SKU: HL.50481192
UPC: 884088056056. 8.25x11.75x0.085 inches.
SKU: BT.BVP1718
SKU: HL.49014430
ISBN 9790220107726. 9.25x12.0x0.023 inches.
SKU: MB.30666M
ISBN 9781513462851. 8.75x11.75 inches.
The Hawaiian word for slack key guitar, kÄ« hÅâ??alu, means to â??loosen the keyâ? or retune some of the strings to create a harmonious sound with an open or alternate tuning. Slack key is a fingerpicking style characterized by strong alternating bass lines played with the thumb. While slack key can be played on any guitar, most players prefer a nylon- or steel-stringed acoustic instrument. This book presents 25 intermediate to advanced traditional and original tunes in the Hawaiian slack key style. Melodies are often harmonized in sixths or thirds played with or without double stops. Techniques like syncopated bass lines, hammer-ons, pull-offs, slides, and harmonics are tastefully employed to evoke the images of ocean breezes, swaying palms, hula dancers and white sandy beaches. The author writes, â??Unless you grew up playing slack key, itâ??s hard to get from the material presented in most books and DVDs to a fluid, play-it-your-own-way style.â? This book seeks to reveal the insights the author has gleaned from studying and jamming with some of the giants of the slack key style, and help you develop a style all your own. Includes access to online audio tracks of all 25 relaxing but challenging Hawaiian slack key tunes.
SKU: HL.49010804
ISBN 9790001096492. UPC: 884088087258. 9.0x12.0x0.077 inches.
Contents: No. 5 in A Major * No. 6 in D Major.
SKU: BT.MUSM570205585
English.
Published 1977.
SKU: FL.FX071015
Suite Europeenne is a series of Pieces inspired by a journey, a trip, a meeting or an event in an european region. A meeting with an Irish living in Cadaques since a long time...
SKU: DZ.DZ-4244
ISBN 9782898521614.
La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. Ã? ce moment-là , ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol#â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ??Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.Sonata No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ??B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.
SKU: MB.31060M
ISBN 9781513468051. 8.75x11.75 inches.
As aspiring fingerpicking guitarists started expanding their horizons from folk, blues, and ragtime in the 1970s, it was only logical to look towards early jazz tunes as a vast source for new possibilities. For one thing, they could follow the same evolutionary path from ragtime to jazz that had been taken by pianists such as Jelly Roll Morton and Harlem stride players like James P. Johnson and Fats Waller. These musicians all composed in a variety of styles, but their most ambitious piano solos expanded on the classic ragtime format developed by the likes of Scott Joplin, James Scott, and Joseph Lamb, using several strains that usually changed keys at least once. Morton, the self-proclaimed inventor of jazz, would record versions of tunes like King Porter Stomp and The Original Jelly Roll Blues that are similar to straight ragtime performances, and others where there is lots of room left for embellishment and jazz improvisation. The present collection is a bonanza for guitarists who want to tackle advanced arrangements along the lines of ragtime but featuring jazz age harmonies from the playing of Jelly Roll Morton, Louis Armstrong, Bix Beiderbecke, WC Handy, the Original Dixieland Jazz Band and other early jazz legends. The 32 arrangements included are by a wide assortment of guitarists including Ernie Hawkins, Pat Donohue, Lasse Johansson, Duck Baker, Ton Van Bergeyk, Sandy Shalk, Steve McWilliam, and Dorian Henry. Titles include: Oh, You Beautiful Doll, I’ve Got The Blues, High Society, St. Louis Blues, Davenport Blues, Poor Butterfly, Dixie Jass Band One-Step, Memphis Blues, Big Foot Ham, Grandpa’s Spells, The Original Jelly Roll Blues, Midnight Mama, Milenberg Joys, Fizz Water, Back Home in Indiana, Sweet Georgia Brown, Red Wing (An Indian Intermezzo), There’ll Be Some Changes Made, Way Down Yonder In New Orleans, Charleston, Where The Morning Glories Grow, Limehouse Blues, Susie (of the Islands), I Need Some Pettin’, Weather Bird, Cornet Chop Suey, Kansas City Stomps, King Porter Stomp, Jubilee Stomp, Take It Easy, If I Had You, Moonlight Serenade
SKU: IS.G6129EM
ISBN 9790365061297.
Carcassi was born in Florence, Italy, and first studied the piano, but learned guitar when still a child. He quickly gained a reputation as a virtuoso concert guitarist. He moved to Germany in 1810, gaining almost immediate success. In 1815, he was living in Paris, earning his living as a teacher of both the piano and the guitar. On a concert tour in Germany in 1819, he met his friend Antoine Meissonnier for the first time. Also a famous guitarist, Meissonnier published many of Carcassi's works in his Paris publishing house. For Meissonnier he also arranged a number of popular songs for guitar that were originally written for piano, including works by Théodore Labarre and Loïsa Puget. From 1820 on, Carcassi spent the majority of his time in Paris. In 1823, he performed an extremely successful series of concerts in London that earned him great fame, both as a performing artist and as a teacher. However, in Paris, a long time passed before his talents were truly recognized, partly because of the presence of Ferdinando Carulli. Carcassi was in Germany again during autumn 1824. Afterwards he performed in London, where his reputation now gave him access to more prestigious concert halls. Finally he returned to Paris. For several years, he made concert trips from here to the most important cultural towns of Europe, including London. After a short return to performing in 1836, he quit his concert practice around 1840 and died in Paris in 1853. His most famous works are collected in his 25 Etudes op. 60. In these, he managed to blend technical skills and brilliant romantic music. This is the reason his music is still played by so many classical guitarists today.
SKU: UT.CH-385
ISBN 9790215328174. 9 x 12 inches.
The Sonatina del Sur (Sonatina of the South) was commissioned by Isabel Siewersâ?? mother as a 34th birthday present for her daughter. Its music pays token, rather than imitative, homage to South American music. Thus the sonata form first movement, whose brief development section accounts for the workâ??s â??diminutiveâ?? title, merely hints at syncopations that are as common in South America as they are in Europe. The Canción de cuna (Cradle Song) is unusual in the fact that it is played entirely in natural harmonics â?? no string touches a fret from start to finish, a compositional challenge I had long planned to face. The third movement was originally titled Milonga, but when the dedicatee said that, although it has a South American air over it, and the rhythm is right, it was not really like a milonga, it was renamed! Perhaps, though, it captures a little of the happy and lightness-of-touch character of its eponym. The Danza negra, another common South American genre, is energetic, with a variety of percussive gestures that demand extreme agility on the part of the performer.
SKU: BT.DHP-1002052-400
ISBN 9789043110617. International.
This fun selection of 29 songs can be used in conjunction with every guitar method to provide some light relief between lessons. The pieces are suitable for the first year of study and have been written as a single melody line without chords. It contains a mixture of well-known titles and new compositions in a variety of styles including blues, folk, rock and hip-hop. Some of the melodies also offer the chance for simple improvisation on the given note patterns.Klassiek, bleus, volksliedjes, maar ook rock en hiphop. De liedjes van Guitar Fun, geschreven in allerlei stijlen zijn geschikt voor het eerste leerjaar. Het boek is naast elke gangbare gitaar methode te gebruiken In de loopvan het speelboek worden de liedjes steeds een beetje moeilijker. Kortom: Guitar Fun!Dieses lustige Spielbuch für Gitarre mit Mitspiel-CD kann zusammen mit jeder gebräuchlichen Gitarrenschule verwendet werden. In den Stücken, die für das erste Jahr geeignet sind, werden den Schülern verschiedene Musikstile vorgestellt: Klassik, Blues, Volksmusik, aber auch Rock und Hip-Hop. Trente morceaux variés pour guitaristes débutants (classique, blues, folk, rock et même hip-hop). 29 canzoni che si possono affiancare ai classici metodi per chitarra. I brani sono pensati per chi è ai primi anni di studio, e sono scritti in diversi stili musicali. Potrete esibirvi divertendovi con il CD allegato al libro, che propone le registrazioni complete dei brani realizzate da una coinvolgente live band. Suonerete per la prima volta sentendovi parte di una vera band musicale, dove voi sarete la chitarra solista!
SKU: HL.14047451
ISBN 9788850725182. English.
A big advantage with open tunings is that you'll be able to play chords and melodies more easily, letting the strings ring and getting richer sounds that would be really hard to get with a standard tuning. This is true at the beginning, but later onthings will become more challenging and rewarding even for seasoned professionals. Using different tunings from time to time you'll often find new ideas when you compose your music, either studying new positions or merely by chance, because you'll be forced to think outside your usual frame of mind. Some players employ a particular open tuning as their own standard tuning, like Pierre Bensusan with his DADGAD, giving hismusic a distinctive sound. This book will try to bring you into different sonic landscapes, hopefully leading you to quickly learn new tunes and having fun in the process.
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