Sona
ta 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.
Composed by
Delia Estrada. Method,
studies. Score. Editions
Henry Lemoine #26331.
Published by Editions
Henry Lemoine (LM.26331).
ISBN
9790230963312.
ESTR
ADA D. : Sur les six
cordes - Etude - CARULLI
F. : Exercice - CARCASSI
M. : Valse - ESTRADA D. :
Bailando - Lullaby -
Danse du fleuve - Etude
d'apres Antonio
Cano-Curriela - Lafalado
- Prelude - Comme un
blues - AYALA H. : Aire
de Vidala - ESTRADA D. :
Etude a deux voix - Tempo
di Carnavalito - BELTRAN
T. : Evi - AYALA H. : El
Coyuyo - ESTRADA D. :
Etude - Lent, comme une
Vidala - Marche - Etude -
CARCASSI M. : Valse -
CARULLI F. : Valse n. 1 -
ESTRADA D. : Chanson
enfantine - Chanson pour
dire a Elsa... - Berceuse
pour ma petite fille -
Chanson - Etude en forme
de Choral - CARULLI F. :
Poco Allegretto - ESTRADA
D. : Aube - CARULLI F. :
Andante - ESTRADA D. :
Olenka - BELTRAN T. :
T'es ballade ! - CARCASSI
M. : Valse - RODRIGUEZ A.
: Guajira - AGUADO D. :
Lecon n. 66 - ESTRADA D.
: Bossa Metisse - AYALA
H. : Cholita - ESTRADA D.
: Cancion - A la Claire
Fontaine (arr. D.
Estrada) - BELTRAN T. :
La Bossa de Margot -
ESTRADA D. : Air de
Bolero - AGUADO D. :
Lecon - CARCASSI M. :
Allegro - Valse -
Allegretto non troppo -
BELTRAN T. : Couleur
Pastel - RODRIGUEZ A. :
Cancion - SOR F. : Etude
n. 8.
Guitar - late intermediate SKU: BT.REBFG1309 Composed by Jean-Jacques Reb...(+)
Guitar - late
intermediate
SKU:
BT.REBFG1309
Composed
by Jean-Jacques
Rebillard. Book with
Online Audio. Composed
2014. Editions J.J.
Rebillard #REBFG1309.
Published by Editions
J.J. Rebillard
(BT.REBFG1309).
Composed
by Gilles Binchois.
Arranged by Dusan
Bogdanovic. Score. Les
Editions Doberman-Yppan
#DO 1544. Published by
Les Editions
Doberman-Yppan
(DY.DO-1544).
ISBN
9782897963248.
The
present collection of the
twelve chansons by one of
the greatest French
15th-century composers
Gilles Binchois, was
originally conceived for
vocal upper voice over
two instrumental tenors.
In contrast to all the
other pieces, the last
two chansons were
arranged for either voice
and guitar or a guitar
duo.
Guitar solo - intermediate SKU: DZ.DZ-3841 Composed by Francois Rioux. 44...(+)
Guitar solo -
intermediate
SKU:
DZ.DZ-3841
Composed
by Francois Rioux. 44
pages. Les Productions
d'OZ #DZ 3841. Published
by Les Productions d'OZ
(DZ.DZ-3841).
ISBN
9782897957582.
List
ening to and
familiarizing myself with
the recordings of several
jazz musicians from the
New York scene of the
early 2000s, I noticed
that the contrapuntal
aspect manifests itself
more and more frequently
at the level of
composition and
improvisation. Although
we find the manifestation
of this concept at
different times, notably
in the playing of Fred
Hersch or guitarist Ted
Greene, its spontaneous,
systematic and
parameterized use seems
to become characteristic
of contemporary jazz,
particularly in the
playing of pianist Brad
Mehldau. and guitarists
such as Gilad Hekselman
or Pasquale Grasso. I
developed a deep interest
in this concept and my
efforts to assimilate it
materialized in a
doctoral thesis in
interpretation, in an
album, then in this
method. We can hear the
application of this
concept throughout the
album, released in the
fall of 2021 on the Arte
Boreal label: Sens
unique.
This
collection exposes the
methodological approach
developed in order to
conceive, analyze, and
ultimately appropriate
the contrapuntal aspect
of two voices. The
various educational tools
and strategies presented
in this method will allow
the guitarist to quickly
identify and then
assimilate the many
aspects relating to this
subject.
Guitar - easy SKU: HL.44006382 Speel de solo en/of backingpartij in ee...(+)
Guitar - easy
SKU:
HL.44006382
Speel
de solo en/of
backingpartij in een
live-band!. Composed
by Wim Kueter. De Haske
Play-Along Book. Book and
CD. Composed 2006. 38
pages. De Haske
Publications #1053942400.
Published by De Haske
Publications
(HL.44006382).
ISBN
9789043123402. UPC:
884088089856.
9.0x12.0x0.207 inches.
English-German-French-Dut
ch.
The
All-round Guitarist:
een geweldig boek voor de
beginnende gitarist op de
elektrische of
akoestische gitaar. Met
zowel solo- als
begeleidingspartijen
komen de stijlen rock,
metal, grunge, punk en
soul aan bod. De
handigenotatie is
gemakkelijk te lezen. De
solo- en de
begeleidingspartij zijn
tevens als bijlage
toegevoegd: ideaal voor
samenspel. Naast de
voorbeeldtracks staan op
de cd verschillende
meespeeltracks - die
selecteer je afhankelijk
vande partij(en) die je
wilt invullen. Rock
lekker mee!
The
All-Round Guitarist -
ein super Buch fur den
Anfanger auf der
akustischen oder
E-Gitarre. In leichten
Solo- und Begleitstimmen
werden hier die Stile
Rock, Metal, Grunge, Punk
und Soul geboten. Die
praktische Notation ist
leicht zu lesen. Die
Solo- und Begleitstimmen
werden separat
mitgeliefert - ideal fur
das Zusammenspiel. Neben
Demo-Versionen enthalt
die CD mehrere
Play-Along-Tracks, aus
welchen man, je nachdem,
welche Stimme(n) man
mitspielen mochte,
auswahlen kann. Jetzt
wird
gerockt!
The
All-round Guitarist
est destine au guitariste
debutant l'apprentissage
de la guitare electrique
ou acoustique. Grace a
des parties faciles (solo
et accompagnement), vous
aborderez divers styles
tels que le rock, metal,
grunge, punk et la soul.
La notation est simple a
lire. Les parties solos
et celles
d'accompagnement sont
fournies separement afin
que vous puissiez jouer
avec un autre guitariste.
Sur le compact disc, vous
trouverez la version
integrale de chaque
morceau ainsi que les
plages d'accompagnement a
selectionner en fonction
de la voix que vous
souhaitez jouer. Ca bouge
!
The Allround
Guitarist e un libro
perfetto per il
principiante alla
chitarra acustica o
elettrica. Sono proposti
semplici soli e parti di
accompagnamento in stile
rock, metal, giunge, punk
e soul. Le notazioni sono
di facile lettura. Le
parti per il solo e per
l'accompagnamento sono
incluse nel libro, cio
che rende ideale il
suonare insieme. Il CD
contiene oltre alle
versioni demo, piste
play-along dalle quali si
puo scegliere quali voci
si vuol far suonare.
Guitar - Intermediate SKU: MB.31129M Saddle-stitched, World. Folk. Book a...(+)
Guitar - Intermediate
SKU: MB.31129M
Saddle-stitched, World.
Folk. Book and online
audio. Mel Bay
Publications, Inc
#31129M. Published by Mel
Bay Publications, Inc
(MB.31129M).
ISBN
9781513476896. 8.75X11.75
inches.
The name of
this book is no
exaggeration. It includes
some of the most gorgeous
music that the authors El
McMeen and Sandy Shalk
know. To make things even
more interesting, none of
the music was originally
written for guitar.In
addition to Celtic
favorites, El includes
his arrangements of two
of the most beautiful
arias in all of opera:
Che Gelida Manina from
Puccinis La Boheme and My
Heart at Thy Sweet Voice
ôMon Coeur Souvre ? ta
Voixö from Samson and
Delilah by Camille
Saint-Sa?ns. Sandys
contributions range from
Celtic to French love
songs to Stephen Foster,
manifesting Sandys gift
for chordal subtleties
and innovation.Each piece
is in either standard
tuning EADGBE or Drop D
tuning DADGBE .Written in
standard notation and
tablature with computer
generated audio files of
each arrangement.
In
September of 2018,
guitarist, Toby
McWilliams commissioned
Cruz to write a
three-movement guitar
solo after hearing his
Five Pieces in C on the
internationally
syndicated radio show,
Classical Guitar Alive.
McWilliams requested the
first movement to be in
sonata-allegro form
followed by two other
pieces that reflect the
tempo choices of a
typical three-movement
sonatina. As is the case
with most of Cruz’s
music, this Sonatina was
completed as music
written for music’s
sake. However, in his
quest to find titles
other than tempo
markings, Cruz plucked
three words from the
correspondence between
himself and McWilliams
that together, add a
personal touch to the
collection while
suggesting a progression
of an imaginary
day’s
events.
A point of
interest in the first
movement, A theme: Cruz
begins on the IV chord
and intentionally avoids
using a proper I chord
throughout. While the B
section does begin in the
dominant key, it moves
quickly towards a D major
tonal
center.
Festival
(3rd movement) uses a
bitonal opening theme: E
major in the top voice
while the bass line uses
E minor.