Guitar - Intermediate SKU: MB.30667M With Guitar Transcriptions of Bac...(+)
Guitar - Intermediate
SKU: MB.30667M
With Guitar
Transcriptions of Bach's
Figured Bass
Accompaniment.
Composed by Matthias
Stegmann. Gospel/Sacred,
Squareback saddle stitch,
Christian. Gospel. Book
and online PDF. 238
pages. Mel Bay
Publications, Inc
#30667M. Published by Mel
Bay Publications, Inc
(MB.30667M).
ISBN
9781513463971. 8.75 x
11.75
inches.
Johann
Sebastian Bachâ??s
arrangements of the
â??69 Sacred Songsâ?
from the Musical
Hymnal by Georg
Christian Schemelli
(Leipzig, 1736) have long
been part of the German
language vocal concert
repertoire and a mainstay
in vocal pedagogy.
Originally, only these 69
of the 954 hymns in the
collection were published
with a single bass line
as the accompaniment.
Bachâ??s contribution
was to specify harmonies
to be played over those
same bass lines by adding
figured bass
numbers and symbols
beneath each
note.
A figured
bass line can easily be
turned into a relatively
simple guitar
accompaniment or a more
elaborate setting,
offering a range of
possibilities that make
working with this music
both interesting and
rewarding for the
guitarist. While other
period and modern
editions of the â??69
Sacred Songsâ? offer
accompaniments for
keyboard instruments,
this Mel Bay publication
features intermediate to
advanced transcriptions
exclusively for the
guitar.
Best
suited to college-level
players or advanced
aficionados, this special
Mel Bay Publications
edition includes the
vocal line with German
lyrics and the guitar
accompaniment transcribed
from Bachâ??s figured
bass lines. Written in
guitar-friendly keys, 29
of the transcriptions
employ a capo to achieve
the original key designed
for high voices. Without
the capo, these same
arrangements would be
suitable to be sung by
lower voices. The
remaining 40 hymns are in
their original
guitar-friendly keys and
so do not require a
capo.
This volume
contains accompaniment
settings of all 69 of the
sacred songs and arias
for which Bach wrote
figured bass annotation.
For performance variety
and convenience, this
book includes â??Scores
in their Original
Keys,â? and
stand-alone â??Guitar
Accompaniment,â? and
â??Bass Parts.
Guitare Guitare classique [CD Sheet Music] Subito Music
CD Sheet Music (Version 2.0) titles allow you to own a music library that rivals...(+)
CD Sheet Music (Version
2.0) titles allow you to
own a music library that
rivals the great
collections of the world!
Version 2.0 improves upon
the earlier edition in a
number of important ways,
including an invaluable
searchable table of
contents, biographical
excerpts, and faster
loading. CD Sheet Music
(Version 2.0) titles work
on PC and Mac systems.
Each page of music is
viewable and printable
using Adobe Acrobat. 1600
pages. Published by
Subito Music.
Fretted guitar SKU: PR.UE038025 For guitar. Composed by Bela Barto...(+)
Fretted guitar
SKU:
PR.UE038025
For
guitar. Composed by
Bela Bartok. Arranged by
Siegfried Steinkogler.
Score. Universal Edition
#UE038025. Published by
Universal Edition
(PR.UE038025).
UPC:
803452072843.
Barto
k's Allegro barbaro is a
favorite of
keyboard-mashing
pianists, with its
driving rhythms and
sudden forceful
outbursts. Arranging a
piece like this for solo
guitar is no small feat,
yet Steinkogler has
artfully accomplished
just that, overcoming
many technical challenges
to bring the Bartok to
six strings. For the
accomplished guitarist,
this would be a fantastic
concert closer or encore
piece.
Composed by Alban Berg (1885-1935) and Alban Berg (1885-1935). Contemporary. Per...(+)
Composed by Alban Berg
(1885-1935) and Alban
Berg (1885-1935).
Contemporary. Performance
score. With Standard
notation. 20 pages.
Universal Edition
#UE36674. Published by
Universal Edition
(PR.UE036674).
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: UT.CH-387 Composed by Ferdinando Carulli. Edited by Romolo Ca...(+)
Guitar
SKU:
UT.CH-387
Composed by
Ferdinando Carulli.
Edited by Romolo
Calandruccio. Classical.
Score. Ut Orpheus #CH
387. Published by Ut
Orpheus (UT.CH-387).
ISBN 9790215328235. 9
x 12 inches.
Opus
114 is certainly one of
Carulliâ??s most
important didactic works,
so much so that the
author himself made a
point of writing in the
second edition of his
famous Method op. 27
(1819): The student, when
moving on to the second
part, must continue to
practise on the easy
pieces which are to be
found in opus nos. 50,
15, 35, 36, 93, 7 and
above all in opus 114. He
maintained this
indication also in later
editions of the Method
itself, unlike what he
did with other
collections of studies
which were no longer
recommended. The
purpose of op. 114, in
particular of the
preludes, is clearly
explained by the author
himself in the preface of
op. 265: I have already
offered preludes in my
opus nos. 71 and 114 to
people, but they serve to
study and learn to play
all sorts of difficult
passages, to practise
modulating, and learn to
improvise on the guitar.
Carulli seems to want to
provide his students with
a large handbook of
formulas typical of his
musical writing and he
does so by making use of
the keys which, in his
opinion, are most
congenial to the guitar.
In his Method he points
out: Each instrument has
its favourite keys: the
guitar can be played in
all keys, but the best
ones are: A major and
minor, D major and minor,
E major and minor, C, G,
F. The others are
difficult; [â?¦].
However, some of the
difficult ones are
included but only in the
fourth part. Of course,
the easiness of a key
essentially depends on
the possibility of
extensive use of the open
strings, especially in
the low notes, ensuring
the accompaniment on the
main degrees. This
edition has some unique
features. First of all,
it is the first complete
modern edition of
Carulliâ??s op. 114; it
presents an important
critical apparatus in
which the Carullian
technique is presented
and analysed; finally,
Carulli's original
fingering is indicated in
the score (including that
of the thumb of the left
hand) and the missing one
was obtained from the
comparison of his other
fingerings present in
other works. All this
allows an easy and
complete reading both for
those who perform the
pieces following the
nineteenth-century
performance practice with
a historical instrument,
and for those who play a
modern instrument.
Flute, clarinet in A or B (viola) and guitar SKU: HL.49019930 Valsa ar...(+)
Flute, clarinet in A or B
(viola) and guitar
SKU: HL.49019930
Valsa argentina.
Composed by Ernesto
Nazareth. Arranged by
Siegfried Schwab. This
edition: Saddle
stitching. Sheet music.
Ensemble. Softcover.
Composed 1913. 28 pages.
Schott Music #ED20408.
Published by Schott Music
(HL.49019930).
ISBN
9790001152693. UPC:
841886011441.
9.0x12.0x0.079
inches.
The
compositions by the
greatest Brazilian tango
composer and pianist
Ernesto Julio de Nazareth
(1863 -1934) are strongly
influenced by Brazilian
folk music. He preferred
light entertainment, and
his dance music has
remained extremely
popular in his home
country until today.
Heitor Villa-Lobos called
him 'the true embodiment
of the Brazilian soul'.
Nazareth composed
primarily choros music
which is very common in
Brazil, but it was his 25
tangos (25 Tangos
Brasileiros for piano,
Schott ED 7561) that made
him famous.The melancholy
waltz Confidencias in A
minor (already published
for piano in Valsas
brasileiros, Schott ED
20304) bridges the gap
between Latin American
folkore and Romantic
elements, as can be found
in the waltzes by Chopin.
The work's specific
expressive chromaticism
in melody and harmony
stands out particularly
in the arrangement for
chamber music
ensemble.
Guitar - Intermediate SKU: DY.DO-1522 Composed by Francis Bebey. Arranged...(+)
Guitar - Intermediate
SKU: DY.DO-1522
Composed by Francis
Bebey. Arranged by Ingrid
Riollot. Score. Les
Editions Doberman-Yppan
#DO 1522. Published by
Les Editions
Doberman-Yppan
(DY.DO-1522).
Francis
Bebey was born in Douala
in July 1929, into a
large family where his
father, a pastor,
struggled to feed his
children. But Francis had
the opportunity to go to
school. Admiring his
elder brother, Marcel
Eyidi Bebey, he educated
himself, distinguished
himself, and eventually
received a scholarship to
go and take his
baccalaureate in
France. We approached
the end of the 1950s when
he arrived in La
Rochelle. More than ever,
in this France where
Africans were looked at
with curiosity,
condescension, or
disdain, Francis relied
on his intellectual
resources. A diligent
worker, he obtained his
Baccalaureate, then moved
to Paris where he started
English studies at the
Sorbonne. One day, he
knew what truly attracted
him: he wanted to do
radio. Francis learned
his craft in France and
in the USA. After
working for a few years
as a reporter, he was
hired in 1961 as an
international civil
servant in the UNESCO
Information
Department. In
parallel, Francis had
always been drawn to
musical creation. His
very serious daytime
activity didnâ??t
prevent him from
frequenting jazz clubs in
the evenings. In Paris,
the Jazz, the trendy
music of that time, but
also rumba and salsa
attracted him. He
collected records and
attended numerous
concerts. With his
accomplice Manu Dibango,
Francis took the stage
and played
music. Francis liked
classical music since his
childhood. He grew up
listening to the cantatas
and oratorios of Bach or
Handel that his father
had sung in the temple.
He became passionate
about the guitar,
impressed by the Spanish
and South American
masters, and decided to
learn to strum the
instrument himself. He
started composing guitar
pieces, blending the
various influences that
flow through him with the
traditional African music
he had carried within
since childhood. His
approach captivated the
director of the American
Cultural Center (then
located in the
Saint-Germain
neighborhood of Paris),
who offered him the
opportunity to perform in
front of an audience.
Francis gave his first
guitar recital there
(1963) in front of a
mesmerized audience. His
first solo album was
released shortly
thereafter. Gradually,
Francis became recognized
as a musician and
composer. Several albums
of the African guitar
ambassador, as described
by the press, were
released. He also wrote
books, to the point that
his artistic career
became challenging to
reconcile with his career
as a civil servant. In
1974, even though he had
become the General
Manager in charge of
music at UNESCO, he took
the bold leap and
resigned from this
prestigious institution
to dedicated himself to
the three activities that
interested him: music,
literature, and
journalism. He
explored the traditional
musical heritage of the
African continent,
notably through the thumb
piano sanza, and the
polyphonic music of the
Central African pygmies,
or singing in his native
language and composing
humoristic songs in
French! Success
followed. Francis Bebey
traveled the world: from
France to Brazil,
Cameroon to Sweden,
Germany to the Carribean,
or Morocco to Japan...
the list of countries
where he was invited to
perform, gives lectures,
or meets readers is very
long. In addition to
public recognition, he
enjoyed the recognition
of his fellow musicians,
such as guitarist John
Williams or Venezuelan
Antonio Lauro, who
invited him to be a part
of the jury for a
classical guitar
competition in
Caracas. His life was
the journey of an African
pioneer, a man rooted in
his cultural heritage and
carrying a message of
sharing and hope for the
world. His originality
continues to vibrate
around the world since
his passing at the end of
May 2001.
Guitar SKU: GI.G-9538G Traditional Hymns for Contemporary Ensembles(+)
Guitar
SKU:
GI.G-9538G
Traditional Hymns for
Contemporary
Ensembles. Arranged
by Tony Alonso S.J. This
edition: Guitar edition.
Sacred. Guitar part. With
guitar chord names. 52
pages. GIA Publications
#9538G. Published by GIA
Publications
(GI.G-9538G).
UPC:
785147953876.
Â
Revival is a long overdue
resource that provides
fresh accessible
arrangements of classic
hymns for contemporary
ensembles. Each
arrangement is scored for
SAB choir, piano, guitar,
and optional instrumental
parts. For added texture,
the final stanza of each
hymn includes an
alternate harmonization
of the accompaniment with
a soprano descant. These
fourteen arrangements
will open a whole new set
of treasured hymns to
piano and guitar based
ensembles. Compatible
with the versions founds
in GIA’s most
recent hymnals, each of
these arrangements is
intended to support and
inspire the sung prayer
of the assembly. Every
one will find a
comfortable home in your
repertoire throughout the
liturgical year! A
special spiral bound
edition of Revival is
also available. This
edition is perfect for
accompanists who would
also like to use these
hymn arrangements as
preludes, interludes, or
postludes. Collections
like Revival are
not simply a way for
contemporary ensembles to
plant deeper roots and
tap into more traditional
repertoires. It is a way
for all of us to hear old
hymns with new ears, in a
new way. --Fr. Anthony
Ruff, OSB, Associate
Professor of Theology at
St. John's Abbey Quote
from Pray Tell
Blog. Click here to
read full article Tony
Alonso’s Revival
offers us fourteen
wonderfully arranged
familiar
hymns—musically
accessible and a delight
to sing. Flexibly crafted
for voices, piano and
guitar with lovely
optional descants, this
is an ecumenical gift and
bridge-builder between
classical and
contemporary approaches
to hymns in the liturgy.
It should be in every
parish’s working
library. --Don Saliers,
Professor of Theology and
Worship at the Candler
School of Theology In his
new collection, Revival,
Tony Alonso marks the
500th anniversary of a
great divide in the
church by bridging the
chasm between Catholic
and Protestant,
contemporary and
traditional, Appalachian
and European. His
arrangements for voices,
piano, and
guitar—with
options for using other
instruments as
well—allow for
improvisation and
adaptation while
remaining accessible for
a wide range of
musicians. Although these
hymns are designed to be
used by contemporary
ensembles, they lend
themselves to use in a
variety of worshiping
contexts. Alonso's
arrangements will entice
you to sing
along--Revival is a great
gift to the whole church!
--Kimberly Bracken Long,
Editor of Call to
Worship: Liturgy, Music,
Preaching, & the Arts
Tony Alonso’s,
Revival, is an invaluable
resource to help find
common ground among
“contemporaryâ€
and
“traditionalâ€
choirs and ensembles by
making hymnody
approachable to those who
may have shied away from
it for stylistic reasons.
It is also a great
educational tool for
organists and pianists
who are seeking ways to
improve their
improvisatory keyboard
skills by modeling
accompaniment styles and
improvisatory patterns
that support and enhance
the singing of
traditional hymns.
​--​Dominic
Trumfio, Associate
Director of Worship Music
at Old St. Patrick's
Church, Chicago.
Di
scover Un Jour de Mars, a
haunting musical ballad
for solo guitar that
captures the hope and
sweetness of the arrival
of spring. Let yourself
be transported by this
evocative melody which is
interpreted like a
prelude...
Guitar - intermediate to advanced SKU: M7.GHE-801 Advanced Studies...(+)
Guitar - intermediate to
advanced
SKU:
M7.GHE-801
Advanced Studies.
Composed by Fernando Sor.
Edited by Erik
Stenstadvold. This
edition: Saddle-wire
stitching. Sheet music.
New Critical Edition. 68
pages. MDS (Music
Distribution Services)
#GHE 801. Published by
MDS (Music Distribution
Services) (M7.GHE-801).
Guitar SKU: UT.CH-385 Composed by John W. Duarte. Edited by Isabel Siewer...(+)
Guitar
SKU:
UT.CH-385
Composed by
John W. Duarte. Edited by
Isabel Siewers.
Classical. Score. Ut
Orpheus #CH 385.
Published by Ut Orpheus
(UT.CH-385).
ISBN
9790215328174. 9 x 12
inches.
The
Sonatina del Sur
(Sonatina of the
South) was
commissioned by Isabel
Siewersâ?? mother as a
34th birthday present for
her daughter. Its music
pays token, rather than
imitative, homage to
South American music.
Thus the sonata form
first movement, whose
brief development section
accounts for the
workâ??s
â??diminutiveâ?? title,
merely hints at
syncopations that are as
common in South America
as they are in Europe.
The Canción de
cuna (Cradle Song) is
unusual in the fact that
it is played entirely in
natural harmonics â?? no
string touches a fret
from start to finish, a
compositional challenge I
had long planned to face.
The third movement was
originally titled
Milonga, but when
the dedicatee said that,
although it has a South
American air over it, and
the rhythm is right, it
was not really like a
milonga, it was renamed!
Perhaps, though, it
captures a little of the
happy and
lightness-of-touch
character of its eponym.
The Danza negra,
another common South
American genre, is
energetic, with a variety
of percussive gestures
that demand extreme
agility on the part of
the performer.
Guitar - Intermediate SKU: OT.26114 Composed by Ariel Lazarus. A short su...(+)
Guitar - Intermediate
SKU: OT.26114
Composed by Ariel
Lazarus. A short suite
for classical guitar
based on themes from the
Spanish and Portuguese
tradition. Classical.
Score. OR-TAV Music
Publications #26114.
Published by OR-TAV Music
Publications (OT.26114).
ISBN 9789655051049.
8.27 x 11.69
inches.
Ariel
Lazarus Guitarra
Liturgia Two pieces
based on music from the
Spanish and Portuguese
tradition.
Contents: Jerusalem
de Sefarad - Suite for
Guitar Contrapunto
Sefardi The composer
writes: For many
years I wanted to compose
a piece for guitar which
would inspire interested
students to expand their
repertoire in the
direction of Jewish
music. The most natural
thing for me was to write
a suite based on themes
from the synagogue in
which I grew up –
the Spanish and
Portuguese synagogue of
Gibraltar. My beloved
grandfather served all
his life as hazzan
(cantor) of this
synagogue, and I always
felt as a composer and
educator that I had a
special obligation to
continue his tradition
and pass it on to a new
generation. In this
composition, I let the
guitar echo the piyyutim
(semi-liturgical poems)
that were part of my
childhood: Adon Olam,
Sh'charchoret, Achot
K'tana, Yigdal, Borei ad
Ana, all of which are
sung in the Spanish and
Portuguese tradition from
Gibraltar to London, and
from New York to
Jerusalem. I let myself
dream the piyyutim, take
them apart and
reconstruct them as a
short suite for guitar,
the results of which you
are invited to hear here.
As a conceptual idea for
the suite, I choose to
suggest about the
cultural continuation
between the Diaspora and
the land of Israel by way
of referencing the
well-known melody of
Naomi Shemer, which is
also popular among the
hazzanim. Dr. Ariel
Lazarus is a unique voice
among Israeli
composer-performers
today. Brought up in a
family with Jewish
musical roots both in
Gibraltar and Westphalia,
he began composing and
playing the guitar in his
teens, and has been
committed to developing
his own compositional
language ever since,
always maintaining an
open dialogue with his
traditions. Lazarus
received his BMus and
MMus degrees from
Oklahoma City University
in classical guitar
performance and
composition where he
studied with American
composer Dr. Edward
Knight. He earned his PhD
from Bar Ilan University,
studying composition with
Prof. Betty Olivero and
Prof. Gideon Lewensohn
and conducting research
under the supervision of
Prof. Edwin Seroussi from
the Hebrew University.
His symphonic works have
been premiered by the
Raanana Symphonette
Orchestra, and his
chamber works have been
performed by various
ensembles in the United
States, Central Europe,
Portugal, Gibraltar,
Scandinavia and Israel.
Lazarus performs
regularly as Art
Ambassador on behalf of
the Israeli Ministry of
Diaspora affairs Amiel
BaKehila program. His
solo album A Hebrew
Capriccio was released by
the German boutique label
SmoothFactor and was
awarded critical acclaim,
among others, in Haaretz,
and Neue Westfalishe.
Dr. Lazarus is the
musical director and
co-founder of the Israeli
Ladino Orchestra. His
work with the orchestra
has been recognized by
the official Carta de
España. He teaches at
the Academic College for
Education Givat
Washington, and the Rimon
School of Music.
Lazarus’s work has
been awarded by the
Israeli Pais Art council
and ACUM.
Guitar SKU: FG.55011-899-7 Composed by Paavo Korpijaakko. Classical, cont...(+)
Guitar
SKU:
FG.55011-899-7
Composed by Paavo
Korpijaakko. Classical,
contemporary. Score.
Fennica Gehrman
#55011-899-7. Published
by Fennica Gehrman
(FG.55011-899-7).
ISBN
9790550118997.
Paav
o Korpijaakko's (b. 1977)
guitar sonata Kimberley
was composed in 2006 and
dedicated to Petri
Kumela. It is
Korpijaakko's fist piece
for the guitar, and the
composers gives credit to
the commissioner, who
untiringly and
long-sufferingly solved
the challenges posed by
the musical ideas and
conjured forth timbral
shades. Including a
tribute to Debussy, a
playful scherzo and some
shameless flirting with a
flamenco the four
movement sonata arrives
at a spectacular
conclusion.
Durati
on:
21'
Korpijaakko
studied at the Tampere
Conservatory
1997â2007, majoring
in composition from 2001
onwards. For most of the
time he was a pupil of
Jouni Kaipainen, but he
was also taught by Juhani
Nuorvala and Hannu
Pohjannoro. Korpijaakko
stresses the importance
of harmony, resonant
material and harmonic
hierarchy, by which he
means harmony as a
fundamental progressive
element of the piece. His
aim in handling his
motifs is to use his
material sparingly. In
this respect he
specifically wants to be
a kindred spirit to
Beethoven. Everything
that will later appear in
the work must be derived
from the core thematic
and harmonic elements
â or whatever one
likes to call them. Most
important is, however, to
create a steady stream of
interesting music.
Easy
Pieces for Guitar.
Composed by Lukáš
Sommer. Stapled.
Performance score,
anthology. 34 pages.
Baerenreiter Verlag
#BA11555_00. Published by
Baerenreiter Verlag
(BA.BA11555).
ISBN
9790260108776. 31 x 24.3
cm inches. Illustrations:
Nemeckova,
Jitka.
This
children’s album
by renowned Czech
composer-guitarist
Lukáš Sommer
reflects the latest
trends in playing and
teaching the guitar. It
is suitable for the first
three years of lessons.
Some of the pieces have
even been performed by
children and young guitar
students at competitions
and concerts in
Europe.
Each of
these little programme
pieces is written in a
different style with
brief explanations of its
technical features.
Several are composed in
an open-ended form that
allows players to define
the rhythm or to add an
accompaniment on open
bass strings. In this way
the author grants leeway
to the learners’
creativity and stimulates
their musical
imagination.
The
pieces are easy to play
and the edition comes
with attractive
illustrations.
Guitar solo - Advanced SKU: DZ.DZ-3759 Composed by R. Nathaniel Dett. Arr...(+)
Guitar solo - Advanced
SKU: DZ.DZ-3759
Composed by R. Nathaniel
Dett. Arranged by
Christopher Mallett. GFA
Spotlight Series. Score.
Les Productions d'OZ #DZ
3759. Published by Les
Productions d'OZ
(DZ.DZ-3759).
ISBN
9782897956769.
The
Guitar Foundation of
America (GFA) is
committed to cultivating
Inclusion, Diversity,
Equity and Access in the
international guitar
community and in the
repertoire published for
the instrument. Many
factors, including a
composer's race, gender,
and sexual orientation,
have historically created
a narrow representation
of our community in the
classical music canon.
For this first volume of
the GFA Spotlight Series,
the GFA commissioned
seven new works by
composers of color. The
second volume of this
series will follow with
seven transcriptions of
existing pieces by
composers of color. These
commissioned pieces and
transcriptions were
premiered by students in
the GFA Mentorship
Program in 2021. With
this collection, the
guitar takes a step
towards a more inclusive
and representative
repertoire that nurtures
creativity and inclusion
for generations of
guitarists to come.
Growing the canon
enriches the musical
experiences of our entire
international guitar
community through
exposure to diverse
perspectives and voices,
complementing the
invaluable lessons we
learn from the existing
contributions of pieces
that form the canon.
Guitar solo - Advanced SKU: DZ.DZ-3758 Composed by Henry T. Burleigh. Arr...(+)
Guitar solo - Advanced
SKU: DZ.DZ-3758
Composed by Henry T.
Burleigh. Arranged by
Christopher Mallett. GFA
Spotlight Series. Score.
Les Productions d'OZ #DZ
3758. Published by Les
Productions d'OZ
(DZ.DZ-3758).
ISBN
9782897956752.
The
Guitar Foundation of
America (GFA) is
committed to cultivating
Inclusion, Diversity,
Equity and Access in the
international guitar
community and in the
repertoire published for
the instrument. Many
factors, including a
composer's race, gender,
and sexual orientation,
have historically created
a narrow representation
of our community in the
classical music canon.
For this first volume of
the GFA Spotlight Series,
the GFA commissioned
seven new works by
composers of color. The
second volume of this
series will follow with
seven transcriptions of
existing pieces by
composers of color. These
commissioned pieces and
transcriptions were
premiered by students in
the GFA Mentorship
Program in 2021. With
this collection, the
guitar takes a step
towards a more inclusive
and representative
repertoire that nurtures
creativity and inclusion
for generations of
guitarists to come.
Growing the canon
enriches the musical
experiences of our entire
international guitar
community through
exposure to diverse
perspectives and voices,
complementing the
invaluable lessons we
learn from the existing
contributions of pieces
that form the canon.