SKU: BR.EB-9108
World premiere: Darmstadt, August 9, 1996
ISBN 9790004181393. 16 x 12 inches.
Schon vor uber einem Jahr bat mich Jurgen Ruck, doch ein Gitarrenduo zu komponieren. Ja, so dachte ich, warum nicht, warum nicht. Je langer ich jedoch daruber nachdachte, desto unangenehmer wurde diese Vorstellung: 2 Gitarren - was wollen sie mir denn sagen? Mein Ausdrucksbedurfnis und diese 2 Gitarren ...?! Und so komponierte ich andere Stucke, aber seltsamerweise ging mir das Gitarrenduo nicht aus dem Kopf, verpasste keine Gelegenheit, bei anderen zu nolen und knupfte dennoch standig neue und dichtere Faden zu diesem Instrument, das in seiner klanglichen Beschaffenheit, seinem historischen und vor allem soziologischen Bezug (wer hatte nicht schon alles dieses Instrument in der Hand? Ob Pfadfinder oder Genossen, ob Flamenco oder Bossa Nova, scheinbar ein Instrument fur Alle ...) eine grosse Spannung birgt. Zugrunde liegt ein Text von Miguel Hernandez, jenem Dichter, der in der Zeit des spanischen Burgerkriegs so wunderbare Gedichte schrieb und so tragisch starb. Der Inhalt des Gedichts: Das Kind als Zugtier (El nino yuntero); ein Gedicht fur all die Kinder, die ,,geboren als Werkzeug - verdammt zu Schlagen jeden Tag ,,mehr Wurzel, weniger ,,Mensch langsam ,,ins Erdreich versinken. (Klaus Ospald, 1996) Bibliography : Wiener , Oliver: Gesten und simulierte Form. Zu Klaus Ospalds ,,Klavierquintett (1994) und ,,El sol no nos recuerde (1996) fur zwei Gitarren, Saarbrucken: Pfau 1998 (= Fragmen, Heft 24)World premiere: Darmstadt, August 9, 1996.
SKU: HL.14046735
ISBN 9788850708581.
15 High Quality jazz style backing tracks! For all instruments.Creative Backing Tracks series provide high quality recordings together with chord progressions and tips allowing you to enjoy improvising and soloing with your own instruments.Edited by Valerio Morelli. A project by Giovanni Unterberger. In collaboration with Stefano Onorati, Milko Ambrogini, Filippo Pedol, Walter Paoli, Stefano Rapicavoli.
SKU: M7.VOGG-303
ISBN 9783802403033. German.
Mit der Gitarre unter den Weihnachtsbaum! Wenn es weihnachtet, werden vielerorts die Instrumente hervorgeholt und Weihnachtslieder gesungen, denn das schafft Atmosphäre und verbindet. Peter Bursch hat mit seinen Bearbeitungen von bekannten Weihnachtsliedern für die Gitarre ein Gitarrenliederbuch zusammengestellt, das wortwörtlich für frohe Weihnachten sorgt. Wie immer legt er besonderen Wert darauf, dass alles so leicht wie möglich gesungen und gespielt werden kann. Mit allen Griffen und Gitarrenspieltechniken. Als Besonderheit gibt es zu jedem Lied eine sehr leichte Anschlag- und Zupftechnik. Zusätzlich gibt es im Teil 2 einige Instrumentalversionen und erweiterte Bearbeitungen einzelner Weihnachtslieder. Auch wenn einige Melodien nicht so bekannt sind - oder die hier erklärten Spieltechniken vertieft werden sollen - hilft die beiliegende CD mit über 60 Titeln weiter. Hier spielt Peter Bursch alles so langsam wie möglich vor, so dass ein direktes Mitspielen möglich ist. So steht dem Gitarrenspaß unterm Christbaum nichts mehr im Wege! Songliste: Stille Nacht; Süßer die Glocken; Alle Jahre wieder; Vom Himmel hoch, da komm' ich her; Am Weihnachtsbaume, Es ist ein Ros' entsprungen; Morgen Kinder wird's was geben; Kling, Glöckchen, klingelingeling; Macht hoch die Tür; Ihr Kinderlein kommet; O du fröhliche; Leise rieselt der Schnee; O Tannenbaum; Es ist für uns eine Zeit angekommen; Laßt uns froh und munter sein; Schneeflöckchen, Weißröckchen; Kommet, ihr Hirten; Zu Bethlehem geboren; Fröhliche Weihnacht überall; Ich geh' mit meiner Laterne; Morgen kommt der Weihnachtsmann; In der Weihnachtsbäckerei; Deck the Halls; Jingle Bells; We wish you a merry Christmas; In dulci jubilo; Little Drummer Boy; Stop the cavalry; Santa Claus is coming to town.
SKU: UT.CH-387
ISBN 9790215328235. 9 x 12 inches.
Opus 114 is certainly one of Carulliâ??s most important didactic works, so much so that the author himself made a point of writing in the second edition of his famous Method op. 27 (1819): The student, when moving on to the second part, must continue to practise on the easy pieces which are to be found in opus nos. 50, 15, 35, 36, 93, 7 and above all in opus 114. He maintained this indication also in later editions of the Method itself, unlike what he did with other collections of studies which were no longer recommended.The purpose of op. 114, in particular of the preludes, is clearly explained by the author himself in the preface of op. 265: I have already offered preludes in my opus nos. 71 and 114 to people, but they serve to study and learn to play all sorts of difficult passages, to practise modulating, and learn to improvise on the guitar. Carulli seems to want to provide his students with a large handbook of formulas typical of his musical writing and he does so by making use of the keys which, in his opinion, are most congenial to the guitar. In his Method he points out: Each instrument has its favourite keys: the guitar can be played in all keys, but the best ones are: A major and minor, D major and minor, E major and minor, C, G, F. The others are difficult; [â?¦]. However, some of the difficult ones are included but only in the fourth part. Of course, the easiness of a key essentially depends on the possibility of extensive use of the open strings, especially in the low notes, ensuring the accompaniment on the main degrees.This edition has some unique features. First of all, it is the first complete modern edition of Carulliâ??s op. 114; it presents an important critical apparatus in which the Carullian technique is presented and analysed; finally, Carulli's original fingering is indicated in the score (including that of the thumb of the left hand) and the missing one was obtained from the comparison of his other fingerings present in other works. All this allows an easy and complete reading both for those who perform the pieces following the nineteenth-century performance practice with a historical instrument, and for those who play a modern instrument.
SKU: HL.278488
ISBN 9781540029997. UPC: 888680753689. 9.0x12.0x0.264 inches.
The Deluxe Guitar Play-Along series will help you play songs faster than ever before with accurate, easy-to-read guitar tab and professional, customizable play-along audio for 15 songs. The interactive, online audio interface includes tempo/pitch control, looping, buttons to turn instruments on or off, and guitar tab with follow-along marker. The tracks can be streamed or downloaded and played offline. This volume features 15 favorites: Ain't No Sunshine * All Along the Watchtower * Bad Moon Rising * Beverly Hills * Can't You See * Evil Ways * I Still Haven't Found What I'm Looking For * The Joker * Just the Way You Are * Ring of Fire * Stir It Up * Twist and Shout * What I Got * What's Up * Wicked Game.
About Hal Leonard Guitar Play-Along Series
The Guitar Play-Along Series will help you play your favorite songs quickly and easily. Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the seperate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along.
SKU: UT.CH-321
ISBN 9790215326293. 9 x 12 inches.
Dediche is a series of short miniature pieces for solo guitar written in 1991 by Chiara Benati, an authoritative exponent of what can be called the School of Bologna, and who has devoted many pages of her catalogue to the guitar (Chiara won a first prize in 1986 at the Competition for Guitar Composition organized by the historic magazine Il Fronimo).From the point of view of the guitar idiom, it is striking how the compositional research of Chiara Benati (who does not play the guitar) has penetrated deeply into the nature of the instrument. In my job of adding the fingering to the pieces, I started from the precise indications concerning the strings already provided by the Composer, who meticulously imagined the instrumental result created by the play of resonances and the consequent precise distribution of the parts on different strings (let us think of the tremolos superimposed on different strings in the second Dedica and the counterpoint in three parts each written on its own musical stave), with a skilful use of glissandos and other instrumental effects.From the musical point of view, a similar meticulousness in writing is evident, shown, for example, by indicating the temporal separation between the figures by means of their spatial distance indicated in the score.The result is an instrumentally and musically rigorous writing which also helps the performer by appealing to his ability to empathize, following the indications written in the score and in the key, with the expressive atmosphere of the work, and through that specific aspect of controlled performance flexibility and sound sensitivity necessary to render it properly.These delicate miniatures, suffused with mystery and melancholy, and so masterfully written for the guitar, are in my opinion an important addition to the contemporary repertoire of the instrument. (Piero Bonaguri).
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