should be flipped, not rolled.There is not a lot written about the history of La Pastorella by Austriaas classical composer, Franz Schubert (1797a1828). An extremely prolific writer, Schubert died before his thirty-second birthday. With lyrics from the libretto Il filosofo di campagna by Carlo Goldoni (1707a1793), this simple, charming part song about a little shepherd girl, was originally written for four-part male chorus and piano and is believed to have been written sometime between 1813 and 1817. Be careful not to sing with too much weight in the voice so that you donat get bogged down in the sixteenth note runs. I would suggest speaking the Italian words in rhythm many times before singing them in rhythm. Once youave learned it, youall find it very rewarding to sing. PHONETIC PRONUNCIATION LaA A pastorellaA A A A A A A A A A A A A alA A A A pratoA A A A A contentaA A A A A A A A seA A neA A va lah pah-stoh-REHL-lah ahlA PRAH-toh kohn-TEHN-tah seh neh vah CollaagnellinoA A A A A A A A A A A aA A A A latoA A A A A A CantandoA A A A A A A A inA A A A libertA kohl-ah-A+-eh-LEE-nohA ah LAH-tohA A kahn-TAHN-doh een lee-behr-TAH Se lainnocente amore Gradisce il se lee-noh-CHEN-teh ah-MOH-re grah-DEE-sheh ilA A A A suoA A A A A A pastore eel SOO-ohA pah-STOH-reh LaA bellaA A A A A A A A pastorellaA A A A A A A A A A A A A contentaA A A A A A A A A ognorA A A sarA lah BEHL-lahA pah-stoh-REHL-lahA kohn-TEHN-tahA A oh-A+-or sah-RAH NOTE: All R's should be flipped, not rolled.There is not a lot written about the history of La Pastorella by Austria's classical composer, Franz Schubert (1797-1828). An extremely prolific writer, Schubert died before his thirty-second birthday. With lyrics from the libretto Il filosofo di campagna by Carlo Goldoni (1707-1793), this simple, charming part song about a little shepherd girl, was originally written for four-part male chorus and piano and is believed to have been written sometime between 1813 and 1817. Be careful not to sing with too much weight in the voice so that you don't get bogged down in the sixteenth note runs. I would suggest speaking the Italian words in rhythm many times before singing them in rhythm. Once you've learned it, you'll find it very rewarding to sing. PHONETIC PRONUNCIATION La pastorella al prato contenta se ne va lah pah-stoh-REHL-lah ahl PRAH-toh kohn-TEHN-tah seh neh vah Coll'agnellino a lato Cantando in liberta kohl-ah-neh-LEE-noh ah LAH-toh kahn-TAHN-doh een lee-behr-TAH Se l'innocente amore Gradisce il se lee-noh-CHEN-teh ah-MOH-re grah-DEE-sheh il suo pastore eel SOO-oh pah-STOH-reh La bella pastorella contenta ognor sara lah BEHL-lah pah-stoh-REHL-lah kohn-TEHN-tah oh-nor sah-RAH NOTE: All R's should be flipped, not rolled.There is not a lot written about the history of La Pastorella by Austria's classical composer, Franz Schubert (1797-1828). An extremely prolific writer, Schubert died before his thirty-second birthday. With lyrics from the libretto Il filosofo di campagna by Carlo Goldoni (1707-1793), this simple, charming part song about a little shepherd girl, was originally written for four-part male chorus and piano and is believed to have been written sometime between 1813 and 1817. Be careful not to sing with too much weight in the voice so that you don't get bogged down in the sixteenth note runs. I would suggest speaking the Italian words in rhythm many times before singing them in rhythm. Once you've learned it, you'll find it very rewarding to sing. PHONETIC PRONUNCIATION La pastorella al prato contenta se ne va lah pah-stoh-REHL-lah ahl PRAH-toh kohn-TEHN-tah seh neh vah Coll'agnellino a lato Cantando in liberta kohl-ah-neh-LEE-noh ah LAH-toh kahn-TAHN-doh een lee-behr-TAH Se l'innocente amore Gradisce il se lee-noh-CHEN-teh ah-MOH-re grah-DEE-sheh il suo pastore eel SOO-oh pah-STOH-reh La bella pastorella contenta ognor sara lah BEHL-lah pah-stoh-REHL-lah kohn-TEHN-tah oh-nor sah-RAH NOTE: All R's should be flipped, not rolled.There is not a lot written about the history of La Pastorella by Austria’s classical composer, Franz Schubert (1797–1828). An extremely prolific writer, Schubert died before his thirty-second birthday. With lyrics from the libretto Il filosofo di campagna by Carlo Goldoni (1707–1793), this simple, charming part song about a little shepherd girl, was originally written for four-part male chorus and piano and is believed to have been written sometime between 1813 and 1817.Be careful not to sing with too much weight in the voice so that you don’t get bogged down in the sixteenth note runs. I would suggest speaking the Italian words in rhythm many times before singing them in rhythm. Once you’ve learned it, you’ll find it very rewarding to sing.PHONETIC PRONUNCIATIONLa  pastorella             al    prato     contenta        se  ne  valah pah-stoh-REHL-lah ahl PRAH-toh kohn-TEHN-tah seh neh vahColl’agnellino           a    lato      Cantando        in    libertà kohl-ah-ñeh-LEE-noh ah LAH-toh  kahn-TAHN-doh een lee-behr-TAHSe l’innocente amore Gradisce ilse lee-noh-CHEN-teh ah-MOH-re grah-DEE-shehil    suo      pastoreeel SOO-oh pah-STOH-rehLa bella        pastorella             contenta         ognor   sarà lah BEHL-lah pah-stoh-REHL-lah kohn-TEHN-tah  oh-ñor sah-RAHNOTE: All R's should be flipped, not rolled.
SKU: HL.49045854
Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume. Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities. Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for eachwork. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant toeach other in the commentaries, therefore readers should benefit from a wealth of concise information and cro.
SKU: HL.282476
ISBN 9781540034335. UPC: 888680789206. 9.0x12.0x0.846 inches.
100 songs popularized in the World War II era of the 1940s are included in this collection arranged for easy piano with lyrics. Songs include: Ac-cent-tchu-ate the Positive * Besame Mucho (Kiss Me Much) * Boogie Woogie Bugle Boy * Chattanooga Choo Choo * Don't Get Around Much Anymore * A Dream Is a Wish Your Heart Makes * How High the Moon * I Get a Kick Out of You * It Might As Well Be Spring * Java Jive * Laura * Moonlight in Vermont * A Nightingale Sang in Berkeley Square * On a Slow Boat to China * Perfidia * Route 66 * Sentimental Journey * Some Enchanted Evening * The Surrey with the Fringe on Top * Take the A Train * Time After Time * When You Wish upon a Star * You'd Be So Nice to Come Home To * Zip-A-Dee-Doo-Dah * and more.
SKU: HL.49042455
ISBN 9783795794828. 10.0x13.25x0.845 inches. German - English.
Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references.
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