By Flight of the Conchords. Easy Guitar (Simplified arrangements for guitar). Softcover. 52 pages. Published by Cherry Lane Music

Guitar

SKU: BT.VOLMB703

For Classical Guitar. Arranged by Mauro Di Domenico. Book Only. Composed 2018. 40 pages. Volonte e Co #VOLMB703. Published by Volonte e Co (BT.VOLMB703).

ISBN 9788863887037. International.

A great and original compilation of Ennio Morricone’s best works for Classical Guitar. The publication includes original transcriptions edited by the renowned guitarist Mauro Di Domenico and officially approved by Mr. Ennio Morricone himself. In addition to that, this title includes  various special content, such as writings by Ennio Morricone, an unpublished work written for the author and the possibility to listen to Mauro Di Domenico’s performances, playing and interpreting some of the pieces of music included in the book. Contents include Gabriel’s Oboe, C’era una volta il West, Giù la testa, Nuovo Cinema Paradiso, Maturità, Temad’amore, Poverty, C’era una volta in America, Deborah’s Theme, Playing Love, La corrispondenza  and Non telefonare.

Composed by Mel Bay and William Bay. Wire bound, Guitar Methods. Modern Guitar Method. Book and online audio/video. Published by Mel Bay Publications, Inc (MB.30504M).

Guitar - Intermediate

SKU: OT.26114

Composed by Ariel Lazarus. A short suite for classical guitar based on themes from the Spanish and Portuguese tradition. Classical. Score. OR-TAV Music Publications #26114. Published by OR-TAV Music Publications (OT.26114).

ISBN 9789655051049. 8.27 x 11.69 inches.

Ariel Lazarus
Guitarra Liturgia
Two pieces based on music from the Spanish and Portuguese tradition.
Contents:
Jerusalem de Sefarad - Suite for Guitar
Contrapunto Sefardi
The composer writes:
For many years I wanted to compose a piece for guitar which would inspire interested students to expand their repertoire in the direction of Jewish music. The most natural thing for me was to write a suite based on themes from the synagogue in which I grew up – the Spanish and Portuguese synagogue of Gibraltar. My beloved grandfather served all his life as hazzan (cantor) of this synagogue, and I always felt as a composer and educator that I had a special obligation to continue his tradition and pass it on to a new generation. In this composition, I let the guitar echo the piyyutim (semi-liturgical poems) that were part of my childhood: Adon Olam, Sh'charchoret, Achot K'tana, Yigdal, Borei ad Ana, all of which are sung in the Spanish and Portuguese tradition from Gibraltar to London, and from New York to Jerusalem. I let myself dream the piyyutim, take them apart and reconstruct them as a short suite for guitar, the results of which you are invited to hear here. As a conceptual idea for the suite, I choose to suggest about the cultural continuation between the Diaspora and the land of Israel by way of referencing the well-known melody of Naomi Shemer, which is also popular among the hazzanim.
Dr. Ariel Lazarus is a unique voice among Israeli composer-performers today. Brought up in a family with Jewish musical roots both in Gibraltar and Westphalia, he began composing and playing the guitar in his teens, and has been committed to developing his own compositional language ever since, always maintaining an open dialogue with his traditions.
Lazarus received his BMus and MMus degrees from Oklahoma City University in classical guitar performance and composition where he studied with American composer Dr. Edward Knight. He earned his PhD from Bar Ilan University, studying composition with Prof. Betty Olivero and Prof. Gideon Lewensohn and conducting research under the supervision of Prof. Edwin Seroussi from the Hebrew University. His symphonic works have been premiered by the Raanana Symphonette Orchestra, and his chamber works have been performed by various ensembles in the United States, Central Europe, Portugal, Gibraltar, Scandinavia and Israel. Lazarus performs regularly as Art Ambassador on behalf of the Israeli Ministry of Diaspora affairs Amiel BaKehila program.
His solo album A Hebrew Capriccio was released by the German boutique label SmoothFactor and was awarded critical acclaim, among others, in Haaretz, and Neue Westfalishe.
Dr. Lazarus is the musical director and co-founder of the Israeli Ladino Orchestra. His work with the orchestra has been recognized by the official Carta de España. He teaches at the Academic College for Education Givat Washington, and the Rimon School of Music. Lazarus’s work has been awarded by the Israeli Pais Art council and ACUM.

By William Bay and Mel Bay, transcribed by Odile Noel. For Guitar (All). Methods. Modern Guitar Method. All Styles. Level: Beginning. Book. 88 pages. Published by Mel Bay Publications, Inc.

Guitar - intermediate to advanced

SKU: M7.GHE-703-96

Composed by Manuel Ponce. Edited by Stefano Grondona. This edition: Saddle-wire stitching. Sheet music with Online material. Critical Edition. MDS (Music Distribution Services) #GHE 703-96. Published by MDS (Music Distribution Services) (M7.GHE-703-96).

ISBN 9783890447063. English.

New performance edition by Stefano Grondona based on the manuscripts. A recording of the printed pieces by Stefano Grondona can be downloaded as an MP3 file using a download code printed in the booklet. DeepL Kontingent-Verbrauch: 10.577 / 500.000 Zeichen pro Monat (0,02%).

Composed by William Bay. Squareback saddle-stitched. Achieving Guitar Artistry. Contemporary, Jazz, Method. Book. 104 pages. Published by Mel Bay Publications, Inc

Guitar

SKU: SP.71657

Composed by Paul J. Newman. Instructional; Method. Book and CD. Santorella Publications #71657. Published by Santorella Publications (SP.71657).

ISBN 9781585605019. UPC: 728941716575.

It is often said that rhythm is the driving force of any music. In either case, rhythm is certainly an integral musical element much like, melody and harmony. The guitar is the instrument providing this rhythm especially in Rock, Jazz, Rhythm and Blues. The rhythm guitarist has important a role as the more celebrated lead guitarist in any band. In understanding this fact, Teach Yourself Rhythm Guitar by Paul J. Newman provides a comprehensive instructional approach to learning how to fill that essential Rhythm role. The explanations of musical notation, rhythm, styles of rhythm and technique are detailed and could certainly fill a book of their own. Some of the material surveyed is covered in greater detail in companion volumes such as Teach Yourself Chords and Progressions, Teach Yourself Scales and Modes and Teach Yourself Lead Guitar. All editions of Teach Yourself products are exclusively available from Santorella Publications including Teach Yourself Rhythm Guitar which stands alone, and to master its content would be an incredible reward. Chord Frames - Notation - Chords, Keys and the Guitar - The Minor Triad - Seventh Chord - Minor Seventh Chord - Major Seventh Chord - Notes - Beats - Strumming - The Triplet - Syncopation - Strumming 16th Notes - Blues Rhythm - Blues to Rock - Beyond Rock - Jazz - Reggae and Ska - Technique - The Release - Muting - The Choke - Bass Chord Patterns - Position Shifting - Songs 1-8; No Problem - I'll Drive - Free Swinger - Gentle Breeze - Circles - Spaces - Walk in the Park - Hi and Goodbye.

by William Bay. For all guitars. Complete. All styles. Level: Multiple Levels. Book. Technique. Size 8.75x11.75. 296 pages. Published by Mel Bay Pub., Inc.

Guitar

SKU: GI.G-10000GL

This edition: Guitar Looseleaf edition. Sacred. 2138 pages. GIA Publications #10000GL. Published by GIA Publications (GI.G-10000GL).

This is the four-volume, looseleaf guitar edition of Gather IV. The 8.5” x 11” size has 2-page spreads that are organized to reduce page turns. They are three-hole punched and come with two large binders.  The larger print makes for easier reading. It includes guitar chords, melody line, full choral harmonizations when available, and complete guitar accompaniments for every musical item in the hymnal. A convenient service binder is included.   Gather, Fourth Edition has been intentionally designed to be GIA’s most representative and relevant Catholic hymnal to date.    The musical contents represent the contemporary Catholic church, featuring a culturally diverse roster of composers and a wider breadth of musical styles.   Gather, Fourth Edition is also designed to work seamlessly with various digital assets, making it accessible and relevant in our technology-based world. It is the first hardbound GIA hymnal to be fully coordinated for use with OneLicense, GIA’s Hymnals App, and the new GIA Choral Cloud Subscription.

Guitar solo - Advanced

SKU: DZ.DZ-4308

Composed by Giorgio Mirto. Score. Les Productions d'OZ #DZ 4308. Published by Les Productions d'OZ (DZ.DZ-4308).

ISBN 9782898522253.

Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.

FRANCESCO BIRAGHI

Au lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.

FRANCESCO BIRAGHI.