Méthode progressive, vol. 1 (franCais / english / español)64 p., Niveau 1Une nouveauté aux Productions d'Oz, forts actives dans le domaine de la pédagogie pour guitare. ConCue pour être utilisée avec un professeur, la Méthode progressive pour guitare de Claudio Camisassa se démarque des autres ouvrages pour guitaristes débutants. De très nombreux morceaux sur les cordes à vides (une quinzaine de pages) permettent à l'élève de se concentrer sur l'acquisition d'un bonne technique de main droite, seul le pincé étant abordé dans ce premier volume. La méthode qui s'appuie sur un répertoire original écrit par Claudio Camisassa, comporte de nombreux duos pour l'éléve et le professeur et, surtout pour l'éléve, un accompagnement optionnel en accord ou en arpèges des mélodies travaillées. Deux pages d'exercices journaliers simples mais réellement efficaces, accompagnées d'indications précises sur Ies techniques de jeu, complètent cette méthode au chemin pédagogique efficace et rigoureux.(FranCois Nicolas, Guitare Classique, 2e trimestre 2002)This well-presented volume takes students from the very beginning with four main objectives of Classical Guitar Magazine developing technique, sight-reading, basic chord accompaniments and duo playing, and assumes the student is working with a teacher. It is very methodical, beginning with photographs of hand positions etc, and gives explanations of both rest and free stroke from the start. The first musical examples are open string melodies with added chord symbols with plenty of varied exampIes, and blank staves are given for note-writing exercises and also for aural tests, both of which are useful ideas for reinforcing general musical understanding. Apart from chord symbols, the left hand is first introduced with natural harmonics at the twelfth fret in an effective two-part exercise Carillon, which requires right fingers and thumb. Combinations of open strings and right-hand arpeggios follow and the opening section is brought to a natural close with Valse des Harmoniques - nicely shaped and quite complex with its use of natural harmonics, but a bit over-long. Camisassa now introduces notes on each string, in turn, in first position, and more complex arpeggio patterns, illustrated by pieces utilising each new group of notes. 2-guitar arrangements of tunes including Frere Jacques and Au Clair de la lune and Alouette, gentille alouette work quite weIl with straightforward accompaniments. I liked Camisassa's Tango, and Recuerdo de mi infanta, a two-part milonga reminiscent of Cardoso. Favourites such as Greensleeves and Malaguena are also included, and there are many pieces by Camisassa included which aim to enforce musical ideas. I found the way this book progresses, and the technical and musical aspects it teaches, very good and very thorough. I found myself using it a lot as supplementary material to demonstrate technical points and for sight-reading. However, the majority of pieces written by Camisassa did not inspire me musically and would need to be supplemented with pieces of more characterful musical interest, particularly for young players, but this volume does have much to offer.(Linda Kelsall Barnett, Classical Guitar Magazine, June 2002) / Guitare

In this one-hour instructional DVD James Alan Shelton and George Shuffler demonstrate and teach the guitar techniques that helped change the role of the guitar in bluegrass music. The music of the Stanley Brothers and Ralph Stanley and the Clinch Mountain Boys has featured lead guitar work since Bill Napier and George Shuffler brought the guitar to the forefront of the Stanley's music in the late 1950s. This video begins with James Alan Shelton, the current lead guitar player for Ralph Stanley and the Clinch Mountain Boys, picking a tune with the legendary George Shuffler. James then interviews George regarding the development of his 'crosspicking? guitar technique. George demonstrates the technique and provides a guitar solo to one of the tunes he helped to make a bluegrass standard, 'Will You Miss Me.? George and James then pick 'Katy Dear? together and demonstrate their crosspicking talents. The instructional portion of the video begins with James Alan Shelton demonstrating the crosspicking roll and providing several exercises which will serve to train your right hand to gain skill with the crosspicking technique. James then teaches a 'turnaround? to 'Rank Stranger? which utilizes the crosspicking technique to 'fill in the gaps? between vocal lines. He then shows how to take the simple melody line of a song, 'Uncloudy Day,? and incorporate the crosspicking technique between the melody notes. Next, James teaches a crosspicking break to 'Bury Me Beneath the Weeping Willow? and follows that tune by demonstrating how to transform a Carter style guitar solo into a crosspicking solo using the song 'Wildwood Flower? as an example. The next section of the video features James teaching two of his original flatpicking tunes 'Road to Coeburn? and 'Tom's Creek.? This is followed by a fingerstyle performance of Ralph Stanley's favorite guitar number, 'Cannonball Blues.? James concludes the instructional portion of the video by talking about his selection of guitar strings, picks, and capos and provides 'tricks of the trade? to help you keep your flatpick in good shape. George and James both talk about their signature model Huss and Dalton guitars and the video concludes with George and James picking 'Banks of the Ohio? together. All of the songs that are taught in the video are transcribed in the accompanying transcription book. / Guitare (Flatpick) Et Plectre

Cumbees - Marizapalos - La Jotta. Par MURCIA SANTIAGO DE. The dances and sets of variations published in this volume come from the Codice Saldívar, a manuscript that was discovered by the Mexican musicologist Dr. Gabriel Saldívar y Silva in León (Mexico) in 1943. Although the title page of the manuscript is missing, we can assume with great certainty that it is the work of Santiago de Murcia. The manuscript dates from around 1732 and the handwriting, paper format and watermark are the same as those from another work by de Murcia. This collection demonstrates de Murcia's interest in a wide range of music for guitar and, like many other Spanish composers, the inspiration he found in the new sounds and rhythms brought home by the Spanish seafarers. The result is a rich and colourful feast of the baroque guitar repertoire./ Recueil / Guitare