SKU: MB.WBM75M
ISBN 9781737795353. 8.75X11.75 inches.
This is a collection of 86 guitar solos in notation only from William Bayâ??s books, Solo Guitar in Worship, Communion, Psalms, Timeless Gospel Melodies and Spirituals. The solos work well as preludes, offertories, communion hymns, recessionals or they can be played for enjoyment. All 86 solos have been recorded and are available as online downloads with this book.
SKU: MB.WBM58M
ISBN 9781736363058. 8.75x11.75 inches.
A comprehensive collection of 172 guitar solos for the flatpick or plectrum guitarist. All solos are written in standard notation with accompanying online recordings by the author. The solos include beautiful American, British and Celtic airs and ballads, Celtic dance tunes, lute and early music, popular classical repertoire and contemporary etudes. Includes access to online audio.
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: MB.30780M
ISBN 9781513462714. 8.75 x 11.75 inches. Transcribed by Stefan Grossman.
This collection presents six legendary blues guitarists from the 1920s to early 1940s. Each has his own unique approach, style and techniques for playing. Some like Rev. Gary Davis favored regular tuning while Josh White was equally at home playing in Open D tuning as well as standard tuning. Lonnie Johnson is unique in his playing techniques as well as use of a D G D G B E tuning. Buddy Mossâ??s recordings influenced generations of Piedmont guitarists, especially Blind Boy Fuller. Bo Carter had one of the most unusual tonal approaches for playing blues, ragtime and novelty songs. And lastly there is Tommy McClennan. His recordings sound â??rough and tumbleâ? but once you explore the intricacies of his playing you will discover a powerful blues guitarist.
REV. GARY DAVIS: Cincinnati Flow â?¢ Piece without Words â?¢ Children of Zion â?¢ Twelve Gates to The City
BO CARTER: Letâ??s Get Drunk Again â?¢ Nobodyâ??s Business â?¢ Honey â?¢ What You Want Your Daddy to Do
BUDDY MOSS: Oh Lordy Mama â?¢ Sleepless Night â?¢ Someday Baby (Iâ??ll Have Mine)
JOSH WHITE Crying Blues â?¢ Bad Depression Blues â?¢ High Brown Cheater â?¢ My Soul Is Gonna Live With God â?¢ Pure Religion Hallilu
LONNIE JOHNSON: Away Down In the Alley Blues â?¢ Stomping â??Em Along Slow â?¢ Blue Ghost Blues There Is No Justice â?¢ Helena Blues â?¢ Sittinâ?? On A Log â?¢ Corn Bread Blues
TOMMY McCLENNAN: Blues as I Can Be â?¢ Iâ??m Goinâ??, Donâ??t You Know â?¢ Love With a Feeling â?¢Â New Highway No.51 â?¢ Drop Down Mama
HOW TO USE THIS BOOK: 1) Listen over and over to the original recordings available via the download link for this collection. 2) Get a program that can control digital audio files. Use this with the transcriptions and the recordings. 3) Be patient!! Practice, practice and practice some more!!
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: GI.G-4005G
This is the guitar version. There's a style here for everyone: robust metrical hymns like When the Lord in Glory Comes, the lyrical Joyful Is the Dark, Come to Me O Weary Traveller with a beautiful early American flavor, and the classically influenced Jesus on the Mountain Peak. In addition to Bob's original texts, works by Timothy Dudley-Smith, Brian Wren, and Sylvia Dunstan are also included. CONTENTS: LIVING WATERS (G-3630) • ENTER IN (G-3837) • THE WORD IS IN YOUR HEART (G-3838) • WHEN THE LORD IN GLORY COMES (G-3841) • JOYFUL IS THE DARK (G-3845) • GOD BE IN MY HEAD (G-3854) • PSALM 103: OUR GOD IS RICH IN LOVE (G-3858) • ALL WHO HUNGER (G-3859) • COME TO ME, O WEARY TRAVELER (G-3860) • WE GATHER IN WORSHIP (G-3861) • WE ARE A CHOSEN PEOPLE (G-3875) .
SKU: BT.MUSCH80344
ISBN 9781849385954.
This folio contains 20 of Gabriel Yared’s best-loved pieces specially arranged for classical guitar, including themes from The English Patient, Betty Blue and The Talented Mr Ripley.Eachpiece is demonstrated by the arranger on the included CDs. Four of the pieces are presented in arrangements for guitar duet, and the second CD includes alternative play-along versions each giving prominence to one partor theother.
SKU: AP.40671
ISBN 9788863881622. French.
Vous repousserez les limites de votre connaissance en matière de jeu improvisé, avec ce livre ultime et passionnant, qui démarre là où les leçons sur l'improvisation s'étaient achevées dans Guitare Jazz/Niveau Moyen. Les sujets présentés traitent de l'improvisation sur les accords de dominante altérés, de la gamme diminuée, de la gamme unitonique, des cibles sur les accords altérés, des traits en boucle, des modes, des gammes mineures et bien d'autres choses encore! Via des diagrammes aises à lire et des phrases d'exemple, ce livre contient toute l'information essentielle dont peu avoir besoin le guitariste de jazz attiré par l'improvisation.
SKU: PR.114423450
ISBN 9781491135365. UPC: 680160687534.
Imagination mixed with local authenticity are among the hallmarks of the legendary Argentinian composer and guitarist Pujol. TRES PIEZAS VIAJERAS is clothed as a travelogue, yet it is also a dance suite bringing together the main musical genres of the Rio de la Plata district of Buenos Aires. The “Bremen†movement (composed in Germany) is a modern tango, “Pesadumbre†is a slow milonga (an older folk dance that gave rise to tango), and the “Ezeiza†movement is an urbanized treatment of the candombe dance, known for its dizzying speed. Each movement may be played separately as well as in the complete setting making this work a versatile and stimulating addition to the repertoire.TRES PIEZAS VIAJERAS (Three Traveling Pieces) emerged during a trip to Germany in 2021. Its three movements bring together the three musical genres of the Rio de la Plata area: Tango, Milonga, and Candombe. “Bremen†is a characteristic modern tango written on a bass line that “walks†the heaviness of an urban and warm rhythm. “Pesadumbre†(Sorrow) is an air in Milonga Campera style (Milonga from the countryside), in a slow tempo, portraying the lethargy of a melancholy siesta. “Ezeiza†(a town near the international airport in Buenos Aires) is an air in Candombe style: an urban Candombe of great rhythmic vivacity. It presents a rhythm that at times bumps into itself and, at other times, reaches an extremely fast, dizzying, and violent rhythm.Las TRES PIEZAS VIAJERAS surgieron durante un viaje a Alemania en el año 2021. Son tres piezas que reúnen los tres géneros musicales del área del Rio de la Plata: el Tango, la Milonga y el Candombe. “Bremen†es un caracterÃstico tango de vanguardia escrito sobre una lÃnea del bajo que “camina†la pesadez de un ritmo urbano y caluroso. “Pesadumbre†es un aire de Milonga Campera, de tiempo lento, andante, que nos cuenta el letargo de una melancólica siesta. “Ezeiza†es un aire de Candombe. Un Candombe urbano de gran vivacidad rÃtmica. Nos propone un ritmo que por momentos se tropieza consigo mismo y, en otros momentos, alcanza un ritmo extremadamente rápido, vertiginoso y violento.
SKU: HL.49010941
ISBN 9790540010010. 9.0x12.0x0.031 inches.
Contents: Isa y Vuelta (Carlos Cruz de Castro) * Quimerico (Jaume Torrent) * Sempere (Tomas Marco) * Tripico dodecafonico (Jaume Torrent) * Variaciones sobre el Yenyere (Flores Chaviano).
SKU: 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.
SKU: M7.GHE-904
ISBN 9783890449043. English.
In contrast to Llobet´s output of just 14 original works, his transcriptions for guitar number 118, a considerable quantity of an extremely high standard. These were a huge influence on the two generations of guitarists following Llobet some of whom mercilessly and anonymously plundered and disfigured them for their own use! Being also an accomplished pianist, Llobet was in a better position than any other of his contemporaries to transcribe the German Romantic Masters, as well as the piano music of Albéniz and Granados, among others. Transcribed by Llobet mainly during his formative years these transcriptions are masterpieces which transcend their original setting. In his early career, Segovia played many transcriptions of Llobet, eg Bach's Prélude in Dm, Sarabande, Bourrée, Gavotte. This volume is highly recommended.
SKU: SP.TS169
ISBN 9781585602698. UPC: 649571001698.
Classic Carols for Fingerstyle Guitar published by Santorella Publications with performance CD is our best-selling Christmas title for Classical Guitar. Arranged and performed by the author, editor and arranger Jerry George, who began studying guitar at the age of twelve. Jerry graduated with a Bachelors Degree from Jersey State College and from there, pursued graduate studies in guitar performance, focusing on classical guitar with eminent concert artist Leon Atkinson and auditing master classes with Jose Tomas, both students of Andres Segovia. George's professional experiences includes recording, television credits, live performances and arranging which is evidenced by these additional solos available from Santorella Publications; Bolero, Ave Maria and Let There Be Peace On Earth. Classic Carols for Fingerstyle Guitar, written in standard notation and tablature, includes a recorded solo performance of the following Classic Carols by the author, Jerry George. Angels We Have Heard on High - O Come, O Come Emmanuel - Joy to the World - O Christmas Tree - God Rest Ye Merry, Gentlemen - Away in a Manger - Jingle Bells - We Three Kings of Orient Are - It Came Upon a Midnight Clear - O Come All Ye Faithful - Deck the Halls - Jolly Old St. Nicholas - O Little Town of Bethlehem - Silent Night - We Wish You a Merry Christmas - Hark! The Herald Angels Sing - The First Noel - Good King Wenceslas - I Saw Three Ships - Coventry Carol - O Holy Night - Auld Lang Syne.
SKU: UT.CH-111
ISBN 9790215316317. 9 x 12 inches.
The three original pieces for guitar Notturno, Napolitana (popolar songs) and Roma (March for guitar), together with three transcriptions, are included in a manuscript of 36 pages, noting in the frontispiece “Transcriptions and compositions of F. Balilla Pratella sent as a tribute to M.R. Brondi (1920)”.These compositions follow a traditional language, and, in the tonality and the alternating themes, are an expression of Pratella’s folkloric vein, with cantabile and melancholy melodies, with the exception of the march, that show some echoes of the nineteenth century guitar masters’ way of composing.There is a characteristic use of the quartine with no alternated thumb forefinger tremolo, that immediately recalls the plectrum orchestra so much used by Pratella in his youth.The discovery of these pieces – which happened accidentally and saved them from certain destruction – contributes to enhance that period of great guitarist turmoil preceding Segovia, establishing itself at the beginning of twentieth century in Italy with three compositions from an author that, along with the Bonaccorsi and Colacicchi, anticipated that current – already initiated by the Fara, Gabriel, Caravaglios – which was, in the following decades, to go by the name of ethnomusicology.
SKU: M7.DUX-927
ISBN 9783868494037.
In six volumes, each containing 20 worldwide hits edited for guitar. All the songs are arranged for guitar solo in standard notation as well as tablature. In addition, there is the usual brief description, suggestions for strumming and picking, as well as the complete lyrics with chord tabs. With audio download. All pieces in this book were recorded by Michael Langer and can be downloaded via the included link or listened to on all popular streaming platforms (e.g. Spotify).
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