By Johann Sebastian Bach. Arranged by Richard Sayage. Duet. For Classical Guitar Duet. Savage Classical Guitar Duet Editions. The master of counterpoint at his best. Baroque. Level: Student/Intermediate. Full Score. Standard. 54 pages. Published by Savage Classical Guitar Transcriptions.

Composed by Johann Sebastian Bach (1685-1750). Arranged by Mark Phillips. Easy Guitar. Classical. Softcover Audio Online. With guitar tablature. 76 pages. Published by Cherry Lane Music

Performed by Various. Easy Guitar (Simplified arrangements for guitar). With notes and tablature. Size 9x12 inches. 400 pages. Published by Hal Leonard.

Guitar solo - Advanced

SKU: DZ.DZ-4308

Composed by Giorgio Mirto. Score. Les Productions d'OZ #DZ 4308. Published by Les Productions d'OZ (DZ.DZ-4308).

ISBN 9782898522253.

Foll owing 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.

FRANCE SCO BIRAGHI

Au 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 à laquelle 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 réinterprèt e et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - 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 à Magdebourg. 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'œuvre 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'œil 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 œuvres 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'à celle 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'œuvre 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'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » 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.

Fingerstyle and Plectrum Pieces for Trinity College London Exams 2020-2023. Classical. Textbook. Trinity College London #TCL019936. Published by Trinity College London

Classical. Textbook. Trinity College London #TCL019318. Published by Trinity College London

Arranged for Plectrum-Style Guitar. Classical, Saddle- stitched. Flatpicking GUitar. Book. Mel Bay Publications, Inc #30978. Published by Mel Bay Publications, Inc

Composed by Santiago de Murcia (1685-1732). Edited by Olaf Van Gonnissen / Johannes Monno / Thomas Muller-Pering. Neue Karl Scheit Gitarren Edition. Full score (study). Universal Edition #UE34481. Published by Universal Edition (PR.UE034481).

Composed by Robert de Visee (1650-1725). Edited by Olaf Van Gonnissen; Johannes Monno; Thomas Muller-Pering. Neue Karl Scheit Gitarren Edition. Full score (study). With Standard notation. Universal Edition #UE34480. Published by Universal Edition (PR.UE034480).

Fingerstyle and Plectrum Pieces for Trinity College London Exams 2020-2023. Classical. Textbook. Trinity College London #TCL019943. Published by Trinity College London

Critical Edition. Composed by Heitor Villa-Lobos (1887- 1959). Edited by Frederic Zigante. Editions Durand. Classical. Softcover. Editions Durand #DF01657800. Published by Editions Durand

The Complete Classical Guitar Method for Players of All Ages. Composed by Nigel Tuffs. This edition: Lute Tablature and Keyboard Notation. Classical Guitar Folio; Method/Instruction. Book and Digital Download. Faber Music #12-0571541992. Published by Faber Music

For Guitar. Classical (chamber). Includes a high-quality printed music score with both primo and secondo guitar parts; and a compact disc containing a complete performance with secondo guitar on the left channel, and primo guitar on the right channel. Either can be easily removed for your performance pleasure. Published by Music Minus One.

Classical. Textbook. Trinity College London #TCL019271. Published by Trinity College London

Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

Noten & TAB - easy/medium. Arranged by Michael Langer. This edition: Ring/Spiral binding. Score with online audio files. Score with online audio files. 130 pages. Edition Dux Verlag #DUX 887. Published by Edition Dux Verlag

Classical. Textbook. Trinity College London #TCL019295. Published by Trinity College London

By Benjamin Britten (1913-1976). Edited by Julian Bream. For Guitar. Book; Classical Guitar Solo; Masterworks. Faber Edition. 20th Century; Masterwork. Published by Faber Music

Classical. Textbook. Trinity College London #TCL019349. Published by Trinity College London

(bearbeitet fur Gitarre). By Werner Reif. For guitar. Collection. 40 pages. Published by Edition Dux Verlag

Classical. Textbook. Trinity College London #TCL019332. Published by Trinity College London

(Duets for Two Acoustic Guitars). Composed by William Bay. For acoustic guitar duet. Perfect binding. Advanced. Book. 88 pages. Published by Mel Bay Publications, Inc

A Workbook for Examinations. Composed by Paul Harris. Guitar Method or Supplement; Method/Instruction; Technique Musicianship. Faber Edition: Improve Your Sight-Reading. Book. Faber Music #12-0571541321. Published by Faber Music

55 Classical Masterpieces from 5 Centuries. Edited by Martin Hegel. This edition: Paperback/Soft Cover. Sheet music. Guitar. For a long time, arrangements were rather looked down on by music specialists, but today attitudes have relaxed considerably. The classical concert repertoire is extensive and includes many wonderful pieces; many guitarists are naturally keen to get to kn. Classical. Softcover. 104 pages. Schott Music #ED 23047. Published by Schott Music

C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

Christmas Music. By Beat Scherler. For guitar. 10 Christmas Songs in jewels 3 Versionen: Noten, TAB und Texte mit Harmonien. 52 pages. Published by Edition Dux Verlag (German import).

By Johann Sebastian Bach. Arranged by Richard Sayage. Solo. For Classical Guitar. Savage Classical Guitar Virtuouso Editions. Unaccompanied Cello Suites for solo classical guitar. Baroque. Level: Intermediate. Book. Standard. 20 pages. Published by Savage Classical Guitar Transcriptions.

Classical. Textbook. Trinity College London #TCL019356. Published by Trinity College London