SKU: BT.DHP-1023231-401

ISBN 9789043117210. German.

Ich spiele Gitarre! ist eine neuartige Schule für Anfänger auf der Gitarre ab neun oder zehn Jahren. Jeder Band enthält viele bekannte Lieder verschiedener Musikrichtungen, wie z.B. Klassik, Pop, Blues oder Folk. Neu ist, dass in Ich spiele Gitarre! neben dem Spielen von Melodien auch besonderer Wert auf das Erlernen und Spielen von Akkorden gelegt wird. Schritt für Schritt wird der Gitarrenschüler in die Geheimnisse des Gitarrenspiels eingeweiht. Jede Menge Übungsstücke, lustige Spiele, Rätsel und Gehörübungen sorgen für viel Abwechslung. Selbst Improvisieren und Komponieren sind in den fünf Bänden dieser Schule ein Thema. Schon nach wenigen Wochen werden auchIhre Schüler stolz sagen können: Ich spiele Gitarre!“Band 3 behandelt: Das Kreuz und das Auflösungszeichen; Die Tonart G-Dur; Versetzungs- und Vorzeichen; Der e-Moll Akkord; Wiederholung C-Dur und a-Moll; G-Dur oder e-Moll?; Die D-Dur, h-Moll, F-Dur, d-Moll und A-Dur Tonleitern; Der D- und F-Akkord; Das Be; Sechzehntelnoten sowie über 40 Übungslieder.

SKU: DZ.DZ-4304

ISBN 9782898522215.

A tribute to the inspirational Brazilian guitarist Yamandu Costa, Shanghai is Australian slang for a slingshot. This is a term I remember from my childhood in north Queensland where a shanghai made from sticks and rubber was a prized possession for a young boy up to mischief. When pulled back the rubber stretches, and as it snaps back into shape, a stone or other form of ammunition is projected into the distance. This action reminds me of the dynamic and joyful qualities of Yamandu Costa’s performances. Shanghai aims to capture some of the energy, playfulness and musical expression Yamandu brings to everything he plays.

Hommage au guitariste brésilien Yamandu Costa, « Shanghai » est un argot australien désignant une fronde. C'est un terme dont je me souviens de mon enfance dans le nord du Queensland, où un « Shanghai » fabriqué à partir de bâtons et de caoutchouc était un bien précieux pour un jeune garçon prêt à faire des bêtises. Lorsqu'il est retiré, le caoutchouc s'étire et, lorsqu'il reprend sa forme, une pierre ou une autre forme de munition est projetée au loin. Cette action me rappelle les qualités dynamiques et joyeuses des performances de Yamandu Costa. Shanghai vise à capturer une partie de l'énergie, du caractère ludique et de l'expression musicale que Yamandu apporte à tout ce qu'il joue.

SKU: DZ.DZ-4278

ISBN 9782898521959.

Halfway between popular and classical music, Closer and Sidewalk are inspired by current acoustic guitarists where airy harmony rubs shoulders with catchy melodies.

À mi chemin entre la musique populaire et classique, Closer et Sidewalk s’inspirent des guitaristes acoustiques actuels où harmonie aérée côtoient mélodies accrocheuses.

SKU: IS.G6766EM

ISBN 9790365067664.

This sonata (WeissSW No. 52, 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 XXXIII is a unique copy. It 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 XXXIII is in the fifth volume. It belongs to a group of large and mature Sonatas of the late â??productiveâ?? period of Weissâ??s life, probably after 1740. The Sonata has six movements: Ouverture , Courante assai moderato, Bourée, Siciliana (a slow dance, but more cheerful than a Sarabande), Menuet, and it ends with a Presto. The Ouverture substitutes the traditional Allemande. It is more complex in structure, and includes a Largo, an Allegro (in the style of a Fugue), and a Vivace. The use of tempo indications for French dance movements is characteristic for the later work of Weiss. Originally, the Sonata is written in C minor, a key appropriate for playing a Baroque lute tuned in the D minor chord. However it is rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to A minor. 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: UT.CH-387

ISBN 9790215328235. 9 x 12 inches.

Opus 114 is certainly one of Carulliâ??s most important didactic works, so much so that the author himself made a point of writing in the second edition of his famous Method op. 27 (1819): The student, when moving on to the second part, must continue to practise on the easy pieces which are to be found in opus nos. 50, 15, 35, 36, 93, 7 and above all in opus 114. He maintained this indication also in later editions of the Method itself, unlike what he did with other collections of studies which were no longer recommended.
The purpose of op. 114, in particular of the preludes, is clearly explained by the author himself in the preface of op. 265: I have already offered preludes in my opus nos. 71 and 114 to people, but they serve to study and learn to play all sorts of difficult passages, to practise modulating, and learn to improvise on the guitar. Carulli seems to want to provide his students with a large handbook of formulas typical of his musical writing and he does so by making use of the keys which, in his opinion, are most congenial to the guitar. In his Method he points out: Each instrument has its favourite keys: the guitar can be played in all keys, but the best ones are: A major and minor, D major and minor, E major and minor, C, G, F. The others are difficult; [â?¦]. However, some of the difficult ones are included but only in the fourth part. Of course, the easiness of a key essentially depends on the possibility of extensive use of the open strings, especially in the low notes, ensuring the accompaniment on the main degrees.
This edition has some unique features. First of all, it is the first complete modern edition of Carulliâ??s op. 114; it presents an important critical apparatus in which the Carullian technique is presented and analysed; finally, Carulli's original fingering is indicated in the score (including that of the thumb of the left hand) and the missing one was obtained from the comparison of his other fingerings present in other works. All this allows an easy and complete reading both for those who perform the pieces following the nineteenth-century performance practice with a historical instrument, and for those who play a modern instrument.