SKU: UT.CH-289

ISBN 9790215325852. 9 x 12 inches.

Giovanni Podera: Fantasia (In memoriam Joaquín Rodrigo)
Marco Reghezza: Nana Estrellada
Marco Simoni: Junto a Rodrigo
Marco Smaili: Fronda de la tarde (Homenaje a Joaquín Rodrigo)
Paolo Ugoletti: Fuga a 4 voci

Following the successful publication of Homenaje a Rodrigo (2015), containing four pieces by Alessandro Spazzoli – one of which was performed in the presence of the composer’s daughter, Cecilia Rodrigo, during her visit to the International Convention in Alessandria –, here is the second volume. It contains more tributes to Rodrigo written on my input by five well-known Italian and Spanish composers, two of whom are also guitarists and have therefore written the fingering for their own pieces.
Giovanni Podera plunges us into a typically Rodrigo-like atmosphere with his evocative Fantasia, while the following three compositions are full of direct quotations from pieces also for guitar by the great composer from Valencia. Thus, Marco Simoni, in his expressive Junto a Rodrigo – which also provides the title to the volume – plays with themes taken from Junto al Generalife and from Dos piezas caballerescas for a cello ensemble as well as hinting at reminiscences of Tiento antiguo. As for Marco Smaili, in his impressionistic Fronda de la tarde, he evokes quite evidently Zarabanda lejana and Invocación y Danza, but there are more hidden references to Caminos de Santiago and even to the very famous Concierto de Aranjuez. Marco Reghezza builds his heart-breaking Nana estrellada on a sequence of chords used by Rodrigo in the fantasia ¡Que buen caminito!.
On the other hand, there are no direct quotations and echoes of Rodrigo’s way of writing in the Fuga a quattro voci by Paolo Ugoletti. However it was Rodrigo himself who constructed four-part imitative passages for guitar in Pasacalle and in the Ricercare of the Fantasia para un Gentilhombre. The close polyphony of the piece by Ugoletti may be considered as a tribute to this kind of craft shown by Rodrigo who, like Ugoletti, was able to write such dense and idiomatic counterpoint without being a guitar-player.
I am pleased that this volume comes out in the imminence of the 20th anniversary of the disappearance of the illustrious Spanish composer who gave so much to the musicians – and not only to them.
(Piero Bonaguri)

Muchas gracias por este emotivo y excelente musical homenaje a mi padre. La edición es excelente y la difundiremos con todos nuestros medios por las redes sociales a nuestro alcance. Ha sido un gran trabajo por su parte, fruto de sus grandes conocimientos guitarrísticos y su devoción por Joaquín Rodrigo.  Le reitero mi gratitud y mi felicitación con el ruego transmita a los cinco compositores mi felicitación y deseos de éxito.
(Cecilia Rodrigo).

SKU: DZ.DZ-4262

ISBN 9782898521799.

In this ambitious series, Bryan Johanson and Jesse McCann seek to address this missing element in the study of classical guitar. In light of the sheer volume of guitar music written over the centuries, not to men- tion early works by the guitar’s plucked-string relatives, the authors’ choices were by necessity limited to a select group of standards. These might be considered among the most popular works in the guitar canon, admired over the years by performers, students, and audiences alike for their beauty, musical expression, and idiomatic sonority. There are, of course, other pieces that could have been included. But by choosing works that give a broad survey of styles across musical periods (Renaissance, Baroque, Classical, Romantic, and early 20th century) written by some of the guitar’s most important composers, the authors present a com- prehensive cross-section of the essential repertoire for the instrument.
- William Kanengiser

Dans cette série ambitieuse, Bryan Johanson et Jesse McCann cherchent à aborder cet élément manquant dans l'étude de la guitare classique. En raison du volume considérable de musique pour guitare écrite au fil des siècles, sans mentionner les œuvres anciennes des instruments à cordes pincées apparentés à la guitare, les choix des auteurs étaient nécessairement limités à un groupe restreint de « standards ». Ces œuvres peuvent être considérées parmi les plus populaires du répertoire de la guitare, admirées au fil des ans par les interprètes, les étudiants et les auditoires pour leur beauté, leur expression musicale et leur sonorité idiomatique. Il existe, bien sûr, d'autres pièces qui auraient pu être incluses. Mais en choisissant des œuvres qui offrent un large panorama des styles à travers les périodes musicales (Renaissance, Baroque, Classique, Romantique et début du 20e siècle) écrites par certains des compositeurs les plus importants pour la guitare, les auteurs présentent une section transversale complète du répertoire essentiel pour l'instrument.
- William Kanengiser.

SKU: BT.REG9781898466666

ISBN 9781905908165. English.

This handbook is part of a series, compiled by the Registry Of Guitar Tutors that forms an expertly structured and comprehensive method of studying classical guitar. This handbook covers all the sections of the London College of Music Grade Six classical guitar examination including: all the set pieces: all scales, arpeggios and chords: sight reading: ear tests: and spoken tests. In addition, there are useful performance tips for all the pieces as well as essential advice on preparing for the examination - enabling you to study for an internationally recognized qualification. Even if you do not intend to take an examination, studying this handbook will help you to: learn appealingand inspiring pieces from a wide range of styles and periods: improve your sight reading and aural abilities so that you can learn new pieces more easily: develop your technical ability and musical understanding and so achieve your full potential as a guitarist.

SKU: BT.REG9781898466635

ISBN 9781905908134. English.

This handbook is part of a series, compiled by the Registry Of Guitar Tutors that forms an expertly structured and comprehensive method of studying classical guitar. This handbook covers all the sections of the London College of Music Grade Three classical guitar examination including: all the set pieces: all scales, arpeggios and chords: sight reading: ear tests: and spoken tests. In addition, there are useful performance tips for all the pieces as well as essential advice on preparing for the examination - enabling you to study for an internationally recognized qualification. Even if you do not intend to take an examination, studying this handbook will help you to: learnappealing and inspiring pieces from a wide range of styles and periods: improve your sight reading and aural abilities so that you can learn new pieces more easily: develop your technical ability and musical understanding and so achieve your full potential as a guitarist.

SKU: BT.MUSME0334

English.

With its 50 Blues rhythms inspired by the biggest hits of the greatest guitarists of all time (Eric Clapton, Buddy Guy, Albert King, Muddy Waters, Stevie Ray Vaughan, Robert Cray, Albert Collins, B.B. King, T-Bone Walker etc.), this tutorial will keep you pleasantly busy for quite a while. But there’s more to it than that! Besides affording pleasure, these rhythms allow you to discover and study the tools required for a good Blues accompaniment: triads, double stops, single notes, bends, barre chords, slides, hammer-ons, pull-offs, rest strokes, binary and shuffle rhythms, etc. All this is included in the guidelines given to you in the preliminary chapter –guidelines regarding the structure, the rhythm, as well as the chords employed. The DVD attached to the tutorial offers you the possibility to mindfully observe all 50 rhythms – first at actual playing speed, then at a slower speed. This again gives you the opportunity to closely follow the movement of the hands, to choose the right fingerings and keep a steady beat(!) For its part, the MP3 CD is composed of as many backing tracks as there are rhythms in the tutorial; the 50 backing tracks are recorded at two different tempi: the intended tempo (actual playing speed) and the rehearsal tempo (slower speed). On the backing track at actual playing speed the Guitar is only present during the first round, then it disappears, yielding the floor to you. The backing tracks provided here are of an appropriate length (about 4 to 5 minutes each, which sums up to almost 7h of musical practice). This means that you have enough time at your disposal to practice under the best conditions.