Piano/Vocal/Guitar SKU: HL.256650 Composed by Various. Piano/Vocal/Guitar...(+)
Piano/Vocal/Guitar
SKU: HL.256650
Composed by Various.
Piano/Vocal/Guitar
Songbook. Children,
Disney, Movies.
Softcover. 288 pages.
Published by Hal Leonard
(HL.256650).
ISBN
9781540015303. UPC:
888680723699.
9.0x12.0x0.78
inches.
This
updated 7th edition
coffee table collection
is a Disney lover's dream
come true! It is a guided
tour through the many
legendary years of Disney
music. The book begins
with an extensive musical
history of Disney,
followed by beautiful
piano/vocal arrangements
of 70 Disney classics.
Printed on deluxe stock
with more than 100
stunning full-color
illustrations
accompanying the text and
music, this book is a
keepsake to treasure for
years to come! Songs
include:
Bibbidi-Bobbidi-Boo (from
Cinderella) * Circle of
Life (from The Lion King)
* Evermore (from Beauty
and the Beast) * How Far
I'll Go (from Moana) * I
See the Light (from
Tangled) * Let It Go
(from Frozen) * Under the
Sea (from The Little
Mermaid) * When You Wish
Upon a Star (from
Pinocchio) * You've Got a
Friend in Me (from Toy
Story) * and more.
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.
Suite No. 1 Guitare Guitare classique [Conducteur] - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4308 Composed by Giorgio Mirto. Score. ...(+)
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.
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.
Guitar SKU: GI.G-10873G Composed by Carlos Zapién. This edition: Guitar ...(+)
Guitar
SKU:
GI.G-10873G
Composed
by Carlos Zapién. This
edition: Guitar edition.
Sacred. Guitar part. With
guitar chord names. GIA
Publications #10873G.
Published by GIA
Publications
(GI.G-10873G).
Text
Source: English ref.:
Psalm 103, Lectionary
for Mass, English
vss: Psalm 103, The
Abbey Psalms and
Canticles, Span
ish: Salmo 103(102),
Guitar - late intermediate SKU: BT.DHP-0930516-401 In one book. Ar...(+)
Guitar - late
intermediate
SKU:
BT.DHP-0930516-401
In one book.
Arranged by Ed Wennink.
Classical. Book Only.
Composed 1993. 52 pages.
De Haske Publications
#DHP 0930516-401.
Published by De Haske
Publications
(BT.DHP-0930516-401).
ISBN 9789073252059.
9x12 inches.
International.
A
wonderful collection of
well-known classical
works that have been
expertly arranged for
guitar.
Diese
Ausgabe enthält
bekannte Etüden und
klassische
Vortragsstücke von
deutschen, italienischen
und spanischen
Komponisten, wie F. Sor,
F. Carulli, M. Carcassi,
M. Giuliani, J.S. Bach,
L.Milan u. a.
Zusätzlich gibt es
Erläuterungen zu den
Titeln und Komponisten.
Die ideale Spielliteratur
für Gitarristen, die
mit den Basistechniken
des klassischen
Gitarrenspiels bereits
vertraut sind.
Una raccolta
destinata a tutti i
chitarristi che vogliono
esplorare le tecniche
della chitarra classica.
36 studi da concerto
proposti in ordine di
difficolt , e scritti dai
più famosi chitarristi
come Carulli, Sor,
Giuliani, T rrega e
Llobet. Affinerete la
tecnica e il vostro
tocco, senza trascurare
l’importannza di
saper interpretare la
musica migliorando la
contabilit anche
attraverso
l’ascolto.