SKU: FG.55011-071-7
ISBN 9790550110717.
Completed in Karstula, Finland during late July 2010, this carefully structured, but also free-ranging work is drawn from ideas for a much earlier work in four movements, Fantasy dating from the 1980s. Kai Nieminen has been for a long time an admirer of the work of artist Paul Klee (1879-1940), and the solo presented in its final form here is influenced by the painting Dances caused by Fear or as it is often refered to Dancing from Fear painted towards the end of Klee's life in Bern, 1938. Having left Germany for Switzerland in December 1933, Klee's later works were often full of signs and lines, very often represented in black, depicting human figures or various objects against a variety of coloured backgrounds, in the case of this painting of a brownish hue. This development in his painting style and technique is felt by some to be an effect perhaps of his long-term illness, systemic sclerosis, but in the case of Dances caused by Fear there is suggested an atmosphere of panic and terror, an attempt to escape from horrors to come (World War II), represented in the violent movement of the arms and legs of the figures, and the dark, indeed brooding nature of the colours. In Kai Nieminen's guitar work Images of Fear, there is only a very brief passage of calm at the very beginning, after which come three main connected sections in which a wide range of musically unsettling ideas emerge one by one, making use of the tritone, minor seconds, glissandos, tamboura, campanella, etc. The third and final section incorporates the grouping of 5 sixteenth-notes, to give an uneasy feeling to the music, with a short haunting and pleading five-note phrase (Cantando) heard immediately following this passage, before the work ends with further glissandos, and distant and diminishing harmonics. As with Kai Nieminen's other guitar works, the use of 'orchestral colour' is vital to the performance, and passages suggestive of for example brass, strings, woodwind, etc., should be taken into account and played with suitably considered contrast of tone. John Mills.
SKU: BT.DHP-1053811-401
ISBN 9789043122382. 9x12 inches. English-German-French-Dutch.
The pop songs in this collection of well-known 50â??s, 60â??s and 70â??s hitshave been carefully adapted and arranged to make them suitable forplaying on a classical or acoustic guitar. The pieces have beenordered by difficulty, beginning with pieces in which the melody andbass notes are struck separately and gradually progressing to moredifficult pieces where a slightly more advanced technique is required. De songs in deze verzameling van bekende hits uit de jaren vijftig, zestig en zeventig zijn zorgvuldig aangepast en gearrangeerd om ze geschikt te maken voor klassiek of akoestisch gitaar. Ze zijn oplopend in moeilijkheidsgraad, beginnendmet nummers waarin de melodie- en basnoten ongelijk worden aangeslagen, gevolgd door gaandeweg moeilijker nummers. Een tijdloze verzameling.Dieses Buch ist ein absolutes Muss für alle Musikfans. Es ist perfekt geeignet für Spieler von klassischen oder akustischen Gitarren, die auf der Suche nach leichten, aber pfiffigen Bearbeitungen der Hits der vergangenen Jahrzehnte sind. Die Stücke steigen im Schwierigkeitsgrad allmählich an; die ersten Lieder sind noch vielleichter zu spielen, da die Bass- und Melodienoten separat angeschlagen werden. Eine zeitlose Sammlung, die sicher immer wieder aufs Neue durchgespielt wird!All Time Guitar Hits est le recueil indispensable pour tout amateur de grands succès des dernières décennies. Les arrangements sont techniquement accessibles la plupart des guitaristes classiques ou acoustiques. Les pièces ont été classées de façon progressive en fonction des difficultés techniques quâ??elles contiennent. All Time Guitar Hits è una raccolta indispensabile per tutti gli amanti dei grandi successi del decennio passato. Gli arrangiamenti sono tecnicamente accessibili alla maggior parte dei chitarristi. I brani sono raccolti in modo progressivo in funzione delle difficolt tecniche che contengono.
SKU: DY.DO-1522
ISBN 9782897963026.
Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux Ã?tats-Unis.Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. Ã? Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.
SKU: MB.30105M
ISBN 9780786691692. 8.75 x 11.75 inches.
The Art Of Lutherie offers a glimpse into the mind and craft of luthier Tom Bills, whom many consider to be one of the most talented luthiers today. In this beautifully written and enjoyable read, Tom elegantly and clearly shares his best-kept secrets and methods of custom guitar making - those which make his guitars favorites among top collectors and players. Toms unique approach to The Art Of Lutherie will empower and inspire you to create more than just a guitar, but a truly unique work of art. The information that is generously shared within this insightful and timeless work is both practical and applicable. It contains the same hard-won wisdom that only comes from years of experience and experimentation that Tom uses in creating his inspiring instruments. Over the years, he has produced instruments considered to be some of the best sounding guitars ever made. Learning the steps of how to build a guitar is important, but understanding why master luthiers take those steps and make those decisions can empower you to make your own educated choices. This will allow you to create unique guitars, and the world needs your art, your guitars - your important contribution. The Art Of Lutherie, a truly unique and inspiring guide, can prepare you to reach new heights when designing and creating unique guitars.It is not often I heap such lavish praise on people; however, Tom is in this case more than deserving: I know of no other luthier whose work I respect more. Tom knows his craft inside and out; he pours his soul into every guitar he makes; he uses cutting-edge science to guide his work, and it shows...as head of Artist Relations and Product Development at Mel Bay, it gives me great pleasure to publish Toms work, which will no doubt take the art of lutherie to a new level. I hope youll spend some time soaking in this book - it will certainly augment your musicality - Collin Bay. Includes access to online video.
SKU: HL.120772
ISBN 9781480350519. UPC: 884088917463. 9.0x12.0x0.687 inches.
55 song highlights from the history of ASCAP, celebrating their representation of some of the best songwriters of all time. Songs include: Ah! Sweet Mystery of Life * Ain't No Mountain High Enough * As Time Goes By * At Last * Before He Cheats * Bleeding Love * Blue Skies * Defying Gravity * Gonna Make You Sweat (Everybody Dance Now) * I Will Survive * Just the Way You Are * Livin' on a Prayer * Moon River * My Funny Valentine * Over the Rainbow * Raindrops Keep Fallin' on My Head * Single Ladies (Put a Ring on It) * Someone to Watch over Me * Tenderly * The Way We Were * We've Only Just Begun * You Are the Sunshine of My Life * and more. Includes an introduction by ASCAP, a foreword by Paul Williams, song notes by decade, plus photos!
SKU: 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 BIRAGHIAu 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 àlaquelle 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'à Âuvre m'a amené àtrouver des titres qui invitaient l'interprète àapprofondir l'inspiration esthétique de l'à Âuvre. J'ai donc suggéré àGiorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu àquatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée àla Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue àla manière de Buxtehude (qui vivait àLübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né àHalle - 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 àMagdebourg. 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'à Âuvre 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'à Âil 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 à Âuvres 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'àcelle 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'à Âuvre 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'àla fin de la Chaconne de Magdebourg. Je souhaite àGiorgio et àë notre û 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.
SKU: HL.256650
ISBN 9781540015303. UPC: 888680723699. 9.0x12.0x0.78 inches.
This updated 7th edition coffee table collection is a Disney lover's dream come true! It is a guided tour through the many legendary years of Disney music. The book begins with an extensive musical history of Disney, followed by beautiful piano/vocal arrangements of 70 Disney classics. Printed on deluxe stock with more than 100 stunning full-color illustrations accompanying the text and music, this book is a keepsake to treasure for years to come! Songs include: Bibbidi-Bobbidi-Boo (from Cinderella) * Circle of Life (from The Lion King) * Evermore (from Beauty and the Beast) * How Far I'll Go (from Moana) * I See the Light (from Tangled) * Let It Go (from Frozen) * Under the Sea (from The Little Mermaid) * When You Wish Upon a Star (from Pinocchio) * You've Got a Friend in Me (from Toy Story) * and more.
SKU: FG.55011-324-4
ISBN 9790550113244.
Quadri Morandi (2014) ties together two essential themes of Kai Niminen's (b. 1953) compositional style: guitar and a subject inspired by Italy. The strong presence of the guitar in his works is natural since he is in an actively performing guitarist himself, and guitar works indeed play a significant role in his oeuvre. Moreover, he has written plenty of orchestral music; for instance two symphonies, numerous concertos, and chamber music. In the field of Finnish music he is a composer who can be characterized as free from any specific school or style. In his musical language, free tonal in essence, one can detect traces of Impressionism, Neoromanticism and even Expressionism at times, but he is also willing to employ more recent 20th-century stylistic devices. Nieminen has mentioned that he finds himself very similar to Japanese Toru Takemitsu both musically and in thought. Mediterannean culture and Italy especially have been close to Nieminen's heart ever since he first visited the country and appeared in the jury of the international Fernando Sor guitar competition in 1981. He has composed a great number of works which refer to Italian landscapes or artists. The work Quadri Morandi (Morandi's pictures) is written in four movements. It has at its centre the painter Giorgio Morandi (1890-1964), who is known as a master of still lifes and landscapes painted in a plain manner and is subdued colours. Their atmosphere typically reflects a calm spirit. This is the third guitar work that nieminen has written for Kleemola. It is easy to find a counterpart for the encaptivating realm of Morandi's art in Nieminen's clear and pure expression. The titles and expression markings also include several references to Morandi. For example, in the opening movement Prelude the words la Natura morta (still life) appear as an additional note on the chord sequence following the freely flowing opening section. At the end of the movement one can hear rhythmic motif coloured with flageolets that repeats the syllables of the painter's name: Gior-gio Moran-di. A similar motif can be heard at the end of the second movement Quasi cadenza. The tranquilly breathing third movement Paesaggio (landscape) creates an illusion of landscape by imitating the echo of monastery bells (come campane del monastero) and at the same time refers to il monaco (the monk), the name by which Morandi was often called. The final movement Ritratto (Portrait) is the most extensive of all the movements and can be seen, with its recurring motifs, as a reflection of the stable yet subtly varying elements of Morandi's art. The work ends with the rhythmic motif that once more echoes Morandi's name, like signature.
SKU: HL.14011400
ISBN 9780711956056. 9.0x12.0x0.052 inches. English.
A fun space adventure musical full of information on technology, the solar system and travel. Ideal as an end of term production at any time of the year. Duration: 45 mins. If you need to license a school/youth theatre performance of this product, please use the online application form.
SKU: MB.WBM52M
ISBN 9781733716994. 8.75x11.75 inches.
A collection of 19 flatpicking solos in the beautiful and rousing old-time style, reflecting the spirit of late 19th and early 20th century rural America. Written in standard notation and tablature. Includes access to online audio.Â
SKU: GI.G-9527G
UPC: 785147952770. English. Text Source: Psalm 98:1, 2–3ab, 3cd–4, 5–6 Revised Grail Psalms, ref. Lectionary for Mass
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: HL.242081
ISBN 9781785588617. UPC: 888680704407. 4.75x7.75x0.956 inches.
A pocket-sized collection of 195 Beatles hits presented in chord songbook format. Includes complete lyrics, chord names & a handy chord box reference sheet. Including classic hits such as: All You Need Is Love • Can't Buy Me Love • Day Tripper • Do You Want to Know a Secret • Eleanor Rigby • From Me to You • Get Back • Help! • Hey Jude • I Want to Hold Your Hand • Let It Be • Magical Mystery Tour • Ob-La-Di Ob-La-Da • Please Please Me • Ticket to Ride • Twist and Shout • and more.
SKU: BT.MUSAM996996
ISBN 9781849380140. English.
The Complete Guitar Player series has taught hundreds of thousands how to play and the accompanying songbooks have featured hits by Paul Simon, Elvis Presley, The Beatles, John Denver and many othertopartists.Now these songbooks are available in super value omnibus editions like this one. The songs are still graded by ease of playing and everything is there... standard notation, Guitar chord boxes, full lyrics andevenstrumming patterns!Over 180 great songs! Perfect for all players and singers!The bonus CD contains backing tracks to 16 of the songs in the book.
SKU: HL.146362
ISBN 9781495023354. UPC: 888680070212. 9.0x12.0x0.11 inches.
“The ultimate learning tool to go from zero to guitar hero in no time!†–Guitar World magazine Designed for electric or acoustic guitar. Get started quickly and easily – with songs you want to play! This method introduces notes with riffs like “Crazy Train†and “Smoke on the Water,†power chords with classics by AC/DC and the Who, chord-strumming with songs from Neil Young and Nirvana, and much more. The method's unique, well-paced, and logical teaching sequence will get students playing more easily than ever before, and music from popular artists like the Beatles, Jimi Hendrix, and Led Zeppelin will keep them playing and having fun. Book 1 includes: parts of the guitar, easy-to-follow guitar tablature, notes & riffs starting on the low E string, tempo & time signatures, understanding notes and rests, palm muting, vibrato, power chords, open chords, strumming, slides and slurs, hammer-ons and pull-offs, many music styles, nearly 100 riffs and songs, and more!
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