SKU: MB.20510M
ISBN 9780786699636. 8.75 x 11.75 inches.
The Mastering the Guitar Class Method Short Course has been written for use in guitar classes which last for nine weeks or less. Students will receive, in a condensed form, the same high quality, sequential material contained in the Mastering the Guitar Class Method. Although designed for a shorter course, great care has been taken to provide the students with a solid foundation in technique and the fundamentals of playing guitar. Contents include: holding position, chords, strum patterns, tuning, reading single note solos in tablature and standard notation, and ensembles all in a variety of music styles. The book also contains a section on playing the blues and writing original blues lyrics. This text is ideal for the exploratory course and will provide the perfect springboard for further study. Includes access to online audio and a PDF containing fifty-five lesson plans.
SKU: HL.49010855
ISBN 9790001096911. UPC: 073999469875. 9.0x12.0x0.161 inches.
Contents: Kemp's Jig (anon) * Fantasie (Bakfark) * Guillemente (Besard) * Pavan (Bulman) * Due Ricercari (Capirola) * Walsingham (Cutting) * Calata ala spagnola (Dalza) * Fantasia, Villanella, Finale (Dluggoraj) * Lachrimae Pavan (Dowland) * The Queen Elizabeth her Galliard (Dowland) * The Earl of Essex his Galliard (Dowland) * Sir John Smith his Almaine (Dowland) * Galiarda Manfredina (Garsi) * La ne mente per la gola (Garsi) * Alman (Johnson) * Passemeze (Le Roy) * Passemeze more shorter (plus diminue) (Le Roy) * Gallarda (Mudarra) * Pavana de Alexandre (Mudarra) * der Juden Tantz (Neusidler) * Psalm V (Sweelinck).
SKU: AP.12-0571538347
ISBN 9780571538348. English.
Pick a Chord follows the ethos of Weedon's hugely influential Play in a Day book and DVD, giving guitarists the tools needed to start playing from day one. An essential chord dictionary that every guitarist should have in their gig bag, it contains basic major and minor chords for the beginner through to extended jazz chords for the advanced player. Unlike other chord dictionaries, Pick a Chord gives invaluable advice on rhythm, major and minor chord definition, barre chords, and the 12 bar blues, making Weedon's 'shortcut' method to playing guitar as simple and engaging as possible.
SKU: OT.26114
ISBN 9789655051049. 8.27 x 11.69 inches.
Ariel Lazarus Guitarra Liturgia Two pieces based on music from the Spanish and Portuguese tradition. Contents: Jerusalem de Sefarad - Suite for Guitar Contrapunto Sefardi The composer writes: For many years I wanted to compose a piece for guitar which would inspire interested students to expand their repertoire in the direction of Jewish music. The most natural thing for me was to write a suite based on themes from the synagogue in which I grew up – the Spanish and Portuguese synagogue of Gibraltar. My beloved grandfather served all his life as hazzan (cantor) of this synagogue, and I always felt as a composer and educator that I had a special obligation to continue his tradition and pass it on to a new generation. In this composition, I let the guitar echo the piyyutim (semi-liturgical poems) that were part of my childhood: Adon Olam, Sh'charchoret, Achot K'tana, Yigdal, Borei ad Ana, all of which are sung in the Spanish and Portuguese tradition from Gibraltar to London, and from New York to Jerusalem. I let myself dream the piyyutim, take them apart and reconstruct them as a short suite for guitar, the results of which you are invited to hear here. As a conceptual idea for the suite, I choose to suggest about the cultural continuation between the Diaspora and the land of Israel by way of referencing the well-known melody of Naomi Shemer, which is also popular among the hazzanim.Dr. Ariel Lazarus is a unique voice among Israeli composer-performers today. Brought up in a family with Jewish musical roots both in Gibraltar and Westphalia, he began composing and playing the guitar in his teens, and has been committed to developing his own compositional language ever since, always maintaining an open dialogue with his traditions. Lazarus received his BMus and MMus degrees from Oklahoma City University in classical guitar performance and composition where he studied with American composer Dr. Edward Knight. He earned his PhD from Bar Ilan University, studying composition with Prof. Betty Olivero and Prof. Gideon Lewensohn and conducting research under the supervision of Prof. Edwin Seroussi from the Hebrew University. His symphonic works have been premiered by the Raanana Symphonette Orchestra, and his chamber works have been performed by various ensembles in the United States, Central Europe, Portugal, Gibraltar, Scandinavia and Israel. Lazarus performs regularly as Art Ambassador on behalf of the Israeli Ministry of Diaspora affairs Amiel BaKehila program. His solo album A Hebrew Capriccio was released by the German boutique label SmoothFactor and was awarded critical acclaim, among others, in Haaretz, and Neue Westfalishe. Dr. Lazarus is the musical director and co-founder of the Israeli Ladino Orchestra. His work with the orchestra has been recognized by the official Carta de España. He teaches at the Academic College for Education Givat Washington, and the Rimon School of Music. Lazarus’s work has been awarded by the Israeli Pais Art council and ACUM.
SKU: HL.50600499
GTRSO inches. English.
Good technique doesn't appear overnight. Technical exercises are necessary but have a reputation for being boring and frustrating - perhaps this is down to perspective and attitude. Fabian Payr has developed an approach in Finger Fitness totrain dexterity--among other things--in a way that is anything but tedious. The focus of this collection of exercises are efficiency, accuracy and variety. With minimum time devoted to practice, a maximum benefit can be achieved, and monotony isavoided altogether through the built-in variations. Finger Fitness is a collection of short exercises in almost every area of guitar technique from beginner to advanced level. From the wealth of material provided, the guitarist can focus onhis or her specific abilities and targets by creating a personalised practice regime to be worked through in the course of a week. Finger Fitness provides the solution to enjoyable yet target-oriented practice.
Good technique doesn’t appear overnight. Technical exercises are necessary but have a reputation for being boring and frustrating - perhaps this is down to perspective and attitude. Fabian Payr has developed an approach in Finger Fitness to train dexterity—among other things—in a way that is anything but tedious. The focus of this collection of exercises are efficiency, accuracy and variety. With minimum time devoted to practice, a maximum benefit can be achieved, and monotony is avoided altogether through the built-in variations. Finger Fitness is a collection of short exercises in almost every area of guitar technique from beginner to advanced level. Fromthe wealth of material provided, the guitarist can focus on his or her specific abilities and targets by creating a personalised practice regime to be worked through in the course of a week. Finger Fitness provides the solution to enjoyable yet target-oriented practice.
SKU: DZ.DZ-4261
ISBN 9782898521782.
Après avoir été quelque temps éloigné de la composition classique, j'ai décidé de me lancer un défi et d'écrire un court morceau de guitare par jour. Je l'ai fait pendant un mois et j'ai fini avec une vingtaine de Sketches. L'idée de départ était de réaliser des pièces courtes pour les enfants.Certaines se sont révélées trop difficiles pour les étudiants et pourraient donc devenir des pièces plus longues à l'avenir. Dâ??autres, je nâ??ai tout simplement pas beaucoup aimé. Au final, j'ai sélectionné les 10 Sketches qui m'ont le plus plu.Ces 10 morceaux sont destinés à des joueurs de niveau intermédiaire et chacun d'entre eux se concentre sur un aspect technique ou musical.After being some time away from classical composition I decided to challenge myself and write one short guitar piece daily. I did it for a month and ended up with around 20 Sketches. The original idea was to make short pieces for children. Some turned out to be too difficult for students, so they might become longer pieces in the future. Some others I just didn't like that much. In the end I selected the 10 Sketches that I liked the most. These 10 pieces are intended for intermediate level players and each of them focuses on a technical or musical aspect.
SKU: GH.CG-5914
The Sei-Corde series for guitar contains editions of great variety, all composed or edited by Josef Honeck. Mini Studies are easy and short etudes for the level above beginner's. Each of the 21 exercises starts with a finger exercise, all with a musical intention.
SKU: SP.TS71612
ISBN 9781585606924. UPC: 728941716124.
Teach Yourself Guitar published by Santorella Publications is the first in a series including CD that was initially created as an impulse product for a typical independent Guitar & Amp shop. In a market flooded with similar products, we swiftly learned that our edition was more than just a quick fix for the beginner. Although titled, Teach Yourself Guitar, it contains much more than basic instruction. Accordingly, Teach Yourself Guitar has become the standard for countless educators as a private lesson study guide.There are numerous products on the market that falsely proclaim incomprehensible results in just minutes. Unfortunately, none of these products cultivate permanent advancement. Becoming a better musician is only possible through hard work, discipline and dedication.Our challenge was to create an approach to guitar that was easy to understand and followed a logical step by step progression. To truly master the guitar, one must have their eyes set on short-term goals in order to achieve long-term results. We are proud to say that we have met this challenge by providing a proven curriculum to learning the many facets of playing the guitar in this one of a kind guide.Topics covered include:
SKU: UT.CH-321
ISBN 9790215326293. 9 x 12 inches.
Dediche is a series of short miniature pieces for solo guitar written in 1991 by Chiara Benati, an authoritative exponent of what can be called the School of Bologna, and who has devoted many pages of her catalogue to the guitar (Chiara won a first prize in 1986 at the Competition for Guitar Composition organized by the historic magazine Il Fronimo).From the point of view of the guitar idiom, it is striking how the compositional research of Chiara Benati (who does not play the guitar) has penetrated deeply into the nature of the instrument. In my job of adding the fingering to the pieces, I started from the precise indications concerning the strings already provided by the Composer, who meticulously imagined the instrumental result created by the play of resonances and the consequent precise distribution of the parts on different strings (let us think of the tremolos superimposed on different strings in the second Dedica and the counterpoint in three parts each written on its own musical stave), with a skilful use of glissandos and other instrumental effects.From the musical point of view, a similar meticulousness in writing is evident, shown, for example, by indicating the temporal separation between the figures by means of their spatial distance indicated in the score.The result is an instrumentally and musically rigorous writing which also helps the performer by appealing to his ability to empathize, following the indications written in the score and in the key, with the expressive atmosphere of the work, and through that specific aspect of controlled performance flexibility and sound sensitivity necessary to render it properly.These delicate miniatures, suffused with mystery and melancholy, and so masterfully written for the guitar, are in my opinion an important addition to the contemporary repertoire of the instrument. (Piero Bonaguri).
SKU: SU.80111304
Guitar Composed: 1982 Published by: Soundspells Productions Soundspells #8 (1982) consists of four short movements for solo guitar.
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.G6129EM
ISBN 9790365061297.
Carcassi was born in Florence, Italy, and first studied the piano, but learned guitar when still a child. He quickly gained a reputation as a virtuoso concert guitarist. He moved to Germany in 1810, gaining almost immediate success. In 1815, he was living in Paris, earning his living as a teacher of both the piano and the guitar. On a concert tour in Germany in 1819, he met his friend Antoine Meissonnier for the first time. Also a famous guitarist, Meissonnier published many of Carcassi's works in his Paris publishing house. For Meissonnier he also arranged a number of popular songs for guitar that were originally written for piano, including works by Théodore Labarre and Loïsa Puget. From 1820 on, Carcassi spent the majority of his time in Paris. In 1823, he performed an extremely successful series of concerts in London that earned him great fame, both as a performing artist and as a teacher. However, in Paris, a long time passed before his talents were truly recognized, partly because of the presence of Ferdinando Carulli. Carcassi was in Germany again during autumn 1824. Afterwards he performed in London, where his reputation now gave him access to more prestigious concert halls. Finally he returned to Paris. For several years, he made concert trips from here to the most important cultural towns of Europe, including London. After a short return to performing in 1836, he quit his concert practice around 1840 and died in Paris in 1853. His most famous works are collected in his 25 Etudes op. 60. In these, he managed to blend technical skills and brilliant romantic music. This is the reason his music is still played by so many classical guitarists today.
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