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.
By Sylvius Leopold Weiss. Arranged by Richard Wright / Peter Batchelar. For guit...(+)
By Sylvius Leopold Weiss.
Arranged by Richard
Wright / Peter Batchelar.
For guitar. Level: Grades
6-8. Published by ABRSM
(Associated Board of the
Royal Schools of Music).
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.
(The Supreme Resource for Chords and How to Use Them). For Guitar. Book; CD;...(+)
(The Supreme Resource for
Chords and How to Use
Them).
For Guitar. Book; CD;
Guitar
Method or Supplement;
Method/Instruction. 424
pages.
Published by Alfred Music
Publishing
By Stanley Yates. For Guitar (Classical). solos. Stanley Yates Gtr. Classic. Lev...(+)
By Stanley Yates. For
Guitar (Classical).
solos. Stanley Yates Gtr.
Classic. Level:
Beginning-Intermediate.
Book. Size 8.75x11.75. 88
pages. Published by Mel
Bay Publications, Inc.
by J. S. Bach arranged by Stanley Yates. For classic guitar. Stanley Yates Gtr. ...(+)
by J. S. Bach arranged by
Stanley Yates. For
classic guitar. Stanley
Yates Gtr. Classic,
Baroque. Level:
Intermediate. Book.
Solos. Size 8.75x11.75.
192 pages. Published by
Mel Bay Pub., Inc.
Composed by Lily Afshar.
Squareback saddle stitch.
Classical. Book. 116
pages.
Mel Bay Publications, Inc
#30832. Published by Mel
Bay
Publications, Inc
by William Bay. For all guitars. Complete. All styles. Level: Multiple Levels. B...(+)
by William Bay. For all
guitars. Complete. All
styles. Level: Multiple
Levels. Book. Technique.
Size 8.75x11.75. 296
pages. Published by Mel
Bay Pub., Inc.
Guitar SKU: FZ.5878 Serie I - France 1600-1800. Edited by Caroline...(+)
Guitar
SKU:
FZ.5878
Serie I -
France 1600-1800.
Edited by Caroline
Delume. This edition:
Facsimile. Methodes &
Traites. Score. Published
by Anne Fuzeau
Productions - France
(FZ.5878).
ISBN
9790230658782. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in two books.
Francesco ALBERTI -
Anonyme - Encyclopedie
methodique -
Guillaume-Pierre-Antoine
GATAYES - L. GUICHARD -
Jean-Benjamin de LABORDE
- Antoine Marcel LEMOINE
- Philippe MACQUER -
Joseph-Bernard MERCHI (2)
-
Charles-Francois-Alexandr
e POLLET. Table of
contents: Macquer
Philippe: Dictionnaire
raisonne - 1773. Pollet
Charles-Francois-Alexandr
e: Methode pour apprendre
- 1775. Merchi
Joseph-Bernard: Traite
des agrements de la
guitare - 1777. Laborde
Jean-Benjamin de: Essai
sur la musique - 1780.
Alberti Francesco:
Nouvelle methode - 1786.
Encyclopedie:
Encyclopedie methodique -
1788. Guichard L. : La
guitare rendue facile -
c. 1795. Lemoine
Antoine-Marcel: Nouvelle
methode de guitare - c.
1800. Gatayes
Guillaume-Pierre-Antoine:
Methode pour la guitare -
1800. Anonyme: Methode
pour jouer de la guitare
- s. d. n. l. Collection
supervised by the
musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile of
copies from: - National
Library of Paris
(France). - Municipal
Library of Grenoble
(France). - Nederlands
Muziek Instituut of The
Hague (Netherlands). Anne
Fuzeau Classique propose
the complete theoretic
documentation, methods,
classical music scores on
the guitar.
Guitar SKU: HL.49005534 Werke aus dem 18. und 19. Jahrhundert. Edi...(+)
Guitar
SKU:
HL.49005534
Werke
aus dem 18. und 19.
Jahrhundert. Edited
by Ferenc Brodszky. Sheet
music. Edition Schott.
Classical. 40 pages.
Schott Music #ED 5228.
Published by Schott Music
(HL.49005534).
Guitar SKU: GI.G-7656G Contemporary Introits for the Easter Season...(+)
Guitar
SKU:
GI.G-7656G
Contemporary Introits
for the Easter
Season. Composed by
Ken Macek and Paul Tate.
This edition: Guitar
edition. Eastertide,
Easter Sunday, Easter 2
A, 2 B, 2 C, 3 A, 3 B, 3
C, 4 A, 4 B, 4 C, 5 A, 5
B, 5 C, 6 A, 6 B, 6 C,
Ascension, Easter 7 A, 7
B, 7 C, Pentecost.
Sacred. Guitar part. With
guitar chord names. 16
pages. GIA Publications
#7656G. Published by GIA
Publications
(GI.G-7656G).
English.
Text Source: From the
Gregorian Missal, Psalms
26:1, 7-9, 32:1, 5-6,
46:2, 65:1-3, 67:2,
97:1-2, 138:18, Wisdom
1:7, Isaiah 48:20, Acts
1:11, 1 Peter 2:2, adapt.
KM. Scripture: Psalm
26:1, 7D9, Psalm 2:1,
5D6, Psalm 46:2, Psalm
65:1D3, Psalm 67:2, Psalm
97:1D2, Psalm 138:18,
Wisdom 1:7, Isaiah 48:20,
Acts 1:11, 1 Peter
2:2.
** GIA no
longer publishes nor
sponsors the work of Paul
A. Tate. Pieces for which
Tate served as an
arranger remain on our
website as the original
work of the composer.
By William Bay and Mike Christiansen. For Guitar (All). Methods. Mastering Guita...(+)
By William Bay and Mike
Christiansen. For Guitar
(All). Methods. Mastering
Guitar. All Styles.
Level: Beginning. Book.
Size 9x11.75. 144 pages.
Published by Mel Bay
Publications, Inc.
by William Bay and Mike Christiansen. For all guitars. Mastering Guitar. All sty...(+)
by William Bay and Mike
Christiansen. For all
guitars. Mastering
Guitar. All styles, solos
and exercises. Level:
Beginning-Intermediate.
Book/CD Set. Method. Size
8.75x11.75. 144 pages.
Published by Mel Bay
Pub., Inc.
(A Fun and Comprehensive Overview of Classical Guitar Playing). By Martha Master...(+)
(A Fun and Comprehensive
Overview of Classical
Guitar Playing). By
Martha Masters. For
Guitar. Book; CD;
Classical Guitar Method
or Supplement;
Method/Instruction. The
Total Guitarist. 128
pages. Published by
Alfred Music Publishing
Composed by Miguel Llobet. Edited by Stefano Grondona. This edition: Saddle-wi...(+)
Composed by Miguel
Llobet.
Edited by Stefano
Grondona.
This edition: Saddle-wire
stitching. Sheet music.
1048
pages. MDS (Music
Distribution
Services) #GHE 900.
Published
by MDS (Music
Distribution
Services)
For guitar. Format: guitar solo book. With standard notation (no tablature) and ...(+)
For guitar. Format:
guitar solo book. With
standard notation (no
tablature) and
fingerings. Renaissance,
baroque, classical period
and 20th century. 126
pages. 9x12 inches.
Published by Music Sales.
Guitar SKU: FZ.5877 Serie I - France 1600-1800. Edited by Caroline...(+)
Guitar
SKU:
FZ.5877
Serie I -
France 1600-1800.
Edited by Caroline
Delume. This edition:
Facsimile. Methodes &
Traites. Score. Published
by Anne Fuzeau
Productions - France
(FZ.5877).
ISBN
9790230658775. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in two books.
ANCELET - Abbe Joseph
CARPENTIER (1-2) -
Francisque CORBETTA -
Michel CORRETTE - Robert
DE VISEE - Nicolas
DEROSIERS - DON*** -
Encyclopedie -
Francois-Alexandre-Pierre
de GARSAULT - Francois
LECOCQ - Joseph-Bernard
MERCHI (1) - Marin
MERSENNE - Pierre
TRICHET. Table of
contents: Mersenne Marin:
Harmonie Universelle -
1636. Trichet Pierre:
Traite des instruments -
c. 1640. Corbetta
Francisque: La guitarre
royale - 1671. De Visee
Robert: Livre de guitarre
- 1682. Derosiers
Nicolas: Les principes de
guitarre - c. 1690. Le
Cocq Francois: Recueil
des pieces de guitare -
1729. Encyclopedie:
Encyclopedie ou
Dictionnaire raisonne des
sciences - 1751/1772.
Ancelet: Observations sur
la musique - 1757.
Don***: Methode pour
apprendre a jouer - 1760.
Garsault
Francois-Alexandre-Pierre
de: Notionnaire ou
memorial raisonne - 1761.
Merchi Joseph-Bernard: Le
guide des ecoliers - c.
1761. Corrette Michel:
Les dons d'Apollon -
1762. Carpentier Joseph:
Methode pour apprendre,
1e partie - 1771.
Carpentier Joseph:
Methode pour apprendre,
2e partie - 1773.
Collection supervised by
the musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile of
copies from: - National
Library of Paris
(France). - Sainte
Genevieve Library of
Paris (France). - British
Library of London
(England). - Nederlands
Muziek Instituut of the
Hague(Netherlands). -
Royal Conservatory
Library of Brussels
(Belgium). - Library of
Congress of Washington
(USA). - Bayerische
Staatsbibliothek of
Munich (Germany). - In
Private collection. Anne
Fuzeau Classique propose
the complete theoretic
documentation, methods,
classical music scores on
the guitar.
It’
s a beautiful journey
through the tones that I
offer you with these two
pieces.
The first
The Stations of the Cross
express the 14 scenes of
the Passion of Christ
through a simple arpeggio
and 14 different tones.
The 12 minor keys which
begin the work in a
perfectly natural way (D,
A, E, B, F#, C#, G#, D#,
Bb, F, C, G) are followed
by two major keys (D and
the) who come conclude
the work as a triumphant
deliverance.
The
second piece Labyrinthe
uses the same principle,
but in a different way.
With another arpeggio and
major and minor tones
which follow one another
alternating in a natural
way through a slight
mutation, leading us
astray in the meanders of
the tones, to finally
find ourselves in the
original tone, we thus
delivering from this
great labyrinth (do, lam,
re, sim, mi, do#m, fa#,
re#m, ab, fam and
do).
I hope that
the discoverers of these
pieces will have the same
pleasure that I had in
composing them for
them.