SKU: DZ.DZ-4244
ISBN 9782898521614.
La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. Ã? ce moment-là , ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol#â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ??Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.Sonata No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ??B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.
SKU: HL.242081
ISBN 9781785588617. UPC: 888680704407. 4.75x7.75x0.956 inches.
A pocket-sized collection of 195 Beatles hits presented in chord songbook format. Includes complete lyrics, chord names & a handy chord box reference sheet. Including classic hits such as: All You Need Is Love • Can't Buy Me Love • Day Tripper • Do You Want to Know a Secret • Eleanor Rigby • From Me to You • Get Back • Help! • Hey Jude • I Want to Hold Your Hand • Let It Be • Magical Mystery Tour • Ob-La-Di Ob-La-Da • Please Please Me • Ticket to Ride • Twist and Shout • and more.
SKU: HL.146362
ISBN 9781495023354. UPC: 888680070212. 9.0x12.0x0.11 inches.
“The ultimate learning tool to go from zero to guitar hero in no time!†–Guitar World magazine Designed for electric or acoustic guitar. Get started quickly and easily – with songs you want to play! This method introduces notes with riffs like “Crazy Train†and “Smoke on the Water,†power chords with classics by AC/DC and the Who, chord-strumming with songs from Neil Young and Nirvana, and much more. The method's unique, well-paced, and logical teaching sequence will get students playing more easily than ever before, and music from popular artists like the Beatles, Jimi Hendrix, and Led Zeppelin will keep them playing and having fun. Book 1 includes: parts of the guitar, easy-to-follow guitar tablature, notes & riffs starting on the low E string, tempo & time signatures, understanding notes and rests, palm muting, vibrato, power chords, open chords, strumming, slides and slurs, hammer-ons and pull-offs, many music styles, nearly 100 riffs and songs, and more!
SKU: HL.114930
ISBN 9781480312579. UPC: 884088876326. 9.0x12.0x0.17 inches.
The revolutionary Hal Leonard Guitar Tab Method (HL00697411) is now available in a Spanish edition.
SKU: BT.MUSAM996996
ISBN 9781849380140. English.
The Complete Guitar Player series has taught hundreds of thousands how to play and the accompanying songbooks have featured hits by Paul Simon, Elvis Presley, The Beatles, John Denver and many othertopartists.Now these songbooks are available in super value omnibus editions like this one. The songs are still graded by ease of playing and everything is there... standard notation, Guitar chord boxes, full lyrics andevenstrumming patterns!Over 180 great songs! Perfect for all players and singers!The bonus CD contains backing tracks to 16 of the songs in the book.
SKU: HL.346730
ISBN 9781540094797. UPC: 840126925111. 9.0x12.0x0.329 inches.
Do-It-Yourself Guitar is a fun way to get started playing on your own. Using over 90 well-known pop and rock tunes, you will be given step-by-step instructions on what you need to know to get started and sounding like a pro in no time. Includes over 150 audio tracks for demonstration and play-along, plus video instruction that covers all concepts within! Covers: Guitar fundamentals; reading guitar tablature; fret-hand and pick-hand techniques; chords & chord progressions; scales; techniques for acoustic and electric guitar; lead guitar; fingerstyle guitar; playing styles of famous guitarists; demonstraton and play-along audio tracks; video instruction and demonstration; and more! The price of this book includes access to audio and video online, for download or streaming, using the unique code found inside. Includes PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right–available exclusively from Hal Leonard.
SKU: MB.31060M
ISBN 9781513468051. 8.75x11.75 inches.
As aspiring fingerpicking guitarists started expanding their horizons from folk, blues, and ragtime in the 1970s, it was only logical to look towards early jazz tunes as a vast source for new possibilities. For one thing, they could follow the same evolutionary path from ragtime to jazz that had been taken by pianists such as Jelly Roll Morton and Harlem stride players like James P. Johnson and Fats Waller. These musicians all composed in a variety of styles, but their most ambitious piano solos expanded on the classic ragtime format developed by the likes of Scott Joplin, James Scott, and Joseph Lamb, using several strains that usually changed keys at least once. Morton, the self-proclaimed inventor of jazz, would record versions of tunes like King Porter Stomp and The Original Jelly Roll Blues that are similar to straight ragtime performances, and others where there is lots of room left for embellishment and jazz improvisation. The present collection is a bonanza for guitarists who want to tackle advanced arrangements along the lines of ragtime but featuring jazz age harmonies from the playing of Jelly Roll Morton, Louis Armstrong, Bix Beiderbecke, WC Handy, the Original Dixieland Jazz Band and other early jazz legends. The 32 arrangements included are by a wide assortment of guitarists including Ernie Hawkins, Pat Donohue, Lasse Johansson, Duck Baker, Ton Van Bergeyk, Sandy Shalk, Steve McWilliam, and Dorian Henry. Titles include: Oh, You Beautiful Doll, I’ve Got The Blues, High Society, St. Louis Blues, Davenport Blues, Poor Butterfly, Dixie Jass Band One-Step, Memphis Blues, Big Foot Ham, Grandpa’s Spells, The Original Jelly Roll Blues, Midnight Mama, Milenberg Joys, Fizz Water, Back Home in Indiana, Sweet Georgia Brown, Red Wing (An Indian Intermezzo), There’ll Be Some Changes Made, Way Down Yonder In New Orleans, Charleston, Where The Morning Glories Grow, Limehouse Blues, Susie (of the Islands), I Need Some Pettin’, Weather Bird, Cornet Chop Suey, Kansas City Stomps, King Porter Stomp, Jubilee Stomp, Take It Easy, If I Had You, Moonlight Serenade
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