by J. S. Bach arranged by Stanley Yates. For classic guitar. Stanley Yates Gtr. Classic, Baroque. Level: Intermediate. Book. Solos. Size 8.75x11.75. 192 pages. Published by Mel Bay Pub., Inc.

(Guitar Part). By Seth Himmelhoch, Andrew LaFreniere, and Louis Brown. For Guitar. This edition: Revised. Book; CD; Guitar (Suzuki); Method/Instruction; Suzuki. Suzuki Guitar School. Beginner. 24 pages. Published by Alfred Music

Guitar

SKU: GI.G-10078G

Composed by Tony Alonso S.J. This edition: Guitar edition. Sacred. Guitar part. With guitar chord names. 12 pages. GIA Publications #10078G. Published by GIA Publications (GI.G-10078G).

English, Spanish. Text Source: Daniel 3:57–88, alt.

Guitar

SKU: GI.G-10517G

Composed by Tony Alonso S.J. This edition: Guitar edition. Sacred. Guitar part. With guitar chord names. GIA Publications #10517G. Published by GIA Publications (GI.G-10517G).

English, Spanish. Text Source: English ref.: 1 Cor 10:16, Lectionary for Mass, English vss.: Psalm 116, The Abbey Psalms and Canticles, Spanish: Salmo 116(115) (R/. 1 Cor. 10), Leccionario Edición Hispanoamericana

Guitar - Level 3

SKU: LM.25154

Composed by Delia Estrada. Delia Estrada. Classical. Score. 7 pages. Editions Henry Lemoine #25154. Published by Editions Henry Lemoine (LM.25154).

ISBN 9790230951548.

ANONYME : Deux basses dances du XVIe siecle - The Sick Tune - ATTAIGNANT : Basse dance - Recoupe - Tourdion - ASKUE : A Jig - BACH J.C. : Danse - CUTTIN : The Squirrel's Toy - MOZART L. : Bourree - RAMEAU : Menuet - TELEMAN : Gavotte.

Guitar - easy

SKU: HL.49019327

58 Easy Pieces for Guitar. Arranged by Martin Hegel. This edition: Saddle stitching. Sheet music with CD. Guitar. Dieses Heft enthalt alles, was man fur den Gitarrenunterricht braucht: 58 leichte originale Gitarrenstucke von Aguado, Mertz, Diabelli, Carulli, Sor oder Carcassi, aber auch leicht spielbare Bearbeitungen der klassischen Musik aus den Bereichen Orchesterm. Softcover with CD. 46 pages. Schott Music #ED21305. Published by Schott Music (HL.49019327).

ISBN 9783795747558. UPC: 841886018204. 9.0x12.0x0.2 inches.

This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music. All pieces are recorded on the accompanying CD to make it easier for the pupils to study and master the works.

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.

Guitar solo

SKU: DZ.DZ-4280

Composed by Francis Kleynjans. Score. Les Productions d'OZ #DZ 4280. Published by Les Productions d'OZ (DZ.DZ-4280).

ISBN 9782898521973.

C’est un beau voyage aux travers des tonalités que je vous propose avec ces deux pièces.

La première Le chemin de croix expriment les 14 tableaux de la Passion du Christ par l’intermédiaire d’un simple arpège et de 14 tonalités différentes. Les 12 tonalités mineures qui débutent l’œuvre de façon parfaitement naturelle (ré, la, mi, si, fa#, do#, sol#, ré#, sib, fa, do, sol) sont suivi par deux tonalités majeures (ré et la) qui viennent conclurent l’œuvre comme une triomphante délivrance.

La deuxième pièce Labyrinthe reprend le même principe, mais de façon différente. Avec un autre arpège et des tonalités majeures et mineures qui s’enchainent en s’alternant d’une façon naturelle par le biais d’une légère mutation, nous égarant dans les méandres des tonalités, pour enfin nous retrouver dans le ton original, nous délivrant ainsi de ce grand labyrinthe (do, lam, ré, sim, mi, do#m, fa#, ré#m, lab, fam et do).

J’espère que les découvreurs de ces pièces auront le même plaisir que j’ai eu à les composer pour eux.

Francis Kleynjans

It’s a beautiful journey through the tones that I offer you with these two pieces.

The first The Stations of the Cross express the 14 scenes of the Passion of Christ through a simple arpeggio and 14 different tones. The 12 minor keys which begin the work in a perfectly natural way (D, A, E, B, F#, C#, G#, D#, Bb, F, C, G) are followed by two major keys (D and the) who come conclude the work as a triumphant deliverance.

The second piece Labyrinthe uses the same principle, but in a different way. With another arpeggio and major and minor tones which follow one another alternating in a natural way through a slight mutation, leading us astray in the meanders of the tones, to finally find ourselves in the original tone, we thus delivering from this great labyrinth (do, lam, re, sim, mi, do#m, fa#, re#m, ab, fam and do).

I hope that the discoverers of these pieces will have the same pleasure that I had in composing them for them.

Francis Kleynjans.

Guitar

SKU: GI.G-7868G

Composed by Tony Alonso S.J. This edition: Guitar edition. Lent, Lent 3 C, Easter 7 B, OT 7 A, OT 7 C, OT 8 B, OT 24 A, Sacred Heart A. Sacred. Guitar part. With guitar chord names. GIA Publications #7868G. Published by GIA Publications (GI.G-7868G).

English, Spanish. Text Source: Psalm 103: The Grail and Leccionario Edición Hispanoamericana Scripture: Psalm 103.

Guitar

SKU: GI.G-9451G

Composed by Rowland Hugh Prichard. Arranged by Tony Alonso S.J. This edition: Guitar edition. 1. Ascension. Tune Name: Hyfrydol. Sacred. Guitar part. With guitar chord names. 4 pages. GIA Publications #9451G. Published by GIA Publications (GI.G-9451G).

UPC: 785147945178. English. Text Source: Text I: William C. Dix, 1837–1898, Text II: Charles Wesley, 1707–1788, alt. Text by William C. Dix. Scripture: Revelation 5:9.

Guitar

SKU: GI.G-10569G

To Your Son Lead Us. Composed by Christian Leaños & Lourdes C. Montgomery. This edition: Guitar edition. Sacred. Guitar part. With guitar chord names. 2 pages. GIA Publications #10569G. Published by GIA Publications (GI.G-10569G).

Eng. ref.: Alan Hommerding. Text Source: Vss. based on Mary the Dawn, attr. Paul Cross, Span. ref. & tr. of vss.: Christian Leaños & Lourdes C. Montgomery, Eng. ref.: Alan Hommerding; Translation: Alan J. Hommerding. Text by Christian Leaños.

Guitar

SKU: GI.G-10442G

Arranged by Tony Alonso S.J. This edition: Guitar edition. Tune Name: The First Nowell. Sacred. Guitar part. With guitar chord names. 3 pages. GIA Publications #10442G. Published by GIA Publications (GI.G-10442G).

UPC: 785147044277. English. Text Source: English carol, 17th c.

Guitar

SKU: GI.G-10431G

Arranged by Tony Alonso S.J. This edition: Guitar edition. Tune name: Gloria. Sacred. Guitar part. With guitar chord names. 4 pages. GIA Publications #10431G. Published by GIA Publications (GI.G-10431G).

UPC: 785147043171. English, Latin. Text Source: Les anges dans nos campagnes, French carol, ca. 18th c., tr. from Crown of Jesus Music, London, 1862.