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.50564707
ISBN 9781423406860. UPC: 884088012144.
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: HL.50564705
ISBN 9781423406846. UPC: 884088012113. 9.5x12.5x0.024 inches.
SKU: MB.GW866
5.25X7.5 inches.
Blind Blake, Lonnie Johnson, and Big Bill Broonzy are among the most iconic performers of early country blues guitar. To master this musical language, it is a must for you to study their licks, techniques, and harmonic approaches.
In this lesson Ben Gateno presents three masterful solos from their repertoire. Each number is performed by Ben at full speed, as well as slowed downâ??all with focused views of each hand. In addition to teaching licks, riffs, and phrases from the tunes, Ben provides learning and practicing strategies that will help you use what you learn to enhance your own skills and find your own voice as an acoustic blues guitarist.
A detailed tab/music PDF file is included on the DVD with note for note transcriptions of the tunes taught. The original recordings are included in the Bonus Audio section. DVD is region 0 playable worldwide. 94-minute DVDTitles include LONNIE JOHNSON Away Down in the Alley Blues, BLIND BLAKE West Coast Blues, and BIG BILL BROONZY Stove Pipe Stomp
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: M7.GHE-906
ISBN 9783890449067. English.
The third volume of four volumes of Llobet's masterful transcriptions for solo guitar. His transcription of the Tchaikovsky Mazurka Op. 40 no. 5 is a brilliant achievement. Cécile Chaminade's charming Aire de Ballet no. 3 from 1925 for piano in Llobet's transcription is a first publication and a most welcome addition to the guitar repertoire by a famous composer. The Berceuse by Villar is a first publication of the version that Llobet used to perform, which is quite different to the UME edition. As a matter of interest, note that our 15-volume edition of Llobet's collected works includes no fewer than 60 first publications.
SKU: M7.GRG-106102100
ISBN 9783872523532. German.
Über 50 Rock- & Popsongs fu?r Akustikgitarre - vom kultigen Klassiker bis zum aktuellen Hit Das breite Spektrum des Repertoires vom 3-Akkorde-Stu?ck bis zum anspruchsvollen Chord-Melody-Arrangement ist Motivation fu?r den Anfänger und stellt dem Fortgeschrittenen Songmaterial zur Verfu?gung, mit dem er sich stilistisch und spieltechnisch weiterentwickeln kann. Viele Fotos und Informationen zu den Bands, Teilweise mit Noten & Texten, teilweise nur mit Chord Charts.
SKU: ST.H356
ISBN 9790220211867.
A noted writer on music as well as fastidious and highly esteemed composer, Bayan Northcott has a growing list of works to his credit. The guitar Fantasia is typical of his output in its vigorously expressive contemporary style that also looks back to the example of the classical masters. Antonis Hatzinikolaou has recorded the work on the NMC label (NMC D184), and guitarists everywhere will find it a significant addition to the modern repertoire.
SKU: BT.SY-2906
PRFENS inches. German.
The treble recorder and guitar are both very popular as individual instruments but are rarely heard together. Manfredo Zimmermann, working with his guitar partner Hans Brüderl, has written the music for It’s Cool for precisely this reason. The15 pieces in this collection are presented in increasing difficulty, matching the level of his Altblockflöte Vol. 1. These pieces vary in style, ranging from Renaissance melodies to original compositions. The accompanying CD contains tracks tolisten to and play along with. Separate individual parts for alto recorder and bass instrument (with chord symbols) complete the publication. A lovely and unique addition to the chamber music repertoire.Altblockflöte und Gitarre sind beide einzeln sehr beliebt, aber nur selten zusammen zu hören. Für eben diese reizvolle Besetzung hat Manfredo Zimmermann in Zusammenarbeit mit seinem Gitarrenpartner Hans Brüderl die Notenausgabe IT’S COOL geschrieben.Die 15 Stücke dieser Sammlung stimmte er in ihrem ansteigenden Schwierigkeitsgrad genau auf sein Schulwerk DIE ALTBLOCKFLÖTE Band 1 ab. Die große stilistische Bandbreite dieser Stücke reicht von Renaissance-Melodien bis hin zu neuen Kompositionen.Die beiliegende CD enthält Tracks zum Anhören und solche zum Mitspielen. Separate Einzelstimmen für Altblockflöte sowie für ein Bassinstrument (mit Akkordsymbolen) runden die Ausgabe ab. Ein schöner und nicht alltäglicher Einstieg in die Welt derKammermusik!
SKU: MB.30897M
ISBN 9781513472799. 8.75X11.75 inches.
This unique anthology enhances the voice and classic guitar repertoire with newly revised transcriptions of many of the most popular works of Schubert, Mozart, and Giuliani. It also includes four folksongs arranged by noteworthy mid-nineteenth-century English composer/guitarists.The 22 selections in this book lie well within the technical reach of vocalists and guitarists alike and will make an engaging addition to concert and recital programs. As the human voice brings an added lyrical dimension to any musical performance, audiences will love this music.Includes an outstanding online audio recording by the author and soprano, Kate Rawls.
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