Violin Solo Music from the opera 'Einstein On The Beach' by Philip Glass transcribed for Solo Guitar by David Leisner. The work lasts approximately 13 minutes.

The tenth concerto in B minor in L'Estro Armonico (best translated as The Harmonious Inspiration) which is edited here in A minor - for four solo guitars - is one of the most famous in the entire collection -- indeed inVivaldi's entire output. Scored for four solo violins two solo violas solo violoncello and an strings orchestra. Johann Sebastian Bach not only admired Vivaldi's Opus 3; he copied it openly. In a general sense the Vivaldipieces gave impetus to much that is in the German master's Brandenburg Concertos. More particulary six concertos of Vivaldi's Opus 3 were copied by Bach as the basis for six of his concertos: two for 0rgan (BWV 593 and 596 basedon Opus 3 nos. 8 and 11 respectively) three for solo harpsichord ) BWV 978 972 and 976 based on Opus 3 nos. 3 9 and 12 respectively) and one for four harpsichords and orchestra in A minor (BWV 1065 based on Opus 3 no. 10).Bach frequently rewrote concertos scored for one kind of instrument substituting another. It is evident that Bach thought not so much in terms of the violinistic nature of the originals but in their harmonic and rhythmicpotential which could be realized on any instrument. Since Bach has already justified an arrangement of Opus 3 number 10 by the great aesthetic success of his four-harpsichord version it serves to reason that an arrangementfor four guitars is equally valid. Just as Bach preserved everything of the original Vivaldi and added only a few doubling to accomodate the left hands of the harpsichordists so in this version the substitution of guitars is donewith little or no change of original-notes. The arpeggios especially prominent in the second movement lend themselves ideally to guitar playing and the ability of the guitar to play both lyrical lines as well as passage worksuits the violinistic lines and passages of the original.

Par BARTOK BELA. Like so many famous virtuosic works, Bartók’s Sonata for Solo Violin was said, by its commissioner, Yehudi Menuhin, at first sight, to be unplayable! Of course, Menuhin soon changed his opinion, later describing the work as the most important composition for solo violin since Bach. The original work used the full array of violin techniques such as stopped harmonics, left-hand pizzicato and quarter tones. These demands gave arranger, Christophe Dejour, much pause for thought when preparing this arrangement, not least in how to produce quarter tones on the guitar! Fortunately, both Bartók and Menuhin came to his rescue here. Menuhin had had problems playing these at speed and Bartók agreed that they were only for “colour” and accepted an alternative version Menuhin presented to him. The Sonata also contains several compositional techniques that are highly appropriate for the guitar such as chord progressions, contrapuntal motion and rhythmic sharpness, allowing Dejour to produce an arrangement that requires great skill to play, just as the original violin version demanded of Yehudi Menuhin./ Répertoire / Guitare

Per due chitarre, o strumento solista a chitarra, con parti per strumenti in Do o in Sib. Par PARADISO VITO NICOLA. collana Curci Young III Corso. 12 brani per due chitarre, o strumento solista a chitarra, con parti per strumenti in Do o in Sib.Si tratta di composizioni originali scritte nei diversi stili della musica latino americana, appositamente pensate per stimolare ed accrescei giovani esecutori, la ricerca interpretativa, anche nelle risoluzioni di non semplici sequenze ritmiche, tipiche di questi generi. Scritte per due chitarre, queste danze possono essere eseguite anche con strumenti in Do o in Si bemolle e chitarra, alle parti appositamente trascritte, collocate alla fine del volume. E quindi possibile sostituire la prima chitarra con il violino, il flauto, il sax, la tromba o con strumenti a percussione determinate come il vibrafono o la marimba, quest'ultima olarmente adatta, perché tipica delle zone caraibiche. Tutti i brani sono accessibili ad un III corso strumentale, sia per le parti melodiche sia per l'accompagnamento. Il CD minus-one allegato, inoltre, offre non solo l'opportunità di ascoltare i br/ Recueil / Guitare

Paganini was not only a famous Violin virtuoso but was also a masterful guitarist. Originally written for Violin and Guitar this Guitar solo version of the Grand Sonata captures the richness freshness and balanced structure of the original. Rhythmic and harmonic twists from the Violin part have been carefully integrated to ensure the spirit of the piece is preserved.

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee's (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: 'In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.' Over the last couple of years I moved back to Jelly Roll Morton's city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman's reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means 'conversation with the gods' in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao's (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950's following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo's ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece's characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles' Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don't Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach's Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare's Twelfth Night, and played incidental music for their production of Bertold Brecht's The Good Woman of Sichuan. He has performed Carulli's Guitar Concerto in A, Leonard Bernstein's West Side Story and Marvin Hamlish's A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony's co-production of George Gershwin's Opera Porgy and Bess.

Here is the great quintet by famed Classical-era Italian master Mauro Giuliani. It is in the form of a set of variations and a polonaise and was published to great acclaim in late 1814. Demanding but worth the effort to learn. Spectacular music! Includes authorittative solo part printed on high-quality paper and a digital stereo CD with full performance and second performance minus you the soloist! Performed by Andrew Keeping guitar Accompaniment: The DaVinci Quartet: Catherine Morgan 1st violin Joshua Fisher 2nd violin Juliette Jopling viola Andrew Skrimshire violoncello

Ludwig van Beethoven (1770 1827) was a German composer and pianist and arguably the most famous composer of all time. He was the last great figure of the Classical era and helped pave the way for the Romantic style that followed. His compositions include 9 Symphonies 5 Piano Concertos 1 Violin Concerto 32 Piano Sonatas and 16 String Quartets. Beethoven?s Adagio from his Piano Sonata No. 8 in C minor ?Pathetique? (Op. 13) is one of his most celebrated compositions. It has been arranged for the Guitar by the Spanish guitarist pianist and composer Francisco Tárrega (1852-1909). Tárrega is known for revolutionisingclassical Guitar technique and also for transcribing many keyboard works for Guitar from the great classical composers including Beethoven Mendelssohn and Chopin.

The last movement from Partita No. 2 (BWV 1004) for solo violin is one of the most transcribed works in music history because of its musical versatility. This arrangement for guitar adds an important interpretation of this major work to musical literature. The edition includes a full facsimile of the autograph.

Guitar Solo-A marvelous collection of music for guitar arranged at the easy to intermediate level of difficulty. All pieces are arranged for flat picked style guitar. Contents: Piano Concerto No. 3 Op. 37 · Leonore Overture No. 3 Op. 72A · Violin Concerto Op. 61 · Symphony No. 3 Op. 55 · Symphony No. 9 Op. 125 · Symphony No. 6 Op. 68 · Coriolan Overture Op. 49 No. 1 · Piano Sonata Op. 49 No. 1 · Piano Sonata No. 14 Op. 27 · Die Ehre Gottes In Der Natur Op. 48 No. 4 · Piano Sonata No. 8 Op. 13 · Piano Concerto No. 1 Op. 15 · Piano Concerto No. 2 Op. 19 · Piano Concerto No. 1 Op.15 · Piano Sonata No. 1 Op. 2 No. 1 · Ich Liebe Dich · An Die Ferne Geliebte Op. 98 No. 3.

9 Pieces for Solo Guitar and 1 Duet. Maria Linnemann was born in Amsterdam in 1947 and grew up in England. She attended the Royal Academy of Music in London, studying conducting, piano and violin. Later, inspired by the guitarist, viola player and painter, Martin Nicolai, she turned to the guitar. Since 1971 she has lived and worked in Germany as a musician, composer and pedagogue. She has travelled through many countries and lived and worked in China for five years. Many of her compositions, numbering around 500 to date, were written on these journeys, and include works for solo guitar, guitar duets and trios, songs and chamber music. Maria Linnemann's music is loved and much played all over the world.

Easy Baroque Pieces for Classical Guitar. Easy Baroque Pieces for Classical Guitar is an outstanding introduction for the beginner to intermediate guitarist to the music of the Baroque. The Baroque period of music flourished in Europe from 1600 to 1750, and is represented by a singleness of mood and gesture, rhythmic continuity, polyphonic texture, and melodic ornamentation. Jerry Willard explains the intricacies of Baroque ornamentation (including trills, mordents, and notes inégale) in an easy-to-understand way, and performs each piece on the accompanying audio CD. Includes: Aria (from the Anna Magdelena Notebook)(J.S. Bach) · Bourrée in A Minor (theme, from the Second Violin Partita) (J.S. Bach) · Largo (Arcangelo Corelli) · The Harmonious Blacksmith (George Frideric Handel) · Canon (Johann Pachelbel) · Minuet (Henry Purcell) · Gavotte (Giovanni Zamboni) · and more.