Duets for Classical Guitar 1. Solo guitar arrangements of classical works are often so complex that they exceed the capabilities of most guitarists. Fabian Payr?s Duets for Classical Guitar avoids this pitfall by sharing the original work between two guitars. In so doing, famous compositions?from stylistically varied periods and for a range of original instrumentations?are in some cases accessible to guitarists for the first time. The collection also includes well-known pieces from the demanding solo guitar repertoire that can be worked on by less advanced players thanks to this sharing approach.

Boccherini Respighi Mascagni Spazzoli. This series presents some of the most significant works of European and Latin American music from the last three centuries transcribed for chamber guitar ensemble (in formations ranging from duo to quartet). The works contained in each volume have been selected both for their intrinsic artistic value and their potential to enhance sound production and playing technique. All of the transcriptions are strictly faithful to the original texts and have been reworked in order to make them suitable for players at all levels, from novice to professional. ?Guitar Ensemble? is therefore an effective aid for the study of ensemble music from middle and high school up to a conservatory level. Italian Portrait is a selection of works of the Italian composers Luigi Boccherini (1743-1805), Ottorino Respighi (1879-1936), Pietro Mascagni (1863-1945) and Alessandro Spazzoli (1964).

Musical Category : 3 o piu' chitarre

per 4 chitarre / Partitions classique / Guitare - luth / Guitare / RICORDI

Das Trainingsprogramm für junge Gitarristen (TAB)-Finger Fitness is another Ricordi bestseller for guitar. The author made a similar concept for kids or younger students and it will probably please many more players because it just looks nicer and easier than other technique books. (illustrated guitar tab).

per viola, violoncello e chitarra. Par PAGANINI NICCOLO. / Date parution : 2023-03-11/ Répertoire / Alto, Violoncelle et Guitare

a cura di Frédéric Zigante. Par SAGRERAS JULIO SALVADOR. / Date parution : 2022-09-07/ Etude / Guitare

für Violine und Gitarre. Par BRASS NIKOLAUS. / Date parution : 2022-03-15/ Recueil / Violon et Guitare

Par KLASCHKA MARTIN. My Piece Tema con Variazoni is inspired by Italian Baroque Music and is based on a hymn theme that I composed myself. It?s not at all difficult but sounds yet full (Martin Klaschka). Martin Klaschka (*1963) studied music at Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart. Much of his energy is devoted to writing easy to intermediate pieces for different instruments and ensembles. / Date parution : 2021-12-09/ Répertoire / Guitare Classique

12 Gitarren-Etüden von romantisch bis rockig. Par KILP BRIGITTE. / Date parution : 2021-12-09/ Etude / Guitare

9 Pieces for Solo Guitar and 1 Duet. Maria Linnemann was born in Amsterdam in 1947 and grew up in England. She attended the Royal Academy of Music in London, studying conducting, piano and violin. Later, inspired by the guitarist, viola player and painter, Martin Nicolai, she turned to the guitar. Since 1971 she has lived and worked in Germany as a musician, composer and pedagogue. She has travelled through many countries and lived and worked in China for five years. Many of her compositions, numbering around 500 to date, were written on these journeys, and include works for solo guitar, guitar duets and trios, songs and chamber music. Maria Linnemann?s music is loved and much played all over the world.

Edizione critica di Italo Vescovo. Nicolò Paganini?s trios for strings and guitar make up a small but significant group of pieces consisting of five works of different lengths, formal structure and difficulty: the Serenata in F major M.S. 115, the Terzetto in A minor M.S. 116, the Serenata in C major M.S. 17, the Terzetto concertante in D major M.S. 114, and the Terzetto in D major M.S. 69. Within this group, the Terzetto M.S. 116 and the Serenata M.S. 116 make up a small diptych for two violins and guitar that can be traced back to Paganini?s juvenile period (1796-1804). In addition to using the same musical formation, the two pieces also share some compositional features, regarding general formal characteristics as well as the order and the number of movements. Despite their simplicity, the two compositions still have features typical of Paganini?s writing from this period such as their spontaneous cantabilità, the freshness of their musical ideas, pleasant (if perhaps a little naive), and the well-defined sense of form that comes out in these small compositions.