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.14025762
ISBN 9780946005628. 6.0x8.25x0.14 inches. English.
The second book in this Duncle's Collection provides another 50 songs which can be addded to your repertoire. The book contains the words and music for some of Ireland's popular songs and ballads. Illustrated with period photographs from the 1920's and 1930's from the Father Brown collection. Play them all with only six chords!
SKU: UT.CH-191
ISBN 9790215322295. 9 x 12 inches.
Davide Anzaghi: SegovianaAndrea Cappelli: Corpo e animaFabio Luppi: Rondò delle quarteGian Paolo Luppi: Bagatelle per Andrés SegoviaMarco Reghezza: Fughetta sulle corde vuoteAlessandro Spazzoli: Preludio CoraleRoberto Tagliamacco: Homenaje a SegoviaPaolo Ugoletti: Omaggio a SegoviaOne outstanding feature of Andrés Segoviaâ??s artistic activity was the systematic way in which he commissioned new works from leading composers who were not guitarists. This highly original initiative proved to have historic consequences for the emancipation of the guitar from the rather provincial milieu of aficionados in which it was confined, enabling it to emerge as a major protagonist in its own right on the international music scene.To mark the 25th anniversary of his passing (1987-2012) I asked some composers to write a piece paying tribute to Andrés Segovia. Most responded with enthusiasm and I was able to perform their tributes to Segovia in the concerts honouring the memory of the Maestro I held in 2012 â?? in venues including the Ravenna Festival, the Ateneo in Madrid, the Royal Academy of Music, London, and the Meeting in Rimini, as well as many others. In my turn I dedicate this volume, containing a selection of these pieces, to the memory of the Maestro.The volume is undoubtedly enhanced by the inclusion of two further tributes to Segovia, both produced to accompany concerts I gave in 2012: a poem by Davide Rondoni and a portrait of Segovia by Roberto Casadio.(Piero Bonaguri).
SKU: BT.SY-2909
German-English.
With appealing melodies that would be right at home in catchy pop songs, Giuseppe Di Girolamoâ??s Guitar Poems indulges in the overwhelming beauty of the sound of the acoustic guitar. This publication contains all twelve pieces from Letters for You, supplemented by eight newly-composed titles that complete the collection. The pieces are presented progressively and contain comprehensive fingerings to make them as technically accessible as possible. Guitar Poems also includes first-rate demo recordings of all the pieces, performed especially for this edition by the young concert guitarist and international prize-winner Julia Trintschuk.Man schwelgt in der ganzen Klangschönheit der akustischen Gitarre und in eingängigen Melodien, die aus guten Pop-Songs stammen könnten: Das ist Guitar Poems von Giuseppe Di Girolamo. Die Ausgabe enthält sämtliche zwölf Stücke aus Letters for You, ergänzt um acht neu komponierte Titel, welche die Sammlung ideal abrunden. Alle Stücke wurden progressiv angeordnet und mit Fingersätzen versehen, um sie technisch noch leichter zugänglich zu machen. Ein zusätzliches Bonbon von Guitar Poems sind die erstklassigen Demo-Aufnahmen aller Stücke, die von der jungen Konzertgitarristin und mehrfachen internationalen Preisträgerin Julia Trintschuk eigens für diese Ausgabe eingespielt wurden.
SKU: GI.G-6118G
English. Text by John Henry Newman.
SKU: BT.MUSME0298
English.
As it is the most commonly used instrument in Bossa Nova, the Guitar stands at the very core of these 25 complete accompaniÂments; they are performed in the style of legendary Bossa Nova Guitar players such as Gilberto Gil, Stan Getz, Joao Gilberto, Baden Powell, Antonio Carlos Jobim and many more. Wistfully swaying rhythms and subtle chords are adorning the pages of this coursebook - admittedly, intended for learning purposes, yet, without ever disregarding the pleasure of playing. The approach to be followed for the interpretation of these 25 musical pieces is illustrated in detail within the three preliminary chapters of this coursebook: fingerstyle techniques, rhythmsand chords specific to Bossa Nova are accurately and meticulously explained to you. In addition to this, the DVD shows you all 25 musical pieces at their full length and at two different tempi: first, for demonstration purposes, recorded at actual playing speed, then at a slower speed, in order to give you the opportunity to practice and overcome the upcoming difficulties. For its part, the MP3 CD allows you to practice the musical pieces by playing them along to backing tracks of a proper length - once again at two different tempi: at a slower speed for practicing and at actual speed for playing contextually appropriately.
SKU: M7.GHE-801
ISBN 9783890448015. English.
We proudly present a new critical edition of the collected guitar works by Fernando Sor. Some titles in this edition may be new to some readers, eg the contents of volume 10. This new edition is the biggest new publishing undertaking for the music of Sor since the 1970s. Our editor Erik Stenstadvold is a noted expert on 19th century guitar music and publishes regularly in leading professional journals such as 'Soundboard' and 'Early Music'. His life-long preoccupation with Sor and his music, both as a performer and researcher, has resulted in an unsurpassed edition in terms of scholarly accuracy and practical usefulness. All relevant early sources have been consulted, often several different printed editions and manuscripts of a particular work. In each case the most dependable source has been chosen as copy text, on the basis of historical evidence and textual reliability. Variances and errors in the original scores are corrected and discussed in the comprehensive critical commentaries. All volumes contain detailed introductory notes that place the individual works in their historical context and discuss particular notation problems. Suggestions for the interpretation of ornaments are also provided. In Volume 1 and 2 (Studies), Sor's likely purpose of each individual study is discussed in relation to the technique and fingering principles he describes in his 1830 Méthode. The music scores are produced at 'concert size' with clear and accurate music engraving and high-quality German printing. Original fingering is retained, but in order to make the music more accessible to players in general, editorial fingering has been judiciously added in works with little or no indications in the original editions. Added fingerings are easily distinguishable from the original ones by their different typefaces. The guitar duos come with full-size study scores and separate parts. As an optional extra we offer a 'pocket' size score with all the duos (188 pages, 17 x 24 cms). Each volume has its own thematic index with incipits and the pages include headers to assist navigation. We offer, at a special low price, an optional thematic index volume referenced to the complete edition, which is of practical use (product number GHE 896).
SKU: GH.GE-11464
ISBN 979-0-070-11464-6. A4 inches.
Work note by the composer: When I received the news of this commission, I had no idea what it would lead to. Writing for guitar solo is not the same as composing for orchestra where you have forty voices where you can easily mask an entire section. Here you are very naked to the bone. The starting point for this work was from J.S. Bach's Chaconne in D-minor that Johannes had performed in concert, originally written for violin but there is a version transcribed for guitar and piano made by Ferruccio Busoni. When I went to Cortona (in Tuscany, Italy) completed the southern mentality of this work. Arpalineais actually a merged word in Italian language. Arpa means harp, however in a musical context it's more or less resembled with the word arpeggio, which means broken chords. Lineameans line. The work is divided in three parts. I. Arpeggio: It starts with an opening chaconne-like sequence and is marked with a certain depth in which the chords starts to separate from the organum note in the bass and it culminates into a section called with rhythmical focus. These sections alternates, variates which each other. The middle section has a playful and childish atmosphere where the guitarist knocks on the body of the guitar resembling a Spanish folk instrument cajon. This is leading to a section which tends more to a very aggressive fusion-like riff that loses control and reaches its climax at the end. II. Linea: The static rhytmical pulse is now disintegrated and it forms more or less sort of a free, improvisational state in a rubatolike tempo. The character is described as a very hot day with temperatures rising above 37! C (or 100! F) where you can hardly do anything just sitting dozed off and pespiring because of the extreme heat watching a huge fog coming up in the evening that spreads around the Tuscan atmosphere. III. Finale: It starts off with fast one-note ostinati then more and more notes pop up like a gradual rain storm with thunder strikes! And eventually it leads to that is a large flood through the streets of an medieval Southern town. The work ends with a short circuit slapped strings along with extremely fast tremolos that reaches higher and louder as possible! Benjamin Staern
SKU: HL.50601174
8.25x11.75x0.048 inches.
After my work 'Furiant' of 2007, another guitar solo work has been written ten years later. The sonority of this album leaf is determined by a special scordatura based on the natural tone scale on C. Thus this intimate little “Rounddance†repeatedly sounds like the accompaniment to a Schubert Lied. –Johannes X. Schachtner.
SKU: PR.GHE0801
We proudly present a new critical edition of the collected guitar works by Fernando Sor. Some titles in this edition may be new to some readers, eg the contents of volume 10. This new edition is the biggest new publishing undertaking for the music of Sor since the 1970s.Our editor Erik Stenstadvold is a noted expert on 19th century guitar music and publishes regularly in leading professional journals such as ‘Soundboard’ and ‘Early Music’. His life-long preoccupation with Sor and his music, both as a performer and researcher, has resulted in an unsurpassed edition in terms of scholarly accuracy and practical usefulness.All relevant early sources have been consulted, often several different printed editions and manuscripts of a particular work. In each case the most dependable source has been chosen as copy text, on the basis of historical evidence and textual reliability.Variances and errors in the original scores are corrected and discussed in the comprehensive critical commentaries. All volumes contain detailed introductory notes that place the individual works in their historical context and discuss particular notation problems. Suggestions for the interpretation of ornaments are also provided. In Volume 1 and 2 (Studies), Sor’s likely purpose of each individual study is discussed in relation to the technique and fingering principles he describes in his 1830 Méthode.The music scores are produced at ‘concert size’ with clear and accurate music engraving and high-quality German printing. Original fingering is retained, but in order to make the music more accessible to players in general, editorial fingering has been judiciously added in works with little or no indications in the original editions. Added fingerings are easily distinguishable from the original ones by their different typefaces.
SKU: M7.GHE-702-96
ISBN 9783890447056. English.
HIS IS THE FIRST CRITICAL EDITION OF THESE WORKS AND IT OFFERS WE HOPE A STANDARD READING WHICH EXAMINES, WITH SOLUTIONS, MANY UNEXPLAINED DIFFERENCES BETWEEN THE COMPOSER'S MANUSCRIPTS, OUR EDITED MUSIC TEXT, AND PREVIOUS EDITIONS. 70 years after Ponce's death in 1948, we celebrate his life with a new critical-performing edition of his 24 Preludios newly prepared from the original manuscripts by Stefano Grondona. We proudly present a totally new edition with audio files of the 24 Preludios para guitarra. This is the first critical edition of the 24 Preludios para guitarra. The audio files of all 24 Preludios are played by Stefano Grondona and for download with a code printed in the book. This edition is really two editions in one. Not only is it a performing edition meticulously fingered by Stefano Grondona, but as well it is also an Urtext edition of the original manuscripts. Our pragmatic critical apparatus permits the player simply and clearly to see also what was in the original manuscripts, and what was not. With this publication it is now possible to clarify some long-standing issues relevant to our aim of presenting an accurate final music text; it is now possible to see where previous publications of this repertoire have varied with the manuscripts and how we have treated these situations in our edition, and how these were treated differently in previous editions. A comprehensive critical commentary is included together with copious historical and informative notes about the selection of the works and how and why our edition took its present form and content. At last we believe to have an edition which takes the form which the composer intended and new source material is also included, such as the Ramaugé ms for Prelude no. 6.
SKU: M7.GHE-701
ISBN 9783890447018. English.
We proudly present this new modern critical edition of Antoine de Lhoyer's Six Exercices Op. 27, originally published in Paris around 1812. These exercises, originally written for 5-string guitar, are remarkably advanced for their time and well worth playing; the rapid arpeggio patterns and daring harmonic shifts in some of them may bring even Villa-Lobos to mind. The Six Exercices Op. 27 were arranged by Giuliani and published some 7 years later under his name as Six Preludes Op. 83. The exercises were originally written for 5-string guitar. We have added alternative readings for using the 6th string, an often employed publishing practice of the period. The music is edited and fingered by Erik Stenstadvold, an authority on the guitar repertoire of the early 19th century. There is also an informative preface, with full biographical details and critical notes.
SKU: M7.DUX-3520
ISBN 9783868494105.
The whole idea behind the two editions of 'Play Guitar Powersteps' is to enable learners to progress rapidly. With the eight chapters providing a multitude of opportunities to delve into specific topics within a clearly laid-out structure, this addition to the Play Guitar series is the perfect companion for all the standard tutors. Powersteps 2: - A step-by-step guide to the most important guitar keys - 34 highlights from the teaching literature - all easy to play - Carefully devised teaching approach with a clear structure - Learn and Play including audio download With pieces by Antonio Muro - Vito Nicola Paradiso - Ben E. King - Cosimo Antitomaso - Michael Langer - Jaime Zenamon - Edson Lopes and many more ...
SKU: BO.B.3730
This method for guitar is practical and functional that pretends to be fun and motivating without losing academic rigor.Throughout the five books which complete the collection, are shown exercises, studies, works and songs belonging to various genres, styles and techniques (fingers or plectrum, for example) to play the guitar. As the title suggests, the method includes the study from all perspectives and is intended for use with any type of guitar (classical, acoustic or electric).The intention is to convey (in the elementary level) a comprehensive and unbiased knowledge, which students can study, fluidly, all possible ways of playing the instrument and start to find his own artistic path.
SKU: M7.DUX-3519
ISBN 9783868494099. German.
The whole idea behind the two editions of 'Play Guitar Powersteps' is to enable learners to progress rapidly. With the eight chapters providing a multitude of opportunities to delve into specific topics within a clearly laid-out structure, this addition to the Play Guitar series is the perfect companion for all the standard tutors. Powersteps 1: - Comprehensive introduction to playing tirando - 33 highlights from the teaching literature - all very easy to play - Carefully devised teaching approach with a clear structure - Learn and Play including audio download With pieces by Vincent Lindsey-Clark - Pink - Cosimo Antitomaso - Michael Langer - The Surfaris - Julio Sagreras - Reginald Smith-Brindle and many more ...
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