SKU: UT.DM-53
ISBN 9790215318168. 9 x 12 inches.
Avvicinare con semplicità ai primi elementi teorici della musica è lâ??obiettivo principale di questo volume di â??solfegginiâ??, pensato per piccoli allievi di chitarra ma adatto anche ad altri giovani strumentisti.Il contenuto del volume è presentato attraverso pagine illustrate che favoriscono la comprensione intuitiva e la memorizzazione dei diversi argomenti, ben adattandosi a tutte le â??trasformazioniâ??, le semplificazioni o gli approfondimenti, soprattutto di carattere pratico, che le attitudini e lâ??età di ogni allievo suggeriranno di volta in volta allâ??insegnante. Gli esercizi, finalizzati allâ??acquisizione progressiva della capacità di lettura della pagina musicale, si prestano allâ??elaborazione da parte dellâ??allievo e a semplici giochi di riconoscimento e di imitazione (lâ??insegnante suona - o canta - piccole cellule melodiche o ritmiche che lâ??allievo dovrà riconoscere, riprodurre con la voce o scrivere) che si suggerisce di proporre frequentemente per â??attivareâ?? attenzione e memoria e per favorire un immediato collegamento tra i suoni e i relativi simboli grafici che rischierebbero altrimenti di restare puramente astratti.Ogni lezione si conclude con una serie di domande che, sebbene poste in modo semplice e scherzoso, svolgono lâ??importante funzione di accrescere nellâ??allievo la consapevolezza di quanto sta imparando, aiutandolo a interiorizzare tutte quelle informazioni che troveranno immediata applicazione nello studio di uno strumento musicale. Sito Web: www.ciaochitarra.it
SKU: AP.1-ADV10026
UPC: 805095100266. English.
There are a lot of books on the market offering licks in the funk/fusion style but this book goes a lot further. The 16 challenging compositions by renowned Australian guitarist Peter O'Mara cover a variety of tempos and grooves and are presented using a real rhythm section (from Klaus Doldinger's Passport) to achieve maximum authenticity. Rhythm guitar riffs are integrated into the overall groove and there is plenty of room for improvisation as well. The audio play-along tracks are presented in an order of increasing complexity. CD 1 contains complete recordings of all instruments so that you can hear how each track can sound. CD 2 omits all guitar parts so that you can play along with the rhythm section and create your own soli and rhythm parts. MIDI files of all compositions are also included on CD 2. Titles: Funky Unity * African Heritage * Bad-Son * Livin' in L.A. * Power Tower * Scolclone * Learn from Stern * Got the News? * Shufflin' Hit * Da Fonk * Miles a Minute * Prototype * Hang Five * Spring Song * Dragon Fly * Kangaroo.
SKU: HL.50487147
ISBN 9790080123782. 9.0x12.0x0.15 inches. Hungarian, English, German. Dionisio Aguado; Zoltan Tokos.
Dionisio Aguado (1784-1849) was one of the most prominent Spanish guitar-players and composers of guitar works of his time. He lived and worked mainly in his native country. He enriched the classical guitar literature then emerging by numerous instructive works, among others by his Metodo de guitarra (published in Madrid 1825) in which he outlined and established the modern technique of the guitar. The present two-volume edition ( Vol. 1: Z. 12377, Vol. 2.: Z. 12378) contains the studies of Aguado's guitar method.
SKU: HL.49019931
ISBN 9790001152709. UPC: 841886011434. 9.0x12.0x0.234 inches.
The compositions by the greatest Brazilian tango composer and pianist Ernesto Julio de Nazareth (1863 -1934) are strongly influenced by Brazilian folk music. He preferred light entertainment, and his dance music has remained extremely popular in his home country until today. Heitor Villa-Lobos called him 'the true embodiment of the Brazilian soul'. Nazareth composed primarily choros music which is very common in Brazil, but it was his 25 tangos (25 Tangos Brasileiros for piano, Schott ED 7561) that made him famous.Three of these tangos have now been arranged for chamber music ensemble by Siegfried Schwab: Atrevido, Garoto and Carioca. With the slow Garoto being framed by the faster tangos Atrevido and Carioca, they are ideal for being performed as a cycle. The lively and characteristic tango rhythms are a valuable addition to any chamber music repertoire.
SKU: HL.14030698
SKU: HL.465668
ISBN 9781705165577. UPC: 196288070252. 9.0x12.0x0.165 inches.
This song collection features easy-to-follow charts with chords, lyrics, and basic tab to get you playing right away. For all guitarists! Songs include: Alive • Black Hole Sun • Drive • How You Remind Me • Hurt • I Will Follow You into the Dark • Learn to Fly • Lightning Crashes • Lonely Boy • Losing My Religion • Mr. Brightside • No Rain • One Week • Plush • Santeria • Say It Ain't So • Seven Nation Army • Smells like Teen Spirit • Under the Bridge • Use Somebody • When I Come Around • Wonderwall.
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: IS.G7353EM
ISBN 9790365073535.
Although Belgian composer Arthur Bosmans (1908 - 1991) was born in Brussels, he lived most of his life in Brazil, having gained Brazilian citizenship in 1953. He first moved to Rio de Janeiro in 1940 in order to conduct the Brazilian Symphonic Orchestra. Later, he became the chair of composition and conducting at the Music School of the University of Minas Gerais State in Belo Horizonte. He composed two works for solo guitar, the most famous of which is this suite entitled Brasileiras, consisting of five movements: Ponteio, Modinha, Batukada, Toada and Sorongo.
SKU: HL.49018720
ISBN 9790543504011. UPC: 840126938630. 9.0x12.0x0.158 inches.
SKU: IS.G6593EM
ISBN 9790365065936.
The nylon string guitar has always been Stefaan's first choice (in fact second after his wife of course, but don't tell his guitar). It's also the main instrument for his compositions. Stefaan teaches guitar for a living at the academy of Oud-Heverlee, Belgium. Inspiration comes from the classical masters, but also from players-composers like Ralph Towner, Egberto Gismonti. But a lot from what he knows know, and the way he plays has been influenced by fellow musicians he had the pleasure to play with.
SKU: IS.G6765EM
ISBN 9790365067657.
This sonata (WeissSW No. 4, 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 XXIV 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 XXIV comes from Weissâ??s late â??productiveâ?? period, after 1730. The Sonata has six movements: Prelude, Ouverture (including allegro and largo), Courante, Bourée, Menuet and Gavotte. There is another copy of this Sonata, known as Parte (or Partita) no. 11, in a London Manuscript (British Library Ms. Add. 30387). The London Manuscript seems to be incomplete. It does not include a Menuet and a Gavotte. The Sonata in this Edition is based on the Dresden Manuscript. However, both the Prelude and the Bourée are coming from the London copy. The Dresden Prelude is regarded as spurious, and the London Bourée is more lively and in balance with the other movements. In a few passages of the Ouverture and the Courante I have made some adaptions on the basis of the London manuscript, to create the best of the two versions. In the Ouverture I have omitted the repeat indications. There are two Menuets in the Dresden Sonata. One has been crossed in the original manuscript with the accompanying note: ist nicht von Mr Weis. The other one has been added later, probably by the compiler of the volumes. The original London Prelude of this particular Sonata is composed in a â??simplifiedâ?? style; a common practice for adding preludes to lute sonatas in the 18th century. I have added the original example to my transcribed version. Perhaps it invites others to make their own arrangement. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is 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 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.
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