(A Workbook for Beginning, Intermediate or Advanced Students). Composed by M...(+)
(A Workbook for
Beginning,
Intermediate or Advanced
Students). Composed by
Miles
Okazaki. For guitar.
Spiral-
bound. Guitar Methods,
Scales, Arpeggios,
Technique, Theory,
Harmony.
Book. 166 pages.
Published
by Mel Bay Publications,
Inc
Irish Reel Book Guitare [Partition + CD] - Facile AMA Verlag
By Patrick Steinbach. For Acoustic Instruments. Solos. AMA Verlag. Celtic/Irish....(+)
By Patrick Steinbach. For
Acoustic Instruments.
Solos. AMA Verlag.
Celtic/Irish. Level:
Beginning-Intermediate.
Book/CD Set. Size
9.x11.75. 180 pages.
Published by AMA Verlag.
ISBN 3899220234.
by William Bay. For all guitars. Gospel-old time, strum/sing. Level: Beginning-I...(+)
by William Bay. For all
guitars. Gospel-old time,
strum/sing. Level:
Beginning-Intermediate.
Book. Solos. Size
8.75x11.75. 112 pages.
Published by Mel Bay
Pub., Inc.
By Patrick Steinbach. For Guitar (Fingerpicking). solos. AMA Verlag. Celtic/Iris...(+)
By Patrick Steinbach. For
Guitar (Fingerpicking).
solos. AMA Verlag.
Celtic/Irish. Level:
Beginning-Intermediate.
Book/CD Set. Size
8.75x11.75. 68 pages.
Published by AMA Verlag.
By Corey Christiansen. For Guitar (All). Chord book. Photo Chords. Jazz. Level: ...(+)
By Corey Christiansen.
For Guitar (All). Chord
book. Photo Chords. Jazz.
Level: Beginning. Book.
Size 8.75x11.75. 64
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.
Suite No. 1 Guitare Guitare classique - 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.
Barney Kessel Guitare [Partition + Accès audio] Hal Leonard
A Step-by-Step Breakdown of His Guitar Styles and Techniques. By Barney Kessel. ...(+)
A Step-by-Step Breakdown
of His Guitar Styles and
Techniques. By Barney
Kessel. Signature Licks
Guitar. Jazz, Jazz
Instruction. Softcover
Audio Online. With guitar
tablature. 96 pages.
Published by Hal Leonar
An infectious rhythm played in the bass clef with mallets begins the piece and c...(+)
An infectious rhythm
played in the bass clef
with mallets begins the
piece and continues under
the "Diademata" tune. A
contrasting middle
section is played on
optional chimes against a
flowing eighth note
accompaniment. The
texture builds and
broadens to a recap of
the opening rhythmic
motif against the melody
and an exciting finish.
Fun and festive.
Guitar SKU: FG.55011-071-7 Hommage to Paul Klee. Composed by Kai N...(+)
Guitar
SKU:
FG.55011-071-7
Hommage to Paul
Klee. Composed by Kai
Nieminen. Fennica Gehrman
#55011-071-7. Published
by Fennica Gehrman
(FG.55011-071-7).
ISBN
9790550110717.
Comp
leted in Karstula,
Finland during late July
2010, this carefully
structured, but also
free-ranging work is
drawn from ideas for a
much earlier work in four
movements, Fantasy dating
from the 1980s. Kai
Nieminen has been for a
long time an admirer of
the work of artist Paul
Klee (1879-1940), and the
solo presented in its
final form here is
influenced by the
painting Dances caused by
Fear or as it is often
refered to Dancing from
Fear painted towards the
end of Klee's life in
Bern, 1938. Having
left Germany for
Switzerland in December
1933, Klee's later works
were often full of signs
and lines, very often
represented in black,
depicting human figures
or various objects
against a variety of
coloured backgrounds, in
the case of this painting
of a brownish hue. This
development in his
painting style and
technique is felt by some
to be an effect perhaps
of his long-term illness,
systemic sclerosis, but
in the case of Dances
caused by Fear there is
suggested an atmosphere
of panic and terror, an
attempt to escape from
horrors to come (World
War II), represented in
the violent movement of
the arms and legs of the
figures, and the dark,
indeed brooding nature of
the colours. In Kai
Nieminen's guitar work
Images of Fear, there is
only a very brief passage
of calm at the very
beginning, after which
come three main connected
sections in which a wide
range of musically
unsettling ideas emerge
one by one, making use of
the tritone, minor
seconds, glissandos,
tamboura, campanella,
etc. The third and final
section incorporates the
grouping of 5
sixteenth-notes, to give
an uneasy feeling to the
music, with a short
haunting and pleading
five-note phrase
(Cantando) heard
immediately following
this passage, before the
work ends with further
glissandos, and distant
and diminishing
harmonics. As with
Kai Nieminen's other
guitar works, the use of
'orchestral colour' is
vital to the performance,
and passages suggestive
of for example brass,
strings, woodwind, etc.,
should be taken into
account and played with
suitably considered
contrast of tone.