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 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.

SKU: UT.DM-56

ISBN 9790215315891. 9 x 12 inches.

Questo secondo volume della collana Ciao Chitarra!!! si articola secondo la stessa struttura del primo sviluppandone gli intenti fondamentali: predisporre lâ??allievo a un atteggiamento attivo, di ricerca e di scoperta nei confronti della chitarra e favorire, insieme allo sviluppo graduale della tecnica e allíampliamento della conoscenza diretta del repertorio, la progressiva evoluzione della sensibilità musicale.
La â??sfidaâ?? è rendere piacevole e interessante non solo il momento in cui si suona ma anche quello in cui si studia, facilitando una vivace e dinamica interazione tra allievo, maestro e libro.
Le musiche scelte, che spaziano dal Rinascimento ai nostri giorni, si presentano in forma di brani solistici, duetti ed esercizi di tecnica che attraverso piccoli cambi di posizione della mano sinistra, note tenute, arpeggi, legati e scale di unâ??ottava, conducono lâ??allievo verso la conoscenza delle prime due posizioni sulla tastiera e lo avvicinano alle tecniche chitarristiche di base.
La diteggiatura della mano destra è stata volutamente omessa al fine di assecondare la spontanea articolazione delle dita che producono direttamente il suono. Tale articolazione, insieme al sincronismo, al coordinamento e alla ricerca della qualità sonora, andrà comunque sviluppata correttamente attraverso gli arpeggi e le piccole scale presenti nelle ultime pagine del volume.
Una grafica particolarmente accurata e le numerose illustrazioni da colorare a piacimento veicolano con incisività informazioni di carattere musicale e storico insieme a indicazioni di carattere pratico - quali lâ??accordatura e il cambio delle corde - spesso trascurate ma invece utili a sviluppare lâ??autonomia dellâ??allievo e a rendere ancora più diretta la sua interazione con la chitarra.
Sito Web: www.ciaochitarra.it

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 característico tango de vanguardia escrito sobre una línea 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 rítmica. Nos propone un ritmo que por momentos se tropieza consigo mismo y, en otros momentos, alcanza un ritmo extremadamente rápido, vertiginoso y violento.

SKU: BT.RSK200045

ISBN 9781912352548. English.

Learn to play rock and pop with Rockschool. These specially written arrangements develop the skills and techniques you need to help you achieve your musical goals.

For Rockschool's 2018-2024 Guitar series, Rockschool have commissioned arrangements of titles reflecting popular music's rich heritage in all its forms and have tailored each piece to make it exactly right for the grade. You can also use titles from Rockschool's Classics series as part of the syllabus.

The arrangements have been written and performed by top session musicians who have worked with some of the biggest names in rock, metal and pop. The tracks were recorded at Real World's acclaimed recordingstudios and feature live instruments and first rate performances for an unrivalled level of feel, authenticity and musicianship.

Featuring:

• Nirvana - Smells Like Teen Spirit
• Ed Sheeran - Thinking Out Loud
• Otis Redding - (Sittin' On) The Dock Of The Bay
• Taylor Swift - I Knew You Were Trouble
• Bryan Adams - Summer Of 69
• Creedence Clearwater Revival - Proud Mary
• 6 Rockschool Originals

Plus:

• Band and artist fact files with recommended listening
• In-depth walkthroughs of every track
• Easy-access downloadable audio
• Example tests and exercises
• Amp settings and tone advice for each track