Pieces For Classical Guitar-Turlough O'Carolan Irish Harp Pieces For Classical Guitar contains 24 compositions by the legendary Irish harpist Turlough O’Carolan scored for classic Guitar solo. The solos areintermediate in difficulty and convey the beautiful lyrical quality of the original Harp compositions. As a bonus two of the solos are also scored for baroque Guitar. A companion recording is available as an internetdownload.

Par HARPER BEN / HAMMJE THOMAS. Le matos - Les astuces pour avoir le son - Tous les opens - Le dictionnaire d'accords La méthode slide : 10 exercices pour maitriser la technique Ben Harper Méthode 40 pages avec CD Par Thomas HAMMJE La seule méthode pour jouer comme Ben Harper Dans ce volume, 40 standards pour tout savoir : riffs, ryhtmiques, solos, slide guitar. Mais aussi le matos de Ben Harper, les astuces pour avoir le son. Un ouvrage très pédagogique : exercices progressifs pour l'étude de chaque plan, conseils, ralentis, playbacks. Solfège & tablatures avec diagrammes d'accords pour tous les morceaux ... / Date parution : 2022-03-03/ Tablatures / Guitare

Par CHARPAGNE DOMINIQUE. / Niveau : Intermédiaire / Répertoire / Guitare Seule

Par CHARPAGNE DOMINIQUE. / Niveau : Intermédiaire / Répertoire / Guitare Seule

Par CHARPAGNE DOMINIQUE. / Niveau : Intermédiaire / Répertoire / Guitare Seule

Par CHARPAGNE DOMINIQUE. / Niveau : Intermédiaire / Répertoire / Guitare Seule

Par CHARPAGNE DOMINIQUE. / Niveau : Intermédiaire / Répertoire / Guitare Seule

The tenth concerto in B minor in L'Estro Armonico (best translated as The Harmonious Inspiration) which is edited here in A minor - for four solo guitars - is one of the most famous in the entire collection -- indeed inVivaldi's entire output. Scored for four solo violins two solo violas solo violoncello and an strings orchestra. Johann Sebastian Bach not only admired Vivaldi's Opus 3; he copied it openly. In a general sense the Vivaldipieces gave impetus to much that is in the German master's Brandenburg Concertos. More particulary six concertos of Vivaldi's Opus 3 were copied by Bach as the basis for six of his concertos: two for 0rgan (BWV 593 and 596 basedon Opus 3 nos. 8 and 11 respectively) three for solo harpsichord ) BWV 978 972 and 976 based on Opus 3 nos. 3 9 and 12 respectively) and one for four harpsichords and orchestra in A minor (BWV 1065 based on Opus 3 no. 10).Bach frequently rewrote concertos scored for one kind of instrument substituting another. It is evident that Bach thought not so much in terms of the violinistic nature of the originals but in their harmonic and rhythmicpotential which could be realized on any instrument. Since Bach has already justified an arrangement of Opus 3 number 10 by the great aesthetic success of his four-harpsichord version it serves to reason that an arrangementfor four guitars is equally valid. Just as Bach preserved everything of the original Vivaldi and added only a few doubling to accomodate the left hands of the harpsichordists so in this version the substitution of guitars is donewith little or no change of original-notes. The arpeggios especially prominent in the second movement lend themselves ideally to guitar playing and the ability of the guitar to play both lyrical lines as well as passage worksuits the violinistic lines and passages of the original.

Sixteenth century Spanish composer and vihuelist Alonso De Mudarra (also Alonso Mudarra) was born in Guadalajara raised in aristocratic households became a priest and later canon at Seville Cathedral in 1546 just before he published his vihuela book. The vihuela was a gut-Stringed instrument that has elements in common with the lute and Guitar. Mudarra published three volumes of music for the vihuela that comprised seventy-seven works and many innovations including in this piece the first recorded use of folia a musical framework. This Fantasia seeks to imitate the legendary harpist Ludovico of the court of Ferdinand III of Aragon using cross rhythms andchormaticism to recall the harp. Some performers choose to play this work at speed recalling perhaps the 17th century definition of ‘folia’ as ‘mad’ and referring to a fast noisy dance.

Par BARTOK BELA. Like so many famous virtuosic works, Bartók’s Sonata for Solo Violin was said, by its commissioner, Yehudi Menuhin, at first sight, to be unplayable! Of course, Menuhin soon changed his opinion, later describing the work as the most important composition for solo violin since Bach. The original work used the full array of violin techniques such as stopped harmonics, left-hand pizzicato and quarter tones. These demands gave arranger, Christophe Dejour, much pause for thought when preparing this arrangement, not least in how to produce quarter tones on the guitar! Fortunately, both Bartók and Menuhin came to his rescue here. Menuhin had had problems playing these at speed and Bartók agreed that they were only for “colour” and accepted an alternative version Menuhin presented to him. The Sonata also contains several compositional techniques that are highly appropriate for the guitar such as chord progressions, contrapuntal motion and rhythmic sharpness, allowing Dejour to produce an arrangement that requires great skill to play, just as the original violin version demanded of Yehudi Menuhin./ Répertoire / Guitare

Given the number of skilled luthiers and guitarists in evidence today the current era has come to be known as ???The Golden Age of the Acoustic Guitar???. Among numerous richly talented players flatpicking/fingerstyle Acousticand Harp guitarist Stephen Bennett stands out as both a supreme melodist and groove master. That said - you already have a good idea of the contents of this DVD.It???s a rare artist who is capable of recording 29tunes in a single day but with the tenacity perfectionism and phenomenal musicality known to his fans worldwide that is exactly what Stephen did in creating this DVD. In fact most of these tracks were completed to perfectionin one take. Add the notion of performing on three distinctly different instruments- a Morris 6-string acoustic a 1930 National Steel and a modern Merrill Brothers copy of a vintage Dyer Harp Guitar- and you have not only aHerculean musical feat but a unique listening and viewing experience.Stephen???s live Mel Bay DVD performance is one you???ll watch again and again.

The colourful tones of the guitar are well suited to the music of Ireland and Scotland. Jody Stecher has developed a unique approach to flatpicking Celtic music drawing on the sounds and techniques of the harp fiddle and pipes. This lesson presents a graded course starting with simpler fingering with special attention to picking techniques. Building on a base of a confident and deliberate right hand more challenging left hand work is graduallyintroduced. The typical ornaments of Celtic music are shown to be manageable and effective on the guitar - including rolls which have been thought by some to be too difficult to achieve on the instrument. Jody presentsmemorable tunes in the keys of G D and A which are played in either dropped-D or standard tuning. Titles include: Reel Sheehan’s Reel • Jig The Connaught-man’s Rambles • March A Trip To Mabou Ridge • Strathspey TheDevil In The Kitchen • Reel Muilleann Dubh • Reel Doctor Gilbert.

Air With Changes - (Originally for Harp solo) arranged by the composer for Guitar Quartet. Commissioned by Becky and David Starobin for the Curtis Institute of Music and written for the Curtis Institute Guitarists 2017.