SKU: HL.363741

ISBN 9781705132388. UPC: 840126956351. 6.0x9.0x0.389 inches.

Get just what you need to play Taylor's greatest hits on guitar! This third edition features 44 tunes with complete lyrics, chord symbols, and guitar chord diagrams from Taylor's country as well as pop career. Includes: Back to December • Blank Space • Cardigan • Exile • Fifteen • I Knew You Were Trouble • Love Story • ME! • Mean • No Body, No Crime • Picture to Burn • Red • Shake It Off • Teardrops on My Guitar • We Are Never Ever Getting Back Together • Wildest Dreams • You Belong with Me • and more.

SKU: MB.95119M

ISBN 9780786692217. 8.75 x 11.75 inches.

This is an easy to understand yet very comprehensive method. You will learn to play classic guitar in all of the basic keys. In addition you will play a very wide assortment of solos ranging from the Renaissance to 20th Century compositions. Also, you will be taught to play many of the great student masterpieces by composers such as Sor, Carcassi, Carulli, Diabelli, Guiliani, Bach, Handel and Dowland. Finally, studies are contained for playing in the 2nd, 3rd, 4th and 5th positions. Definitely a hands on method that gets you playing wonderful classic guitar literature. The online video provides close-up views of the guitar to help you understand the lessons. Includes access to online audio and video.

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.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.

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: 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: DZ.DZ-4272

ISBN 9782898521898.

En septembre 2018, le guitariste Toby McWilliams a commandé à Cruz l’écriture d’une pièce solo en trois mouvements après avoir entendu ses Five Pieces in C dans l’émission de radio internationale Classical Guitar Alive. McWilliams a demandé que le premier mouvement soit en forme sonate-allegro, suivi de deux autres pièces reflétant les choix de tempo d’une sonatine en trois mouvements typique. Comme c’est le cas pour la plupart des œuvres de Cruz, cette Sonatine a été achevée en tant que musique pure, sans programme sous-jacent. Cependant, dans sa quête de trouver des titres autres que des indications de tempo, Cruz a extrait trois mots de la correspondance entre lui-même et McWilliams qui, ensemble, ajoutent une touche personnelle à la collection tout en suggérant une progression des événements d’une journée imaginaire.

Un point d’intérêt dans le premier mouvement, le thème A : Cruz commence sur l’accord IV et évite intentionnellement d’utiliser un accord I tout au long de la pièce. Bien que la section B commence dans la tonalité de dominante, elle se dirige rapidement vers un centre tonal de ré majeur.

Festival (3ème mouvement) utilise un thème d’ouverture bitonal : mi majeur dans la voix supérieure tandis que la ligne de basse utilise mi mineur.

In September of 2018, guitarist, Toby McWilliams commissioned Cruz to write a three-movement guitar solo after hearing his Five Pieces in C on the internationally syndicated radio show, Classical Guitar Alive. McWilliams requested the first movement to be in sonata-allegro form followed by two other pieces that reflect the tempo choices of a typical three-movement sonatina. As is the case with most of Cruz’s music, this Sonatina was completed as music written for music’s sake. However, in his quest to find titles other than tempo markings, Cruz plucked three words from the correspondence between himself and McWilliams that together, add a personal touch to the collection while suggesting a progression of an imaginary day’s events.

A point of interest in the first movement, A theme: Cruz begins on the IV chord and intentionally avoids using a proper I chord throughout. While the B section does begin in the dominant key, it moves quickly towards a D major tonal center.

Festival (3rd movement) uses a bitonal opening theme: E major in the top voice while the bass line uses E minor.