SKU: GI.G-8846G
English. Text Source: Based on Matthew 25:35–36, 40, adapt. MH.
SKU: UT.CH-395
ISBN 9790215328587. 9 x 12 inches.
Il grande larice rosso; Piccole vite; Requiem per un boscoNever before have I felt the urgency within myself to communicate with my instrument something which goes beyond just the notes, a desire to embrace with music parts of the world which I see as being so neglected and abandoned, as if man were no longer able to see beyond the narrow confines of his home and work spaces. The environment which surrounds us, free and pure, seems to bow more and more to the base instincts of abuse which man brings into play... the destruction of centuries-old forests and glaciers, the construction of harmful and disturbing, useless and polluting elements... and I wonder what we can do, what I, as a musician, can do, at least to show my disapproval of these situations. I have no straight answer but I know that writing the music I love to play, often born in natural and wild environments can help to dream of, or imagine a present time which is more on a human scale, thanks to the strong evocative power which music possesses and emanates.This is the meaning of these compositions, dedicated to a tree, a 700-year-old specimen of the Stura Valley, Lu Merze Gros (The Big Larch), to the small beings which inhabit it, in the bark, among its foliage, in the surrounding soil and to my sense of frustration at seeing a forest of fir trees razed to the ground to allow the construction of a bobsleigh run.This action of mine has been useless and nostalgic perhaps, but it has given me intense moments of emotion in the writing and moves me enormously during its performance.Giorgio Signorile.
SKU: BT.SLB-00261400
45 Exercices de mise en place, de la ronde la double croche dans les mesures simples 2/4, 3/4 et 4/4.Enfin une méthode qui traite du problème majeur des musiciens amateurs : la mise en place rythmique. Pierre Pinto et Alex Védère, musiciens professionnels, ont conçu dans cette optique 45 exercices progressifs accompagnés d’un compact disc (1 heure d'enregistrement). Gr ce au système de balance, il vous sera possible de jouer en supprimant l'instrument concerné, ou alors d'écouter le trio original.Cette méthode s'adresse plus particulièrement aux guitaristes et aux bassistes (possédant des bases de solfège rythmique et de lecture en clés de sol et de fa), ainsiqu’aux batteurs. Le but de cet ouvrage est de développer une même façon de concevoir la mise en place rythmique entre les instrumentistes. Vous trouverez dans cette méthode des exercices composés, arrangés et agencés de manière progressive et attrayante (les explications et la méthode de travail suivre précèdent chaque chapitre). Le recueil pour le batteur est édité sous la référence SLB 00261200. Le recueil pour le bassiste est édité sous la référence SLB 00261300. L'enregistrement spécifique chacun des instruments comporte les 45 exemples traités dans l'ouvrage, il devrait apporter une aide précieuse pour mener bien l'étude de cette méthode.
SKU: BT.SLB-00261300
45 Exercices de mise en place, de la ronde la double croche dans les mesures simples 2/4, 3/4 et 4/4.Enfin une méthode qui traite du problème majeur des musiciens amateurs : la mise en place rythmique. Pierre Pinto et Alex Védère, musiciens professionnels, ont conçu dans cette optique 45 exercices progressifs accompagnés d’un compact disc (1 heure d'enregistrement). Gr ce au système de balance, il vous sera possible de jouer en supprimant l'instrument concerné, ou alors d'écouter le trio original. Cette méthode s'adresse plus particulièrement aux batteurs, aux guitaristes et aux bassistes possédant des bases de solfège rythmique et de lecture en clés de sol et defa. Le but de cet ouvrage est de développer une même façon de concevoir la mise en place rythmique entre les instrumentistes. Vous trouverez dans cette méthode des exercices composés, arrangés et agencés de manière progressive et attrayante (les explications et la méthode de travail suivre précèdent chaque chapitre). Le recueil pour le batteur est édité sous la référence SLB 00261200. Le recueil pour le guitariste est édité sous la référence SLB 00261400. L'enregistrement spécifique chacun des instruments comporte les 45 exemples traités dans l'ouvrage, il devrait apporter une aide précieuse pour mener bien l'étude de cette méthode.
SKU: GI.G-9330G
UPC: 785147933076. English. Text Source: English Language Liturgical Consultation (ELLC), 1988, alt. Doxology, Evangelical Lutheran Worship
When the revised English translation of the Catholic Mass was introduced in 2010, Tony Alonso’s Mass of Joy and Peace quickly became one of the most widely sung eucharistic settings. In this edition, Tony has adapted the eucharistic acclamations for ecumenical use. The Joy and Peace acclamations will find a home in organ-based worship or celebrations led by piano, guitar, or contemporary ensemble. A setting of great versatility and accessibility, Joy and Peace will help inspire the sung prayer of assemblies across Christian denominations. This is the guitar edition.
SKU: GI.G-9757G
UPC: 785147975779. English, Spanish, Tagalog. Text Source: Based on “The Prayer of St. Francis,†Attr. Francis of Assisi, 1181–1226, English, Spanish and Tagalog Tr. Unknown, adapt. Tony Alonso.
SKU: GI.G-7565G
English. Text Source: Based on Psalm 131. Text by Liam Lawton. Scripture: Psalm 131.
** GIA no longer publishes nor sponsors the work of Paul A. Tate. Pieces for which Tate served as an arranger remain on our website as the original work of the composer.
SKU: UT.DM-56
ISBN 9790215315891. 9 x 12 inches.
Questo secondo volume della collana Ciao Chitarra!!! si articola secondo la stessa struttura del primo sviluppandone gli intenti fondamentali: predisporre lâ??allievo a un atteggiamento attivo, di ricerca e di scoperta nei confronti della chitarra e favorire, insieme allo sviluppo graduale della tecnica e allÃampliamento della conoscenza diretta del repertorio, la progressiva evoluzione della sensibilità musicale. La â??sfidaâ?? è rendere piacevole e interessante non solo il momento in cui si suona ma anche quello in cui si studia, facilitando una vivace e dinamica interazione tra allievo, maestro e libro.Le musiche scelte, che spaziano dal Rinascimento ai nostri giorni, si presentano in forma di brani solistici, duetti ed esercizi di tecnica che attraverso piccoli cambi di posizione della mano sinistra, note tenute, arpeggi, legati e scale di unâ??ottava, conducono lâ??allievo verso la conoscenza delle prime due posizioni sulla tastiera e lo avvicinano alle tecniche chitarristiche di base.La diteggiatura della mano destra è stata volutamente omessa al fine di assecondare la spontanea articolazione delle dita che producono direttamente il suono. Tale articolazione, insieme al sincronismo, al coordinamento e alla ricerca della qualità sonora, andrà comunque sviluppata correttamente attraverso gli arpeggi e le piccole scale presenti nelle ultime pagine del volume.Una grafica particolarmente accurata e le numerose illustrazioni da colorare a piacimento veicolano con incisività informazioni di carattere musicale e storico insieme a indicazioni di carattere pratico - quali lâ??accordatura e il cambio delle corde - spesso trascurate ma invece utili a sviluppare lâ??autonomia dellâ??allievo e a rendere ancora più diretta la sua interazione con la chitarra. Sito Web: www.ciaochitarra.it
SKU: DY.DO-1552
ISBN 9782897963323.
Jâai composé « Thracian Tale » en 2024 pour George Vassilev. Le titre fait référence au peuple de Thrace qui habitait dans les Balkans et plus particulièrement dans le territoire de la Bulgarie actuelle. La pièce est composée en forme A-B-A et le langage utilisé - comme dans la plupart de mes pièces - est basé essentiellement sur des modes et des rythmes issues de la musique des Balkans. Elle est enrichie avec lâutilisation de chromatismes, dâhémioles pour varier la pulsation de base ainsi que de différentes techniques instrumentales.I composed Thracian Tale in 2024 for George Vassilev. The title refers to the people of Thrace who lived in the Balkans and more particularly in the territory of present-day Bulgaria. The piece is composed in A-B-A form and the language used - as in most of my pieces - is based essentially on modes and rhythms from Balkan music. It is enriched with the use of chromatisms, hemiolas to vary the basic pulsation as well as different instrumental techniques.
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.G6767EM
ISBN 9790365067671.
This sonata (WeissSW No. 15, 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 X 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). The Sonata has six movements: Allemande, Courante, Paisane, Sarabande, Menuet, and it ends with a Gigue. There is a another copy of this Sonata in the Warszawa Biblioteka Uniwersytecka Poland (in its entirety), and a copy in the Sächsisches Landesbibliothek in Dresden (Suite XXVI), which contains three concordant movements: Allemande, Courante, and the Gigue. The Dresden manuscript displays some differences from the London manuscript. This Edition has taken those differences into account in certain details. 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: HL.14016124
UPC: 781735807453. 8x9.5 inches.
Get in tune with fast, flexible, PC-based guitar instruction on these four progressive software CD-ROMs. The first disc, Lessons for Guitar, offers a comprehensive guitar primer covering everything from basic technique to musical notation. Swing to the next level with the aptly titled Guitar Improver™, as it reinforces previous lessons – at the same time introducing new fingerstyle and soloing skills. Next, Guitar Songs and Styles™ builds your guitar repertoire from the realm of blues, bluegrass, and country, featuring songs made famous by artists such as Chet Atkins and Johnny Cash. Finally, use a modern CD-ROM approach to arrange your own chord progressions with Chord Miner 1000™, the comprehensive chord catalog and interactive toolbox for novices and serious guitarists alike.From strumming to solos, get into the groove of results-oriented guitar proficiency, with Instant Play Guitar!
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.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.G6766EM
ISBN 9790365067664.
This sonata (WeissSW No. 52, 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 XXXIII is a unique copy. It 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 XXXIII is in the fifth volume. It belongs to a group of large and mature Sonatas of the late â??productiveâ?? period of Weissâ??s life, probably after 1740. The Sonata has six movements: Ouverture , Courante assai moderato, Bourée, Siciliana (a slow dance, but more cheerful than a Sarabande), Menuet, and it ends with a Presto. The Ouverture substitutes the traditional Allemande. It is more complex in structure, and includes a Largo, an Allegro (in the style of a Fugue), and a Vivace. The use of tempo indications for French dance movements is characteristic for the later work of Weiss. Originally, the Sonata is written in C minor, a key appropriate for playing a Baroque lute tuned in the D minor chord. However it is rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to A minor. 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: HL.14016122
UPC: 781735806715. 5x5.5 inches.
Hit the right note for rapid, flexible, computer-based instruction with Instant Play Electric Guitar Express, the 2-CD-ROM software suite ready to take you from rudimentary rhythm to rockin' out! From tuning your guitar to taking a solo, get into the groove of results-oriented electric guitar proficiency with these two CD-ROMs.Product features include: 100+ chords with multiple voicings of myriad chord types • easy chord identification with the interactive fretboard • 40+ interactive basic music lessons • professional instructional videos (full-screen & slow-motion).Product benefits include: customized, self-paced guitar lessons on your personal computer • master the electric guitar with CD-ROM instruction • the perfect tutorial for novices desiring to build their musical understanding and confidence.
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: BT.MI0424
Con non meno di 25 brani Reggae e Ska per chitarra, questo metodo vi divertir per un bel poââ¬â¢ di tempo! Ma non soloââ¬Â¦ In effetti, oltre al piacere di suonarli, questi brani, composti da diverse parti di chitarra, vi permetteranno di lavorare su tutte le tecniche utili per creare accompagnamenti adatti a questi stili, in particolare il famoso skank o lââ¬â¢inevitabile gimmick in single note. Lââ¬â¢idea di questo metodo è quindi quella di imparare suonando, progredire divertendosi! Sappiate inoltre che questi 25 brani sââ¬â¢ispirano ai più grandi successi degli stili Reggae e Ska, alla maniera dei più grandi artisti e chitarristi di ieri e di oggi: The Skatalites, Bob Marley / TheWailers, UB40, The Neville Brothers, Madness, Jimmy Cliff, The Specials, Alpha Blondy, Burning Spear, Peter Tosh e tanti altri ancoraââ¬Â¦ Sul disco dati allegato al metodo, troverete diversi file audio e video. I video (mp4) presentano tramite lââ¬â¢immagine tutte le parti di chitarra dei 25 brani così come devono essere suonate, sulla loro base musicale, per aiutarvi a tenere il tempo. Le registrazioni audio (mp3) invece propongono le basi musicali corrispondenti ad ogni parte di chitarra. Potrete in questo modo suonarci sopra la parte mancante o, perché no, approfittarne per sviluppare liberamente le vostre proprie idee in stile Reggae o Ska.
SKU: HL.50487752
ISBN 9790080140444. Bach (23 x 30,2 cm) inches. Hungarian, English, German.
The unique innovation in this publication is that, printed below the lines of the score, students can find a tablature containing all the necessary details of playing technique, which will help them overcome their initial difficulties. The author places particular emphasis on enabling them to gain a sure sense of rhythm and confidence in finding their way about the instrument. The volume offers a varied selection from the melodic treasures of the folk music of 32 countries. The twelve guitar duets that are included also provide an introduction to the world of chamber music. The textual instructions are given in three languages: German, English and Hungarian.
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: PE.GT102CLR
UPC: 038081439068. English.
Gorilla Tips are the ultimate solution for sore fingers, experienced when learning to play a fretted instrument such as guitar, banjo, mandolin, or 'ukulele. The patent-pending design is engineered to have thicker material at the tip, which diminishes to a thin, stretchable perimeter for comfortable, flexible fit. A precision-molded transitional tool, each set comes with four washable, reusable, durable fingertip protectors that the player places over the tips of the fingers that touch the fretboard, allowing for hours of pain-free playing! This clear set of protectors allows for the most discreet comfort. The medium size generally fits teenage players and is measured by utilizing the sizing ring on the packaging or based on the width of your finger, closest knuckle to the fingernail, being 1.7cm.
SKU: PE.GT101CLR
UPC: 038081439051. English.
Gorilla Tips are the ultimate solution for sore fingers, experienced when learning to play a fretted instrument such as guitar, banjo, mandolin, or 'ukulele. The patent-pending design is engineered to have thicker material at the tip, which diminishes to a thin, stretchable perimeter for comfortable, flexible fit. A precision-molded transitional tool, each set comes with four washable, reusable, durable fingertip protectors that the player places over the tips of the fingers that touch the fretboard, allowing for hours of pain-free playing! This clear set of protectors allows for the most discreet comfort. The small size generally fits younger aspiring players and is measured by utilizing the sizing ring on the packaging or based on the width of your finger, closest knuckle to the fingernail, being 1.5cm.
SKU: PE.GT100CLR
UPC: 038081439044. English.
Gorilla Tips are the ultimate solution for sore fingers, experienced when learning to play a fretted instrument such as guitar, banjo, mandolin, or 'ukulele. The patent-pending design is engineered to have thicker material at the tip, which diminishes to a thin, stretchable perimeter for comfortable, flexible fit. A precision-molded transitional tool, each set comes with four washable, reusable, durable fingertip protectors that the player places over the tips of the fingers that touch the fretboard, allowing for hours of pain-free playing! This clear set of protectors allows for the most discreet comfort. The extra small size generally fits the youngest aspiring players and is measured by utilizing the sizing ring on the packaging or based on the width of your finger, closest knuckle to the fingernail, being 1.3cm.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version