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: 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. � 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: M7.VOGG-85

ISBN 9783802400858.

Für alte und junge Hippies Mit über 100 Songs, die sich mit Spaß singen und spielen lassen. Von den Beach Boys, Joan Baez, Bob Dylan, Simon & Garfunkel, John Denver, Reinhard Mey, Fugees u. v. a. Dazu die richtigen Griffe, gute Gitarrenbegleitungen, Tabulaturen und alle Texte. Mit Hintergrundwissen und Entstehungsgeschichte zu den Liedern und ihren Interpreten. Alles Wichtige über die Gitarre und andere Folk-Instrumente. Songliste: Alberta, All around my hat, All my trials, Amazing grace, Banana-Boat (Day-O), Banks of the Ohio, Barbara Allen, Bella ciao, Can the circle be unbroken, Catch the wind, Cocaine, Colours, Come all ye fair and tender ladies, Days of '49, Der Deserteur, Der Winter ist vergangen, Die freie Republik, Die Gedanken sind frei, Die Moorsoldaten, Donna, Donna, Drill ye tarriers, drill, East Virginia, El condor pasa, Es dunkelt schon in der Heide, Es geht ein' dunkle Wolk' herein, Es saß ein klein wild Vögelein, Es zogen einst fünf wilde Schwäne, Go down, Moses, Greensleeves, Grizzly bear, Guantanamera, Gypsy Rover, Havah nagila, Heute hier, morgen dort, House of the rising sun, Ich komme schon durch manche Land, (La Marmotte), If I had a hammer, I'll fly away, In 1841 (Paddy works on the railway), Jackaroe, John Barleycorn, Joshua fit the battle of Jericho, Kalinka, Killing me softly, Kinder, Kisses sweeter than wine, Kumbaya, Lady in black, La-le-lu, La Marmotte, (Ich komme schon durch manche Land), Lady in black, Little beggarman, Lord Franklin, Matty Groves, Mein Vater wird gesucht, Mr. Bo Jangles, Nehmt Abschied, Brüder, Oh, freedom, Oh Susanna, Pick a bale of cotton, Plaisir d'amour, Pretty Peggy-O, Puff, the magic dragon, Sag mir, wo die Blumen sind?, St. James Infirmary, Santy Anno, Scarborough Fair, Should auld acquaintance (Auld lang syne), Sloop John B., Sometimes I feel like a motherless child, Stewball, Streets of London, Take me home, country roads, The bonny lass of FYVIE-O, The circle game, The cuckoo, The Foggy Dew, The last thing on my mind, The marvelous toy, There but for fortune, Three drunken maidens, The trees they grow high, This land is your land, Three drunken maidens, Trotz alledem, Turn, turn, turn, Über den Wolken, Un as der Rebbe singt, Waxie's Dargle, Wayfaring stranger, We shall overcome, What shall we do with the drunken sailor?, Where have all the flowers gone?, Whiskey in the jar (Gilgary Mountain), Will ye go, lassie, go (Wild Mountain Thyme).

SKU: LM.27608

ISBN 9790230976084.

Alfonsa y el mar - Bras dessus, bras dessous - Selena's dream - Yohna - Tea time frealing - Shoah des larmes - Suite irlandaise - Medley : Irish dance, Country medieval - Le Diset wedding - Miss - Percusion flamenca - Heretique - Mers et lunes.

SKU: UT.CH-387

ISBN 9790215328235. 9 x 12 inches.

Opus 114 is certainly one of Carulliâ??s most important didactic works, so much so that the author himself made a point of writing in the second edition of his famous Method op. 27 (1819): The student, when moving on to the second part, must continue to practise on the easy pieces which are to be found in opus nos. 50, 15, 35, 36, 93, 7 and above all in opus 114. He maintained this indication also in later editions of the Method itself, unlike what he did with other collections of studies which were no longer recommended.
The purpose of op. 114, in particular of the preludes, is clearly explained by the author himself in the preface of op. 265: I have already offered preludes in my opus nos. 71 and 114 to people, but they serve to study and learn to play all sorts of difficult passages, to practise modulating, and learn to improvise on the guitar. Carulli seems to want to provide his students with a large handbook of formulas typical of his musical writing and he does so by making use of the keys which, in his opinion, are most congenial to the guitar. In his Method he points out: Each instrument has its favourite keys: the guitar can be played in all keys, but the best ones are: A major and minor, D major and minor, E major and minor, C, G, F. The others are difficult; [â?¦]. However, some of the difficult ones are included but only in the fourth part. Of course, the easiness of a key essentially depends on the possibility of extensive use of the open strings, especially in the low notes, ensuring the accompaniment on the main degrees.
This edition has some unique features. First of all, it is the first complete modern edition of Carulliâ??s op. 114; it presents an important critical apparatus in which the Carullian technique is presented and analysed; finally, Carulli's original fingering is indicated in the score (including that of the thumb of the left hand) and the missing one was obtained from the comparison of his other fingerings present in other works. All this allows an easy and complete reading both for those who perform the pieces following the nineteenth-century performance practice with a historical instrument, and for those who play a modern instrument.