SKU: IS.G6764EM
ISBN 9790365067640.
This sonata (WeissSW No. 23, London) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XVII comes from Weissâ??s middle â??productiveâ?? period, thought to have taken place between 1719 and 1725. The original tablature manuscript is in the British Library (London Ms. Add. 30387). It is the only London Sonata with a title: Divertimento à solo. The Sonata has ten separate movements: Prelude (PrÇ£lude), Entrée, Bourée I and II, Gavotte I and II, Sarabande, Menuet I and II, and Saltarella. The Entrée is nothing more than an Allemande. The Saltarella resembles the Scottish Gigue. The pairs of the middle â??dancesâ?? are intended to be played side by side, as one coherent movement in which the second part complements the musical notion of the first part. There are concordant copies of the first parts of the Bourée, Gavotte and Menuet in the Sächsisches Landesbibliothek in Dresden (Suite XXVI). Bourée I can also be found in the Bayerische Staatsbibliothek in München, although it is quite different from the London version. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute, but rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to G major. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.
SKU: BT.MUSME0053
English.
By offering you the possibility to evolve in actual group situations, this coursebook not only teaches you how to perform, but also how to spice up your rock accompaniments. The enclosed CD contains 19 complete backing tracks (Drums, Bass & Guitar) on which you can play the numerous rock riffs and rhythm parts proposed in this coursebook contextually appropriately. In doing so, some of you will simply discover the pleasure of playing superb rock accompaniments, while others will use the interpretational ideas presented in this coursebook to further their personal style and create their own rhythm parts. Practicing your instrument is therefore as personal as your ownplaying because the choice is yours. The songs in this coursebook feature varying difficulties and cover diverse rock directions, such as classic rock, pop-rock, southern rock, slow rock, blues rock...Armed with this level of knowledge, you are fully prepared to meet all foreseeable future challenges.
SKU: BT.MUSME0040
By offering you the possibility to evolve in actual group situations, this coursebook not only teaches you how to perform, but also how to spice up your blues accompaniments.
The enclosed CD contains 20 complete backingtracks (Drums, Bass & Guitar) on which you can play the numerous blues riffs and rhythm parts proposed in this coursebook contextually appropriately. In doing so, some of you will simply discover the pleasure of playing superbblues accompaniments, while others will use the interpretational ideas presented in this coursebook to further their personal style and create their own rhythm parts.
The practice of your instrument is therefore aspersonalas your own playing because the choice is yours. The songs in this coursebook feature varying difficulties and cover diverse blues directions, such as Classic Blues, Boogie, Texas shuffle, Rhythm ‘n’ Blues or Slow Blues.Armed with this level of knowledge, you are fully prepared to meet all foreseeable future challenges.
SKU: MB.30667M
ISBN 9781513463971. 8.75 x 11.75 inches.
Johann Sebastian Bachâ??s arrangements of the â??69 Sacred Songsâ? from the Musical Hymnal by Georg Christian Schemelli (Leipzig, 1736) have long been part of the German language vocal concert repertoire and a mainstay in vocal pedagogy. Originally, only these 69 of the 954 hymns in the collection were published with a single bass line as the accompaniment. Bachâ??s contribution was to specify harmonies to be played over those same bass lines by adding figured bass numbers and symbols beneath each note.
A figured bass line can easily be turned into a relatively simple guitar accompaniment or a more elaborate setting, offering a range of possibilities that make working with this music both interesting and rewarding for the guitarist. While other period and modern editions of the â??69 Sacred Songsâ? offer accompaniments for keyboard instruments, this Mel Bay publication features intermediate to advanced transcriptions exclusively for the guitar.
Best suited to college-level players or advanced aficionados, this special Mel Bay Publications edition includes the vocal line with German lyrics and the guitar accompaniment transcribed from Bachâ??s figured bass lines. Written in guitar-friendly keys, 29 of the transcriptions employ a capo to achieve the original key designed for high voices. Without the capo, these same arrangements would be suitable to be sung by lower voices. The remaining 40 hymns are in their original guitar-friendly keys and so do not require a capo.
This volume contains accompaniment settings of all 69 of the sacred songs and arias for which Bach wrote figured bass annotation. For performance variety and convenience, this book includes â??Scores in their Original Keys,â? and stand-alone â??Guitar Accompaniment,â? and â??Bass Parts.
SKU: HL.146362
ISBN 9781495023354. UPC: 888680070212. 9.0x12.0x0.11 inches.
“The ultimate learning tool to go from zero to guitar hero in no time!†–Guitar World magazine Designed for electric or acoustic guitar. Get started quickly and easily – with songs you want to play! This method introduces notes with riffs like “Crazy Train†and “Smoke on the Water,†power chords with classics by AC/DC and the Who, chord-strumming with songs from Neil Young and Nirvana, and much more. The method's unique, well-paced, and logical teaching sequence will get students playing more easily than ever before, and music from popular artists like the Beatles, Jimi Hendrix, and Led Zeppelin will keep them playing and having fun. Book 1 includes: parts of the guitar, easy-to-follow guitar tablature, notes & riffs starting on the low E string, tempo & time signatures, understanding notes and rests, palm muting, vibrato, power chords, open chords, strumming, slides and slurs, hammer-ons and pull-offs, many music styles, nearly 100 riffs and songs, and more!
SKU: HL.50564705
ISBN 9781423406846. UPC: 884088012113. 9.5x12.5x0.024 inches.
Inch....this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken inch. (Oliver James,Contact Magazine) A novel and comprehensive approach to transferring from the C to F instrument. 430 music examples include folk and national songs (some in two parts), country dance tunes and excerpts from the standard treble repertoire ofBach, Barsanti, Corelli, Handel, Telemann, etc. An outstanding feature of the book has proved to be Brian Bonsor's brilliantly simple but highly effective practice circles and recognition squares designed to give, in only a few minutes, concentrated practice on the more usual leaps to and from each new note and instant recognition of random notes. Quickly emulating the outstanding success of the descant tutors, these books are very popular even with those who normally use tutors other than the Enjoy the Recorder series.
SKU: IS.G6761EM
ISBN 9790365067619.
This sonata (WeissSW No. 48, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIII comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIII is a large and mature piece. It probably dates to the last period of the life of Weiss. The Sonata has seven movements: Prelude, Allemande (andante), Courante, Bourée, Sarabande (andante), Menuet, and it ends with a Presto. The use of tempo indications for French dance movements is characteristic for the later work of Weiss. The purpose of beginning a lute sonata with a Prelude is to introduce the specific key and the harmonic design of the sonata. However, not every sonata in the Dresden manuscripts has a Prelude. About one third of the 34 Dresden Sonatas opens with a Prelude, but only six of them may be considered truly integral to the sonata. The other Preludes are composed in a rather â??rudimentaryâ?? style, as a model for the less experienced lute player to improvise on the central key and theme. They may have been added later in the copying process. The Prelude of this particular Sonata is regarded as spurious, in respect to composition, a rather weak addition. I have included the Prelude in this Edition, leaving it to the guitar player to judge whether it fits with the musical style and idiom of the Sonata or not. Originally, the Sonata is written in F sharp minor, a key often used by Weiss as it is appropriate for playing the lute, but rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a major second lower to E minor. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 2nd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 1st fret.
SKU: IS.G6763EM
ISBN 9790365067633.
This sonata (WeissSW No. 25, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIX comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIX comes from Weissâ??s middle â??productiveâ?? period, around 1720. The Sonata has seven movements: Prelude, Allemande (andante), Passepied, Bourée, Sarabande, Menuet, and it ends with a Gigue. There is another copy of this Sonata, known as Suite XIX, in a London Manuscript (British Library Ms. Add. 30387). The London version does not include a Prelude, and the Sarabande is completely different. The other movements are similar to those in the Dresden Manuscript. The Sonata in this Edition is based on the Dresden Manuscript. The purpose of beginning a lute sonata with a Prelude is to introduce the specific key and the harmonic design of the sonata. However, not every sonata in the Dresden and London manuscripts has a Prelude. About one third of the 34 Dresden Sonatas opens with a Prelude, but only six of them may be considered truly integral to the sonata. The other preludes are composed in a rather â??rudimentaryâ?? style, as a model for the less experienced lute player to improvise on the central key and theme. The Prelude in this particular Sonata cannot be regarded as integral. It has been added later, either by the compiler of the volumes or perhaps by Weiss himself. Originally, the Sonata is written in G minor, a key not often used by Weiss, but considered appropriate for playing the lute. With the guitar, however, the key is rather awkward. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to E minor. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.
SKU: BT.ALHE33778
French.
French guitarist, François Tomasi compiles a study method of the modern Guitar, filling a large gap. The first volume of For a Modern Guitar addresses fingering, chords and hand positions, understanding the 6 strings, ensemblemusic, the thumb, polyphony, arpeggios and chromaticims, amongst other aspects. Moreover, a detailed illustration of the Guitar is included, with all the parts of the instrument clearly labelled. For all aspiring guitarists,Tomasi's For a Modern Guitar cannot be missed.
SKU: MB.31007M
ISBN 9781513472393. 8.75x11.75 inches.
In musical styles ranging from blues to classical, jazz and modern Latin, the 32 original duets in this book are designed to improve sight reading on the guitar at all levels, beginner to advanced. Canadian guitarist and music educator, Michel H?roux suggests playing these short but complete pieces at different tempos, exchanging parts on repeats, playing select passages an octave higher, and analyzing the harmony?all towards becoming a better sight reader.Written in standard notation only, various meters and keys are explored; online recordings of the author double-tracking himself are provided to guarantee your success.
SKU: BT.SY-2953
German.
DIE NEUE GITARRENSCHULE by Heinz Teuchert is one of the most successful methods for classical guitar in German. Since it was first published in 1983, the guitar technique has evolved in many respects so that the need of a revised edition has become more and more evident. Prof. Michael Koch has taken up this mission and now presents the revised method in two volumes: the texts, parts of the playing material, and the appearance of the books have been modernized while preserving Teuchertââ¬â¢s methodical approach and the underlying structure of the method. One of its strengths is the diversity in terms of playing techniques and musical styles not only solo playing but also fingerpicking styles, flamenco techniques, and song accompaniment are taught. The BOOK CD AUDIO ONLINE packs also feature demonstration and play-along recordings of many pieces included in the books.DIE NEUE GITARRENSCHULE von Heinz Teuchert gilt als Standardwerk unter den deutschsprachigen Lehrbüchern für klassische Gitarre. Seit ihrer Erstveröffentlichung im Jahr 1983 hat sich die Gitarren-Spieltechnik beträchtlich weiterentwickelt, sodass die Notwendigkeit einer ÃÅberarbeitung des Schulwerks immer deutlicher zutage trat. Prof. Michael Koch hat sich dieser Aufgabe angenommen und die revidierte Neuausgabe in zwei Bänden vorgelegt: Die Texte, Teile des Spielmaterials sowie das Erscheinungsbild wurden modernisiert, während Teucherts methodischer Ansatz und die grundlegende Struktur des Schulwerks beibehalten wurden.
DIE NEUE GITARRENSCHULE zeichnet sich insbesondere durch ihre Vielseitigkeit aus, was die behandelten Spieltechniken und musikalischen Stilrichtungen angeht: Neben dem Solospiel werden auch das Fingerpicking, der Flamenco und die Liedbegleitung mit Akkorden vermittelt. Demo- und Mitspielaufnahmen vieler der enthaltenen Stücke stehen sowohl auf der beigefügten CD als auch online im MP3-Format zur Verfügung.
AUS DEM INHALT (Band 2):
Einführung in die fis-Stimmung Weiterführung des Lagenwechsels Barrégriffe Flamenco-Anschlag Die Bindetechnik Fortschreitende Solostücke und Duos Technische Kurzübungen
SKU: BT.EMBZ12280
This publication is a completely revised edition of our five-volume guitar tutor. In the decades since the first edition, the musical interests of our students and their practice possibilities have changed. To adapt to this, we have partly expanded and partly reduced the musical and technical material of the tutor.We have increased the number of recital pieces at all levels of difficulty, so that our students can spend longer on a varied repertoire at their respective level. We have first of all selected works from the Viennese classics for this purpose but have also enriched the repertoire of the tutor with numerous pieces from the Renaissance and Baroque periods. In volumes Iand II of the tutor we have given Hungarian folk songs and children's songs a significant amount of space. In the course of revision, we have expanded the material of these two volumes with simple arrangements of folk songs, nursery rhymes and flower songs, and we have provided very easy, but valuable material for instrumental study in particular for children aged between 6 and 10. We have also expanded the chamber music material to be found at the end of the volumes, because we believe that playing music together is the best way to make instrumental study a lasting experience for our students. The parts are relatively simple, so the works provide a musical experience almost immediately.
SKU: HL.50564707
ISBN 9781423406860. UPC: 884088012144.
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