SKU: MB.WBM58M
ISBN 9781736363058. 8.75x11.75 inches.
A comprehensive collection of 172 guitar solos for the flatpick or plectrum guitarist. All solos are written in standard notation with accompanying online recordings by the author. The solos include beautiful American, British and Celtic airs and ballads, Celtic dance tunes, lute and early music, popular classical repertoire and contemporary etudes. Includes access to online audio.
SKU: M7.GHE-702-96
ISBN 9783890447056. English.
HIS IS THE FIRST CRITICAL EDITION OF THESE WORKS AND IT OFFERS WE HOPE A STANDARD READING WHICH EXAMINES, WITH SOLUTIONS, MANY UNEXPLAINED DIFFERENCES BETWEEN THE COMPOSER'S MANUSCRIPTS, OUR EDITED MUSIC TEXT, AND PREVIOUS EDITIONS. 70 years after Ponce's death in 1948, we celebrate his life with a new critical-performing edition of his 24 Preludios newly prepared from the original manuscripts by Stefano Grondona. We proudly present a totally new edition with audio files of the 24 Preludios para guitarra. This is the first critical edition of the 24 Preludios para guitarra. The audio files of all 24 Preludios are played by Stefano Grondona and for download with a code printed in the book. This edition is really two editions in one. Not only is it a performing edition meticulously fingered by Stefano Grondona, but as well it is also an Urtext edition of the original manuscripts. Our pragmatic critical apparatus permits the player simply and clearly to see also what was in the original manuscripts, and what was not. With this publication it is now possible to clarify some long-standing issues relevant to our aim of presenting an accurate final music text; it is now possible to see where previous publications of this repertoire have varied with the manuscripts and how we have treated these situations in our edition, and how these were treated differently in previous editions. A comprehensive critical commentary is included together with copious historical and informative notes about the selection of the works and how and why our edition took its present form and content. At last we believe to have an edition which takes the form which the composer intended and new source material is also included, such as the Ramaugé ms for Prelude no. 6.
SKU: HL.50148750
UPC: 073999779769. 9.25x12.25x0.123 inches.
Contents: Allegro Moderato • Aria (Willst Du Dein Herz Mir Schenken) • Bourrée • Chorale • Double • Entree (Overture in F) • Gavotte • Gavotte • Gigue • Giguetta (Partita in C) • Kleiner Kanon • March in D Major • Menuett • Moderato • Polonaise in A Minor • Prelude in A Minor • Prelude in C • Prelude in C Minor • Sarabande • Scherzo.
SKU: HL.49010834
ISBN 9790001096706. UPC: 073999637540. 9.0x12.0x0.082 inches.
Contents: Light Suites in C (Variations) * Three Folksong dances * Three light Pieces in C Major * Four little Studies * Light Sonatina in G * Abends will ich schlafen gehn (Variations) * Prelude and March in E minor.
SKU: IS.G6763EM
ISBN 9790365067633.
This sonata (WeissSW No. 25, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIX comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIX comes from Weissâ??s middle â??productiveâ?? period, around 1720. The Sonata has seven movements: Prelude, Allemande (andante), Passepied, Bourée, Sarabande, Menuet, and it ends with a Gigue. There is another copy of this Sonata, known as Suite XIX, in a London Manuscript (British Library Ms. Add. 30387). The London version does not include a Prelude, and the Sarabande is completely different. The other movements are similar to those in the Dresden Manuscript. The Sonata in this Edition is based on the Dresden Manuscript. The purpose of beginning a lute sonata with a Prelude is to introduce the specific key and the harmonic design of the sonata. However, not every sonata in the Dresden and London manuscripts has a Prelude. About one third of the 34 Dresden Sonatas opens with a Prelude, but only six of them may be considered truly integral to the sonata. The other preludes are composed in a rather â??rudimentaryâ?? style, as a model for the less experienced lute player to improvise on the central key and theme. The Prelude in this particular Sonata cannot be regarded as integral. It has been added later, either by the compiler of the volumes or perhaps by Weiss himself. Originally, the Sonata is written in G minor, a key not often used by Weiss, but considered appropriate for playing the lute. With the guitar, however, the key is rather awkward. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to E minor. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.
SKU: IS.G6761EM
ISBN 9790365067619.
This sonata (WeissSW No. 48, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIII comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIII is a large and mature piece. It probably dates to the last period of the life of Weiss. The Sonata has seven movements: Prelude, Allemande (andante), Courante, Bourée, Sarabande (andante), Menuet, and it ends with a Presto. The use of tempo indications for French dance movements is characteristic for the later work of Weiss. The purpose of beginning a lute sonata with a Prelude is to introduce the specific key and the harmonic design of the sonata. However, not every sonata in the Dresden manuscripts has a Prelude. About one third of the 34 Dresden Sonatas opens with a Prelude, but only six of them may be considered truly integral to the sonata. The other Preludes are composed in a rather â??rudimentaryâ?? style, as a model for the less experienced lute player to improvise on the central key and theme. They may have been added later in the copying process. The Prelude of this particular Sonata is regarded as spurious, in respect to composition, a rather weak addition. I have included the Prelude in this Edition, leaving it to the guitar player to judge whether it fits with the musical style and idiom of the Sonata or not. Originally, the Sonata is written in F sharp minor, a key often used by Weiss as it is appropriate for playing the lute, but rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a major second lower to E minor. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 2nd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 1st fret.
SKU: IS.G6765EM
ISBN 9790365067657.
This sonata (WeissSW No. 4, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIV comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIV comes from Weissâ??s late â??productiveâ?? period, after 1730. The Sonata has six movements: Prelude, Ouverture (including allegro and largo), Courante, Bourée, Menuet and Gavotte. There is another copy of this Sonata, known as Parte (or Partita) no. 11, in a London Manuscript (British Library Ms. Add. 30387). The London Manuscript seems to be incomplete. It does not include a Menuet and a Gavotte. The Sonata in this Edition is based on the Dresden Manuscript. However, both the Prelude and the Bourée are coming from the London copy. The Dresden Prelude is regarded as spurious, and the London Bourée is more lively and in balance with the other movements. In a few passages of the Ouverture and the Courante I have made some adaptions on the basis of the London manuscript, to create the best of the two versions. In the Ouverture I have omitted the repeat indications. There are two Menuets in the Dresden Sonata. One has been crossed in the original manuscript with the accompanying note: ist nicht von Mr Weis. The other one has been added later, probably by the compiler of the volumes. The original London Prelude of this particular Sonata is composed in a â??simplifiedâ?? style; a common practice for adding preludes to lute sonatas in the 18th century. I have added the original example to my transcribed version. Perhaps it invites others to make their own arrangement. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute. With the guitar, however, the key is rather awkward. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to G major. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.
SKU: DZ.DZ-2590
ISBN 9782897375072.
SKU: IS.G6764EM
ISBN 9790365067640.
This sonata (WeissSW No. 23, London) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XVII comes from Weissâ??s middle â??productiveâ?? period, thought to have taken place between 1719 and 1725. The original tablature manuscript is in the British Library (London Ms. Add. 30387). It is the only London Sonata with a title: Divertimento à solo. The Sonata has ten separate movements: Prelude (PrÇ£lude), Entrée, Bourée I and II, Gavotte I and II, Sarabande, Menuet I and II, and Saltarella. The Entrée is nothing more than an Allemande. The Saltarella resembles the Scottish Gigue. The pairs of the middle â??dancesâ?? are intended to be played side by side, as one coherent movement in which the second part complements the musical notion of the first part. There are concordant copies of the first parts of the Bourée, Gavotte and Menuet in the Sächsisches Landesbibliothek in Dresden (Suite XXVI). Bourée I can also be found in the Bayerische Staatsbibliothek in München, although it is quite different from the London version. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute, but rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to G major. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.
SKU: IS.G6760EM
ISBN 9790365067602.
This sonata (WeissSW No. 50, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXVII comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXVII is a large and mature piece, composed in Weissâ??s late period, around 1730. The Sonata has six movements: Introduzzione (an opening movement in Italian style with elements of an Allemande and Prelude), Courante, Bourrée, Sarabande, Menuet, and it ends with a Presto. The use of tempo indications for French dance movements is characteristic for the later work of Weiss. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute, but rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to G major. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.
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