Beethoven,
Saddle-stitched.
Classics. Book. 116
pages. Mel Bay
Publications, Inc #30829.
Published by Mel Bay
Publications, Inc
(MB.30829).
ISBN
9781513465753. 8.75x11.75
inches.
This
publication presents a
lightly modernized, fully
corrected, reliable
edition of Francisco
T?rrega?s more idiomatic
transcriptions and
arrangements for the
classic guitar. T?rrega,
who was also an able
pianist, chose works by
diverse composers such as
Ludwig van Beethoven,
Fr?d?ric Chopin, and
Robert Schumann to
arrange for his own
guitar performances,
greatly expanding the
concert guitar repertoire
of his time.This
publication provides
today?s players with a
dependable edition of
these works that can be
seamlessly incorporated
into any modern concert
program. Written in
standard notation only
for the intermediate to
advanced guitarist, this
collection features
pieces that were less
commonly heard on the
guitar and sound
remarkably fresh to this
day.
Deluxe Guitar
Play-Along Volume 12.
By Various. Deluxe Guitar
Play-Along. Pop, Rock.
Softcover Audio Online.
With guitar tablature. 96
pages. Published by Hal
Leonard (HL.278488).
ISBN 9781540029997.
UPC: 888680753689.
9.0x12.0x0.264
inches.
The Deluxe
Guitar Play-Along series
will help you play songs
faster than ever before
with accurate,
easy-to-read guitar tab
and professional,
customizable play-along
audio for 15 songs. The
interactive, online audio
interface includes
tempo/pitch control,
looping, buttons to turn
instruments on or off,
and guitar tab with
follow-along marker. The
tracks can be streamed or
downloaded and played
offline. This volume
features 15 favorites:
Ain't No Sunshine * All
Along the Watchtower *
Bad Moon Rising * Beverly
Hills * Can't You See *
Evil Ways * I Still
Haven't Found What I'm
Looking For * The Joker *
Just the Way You Are *
Ring of Fire * Stir It Up
* Twist and Shout * What
I Got * What's Up *
Wicked Game.
About Hal
Leonard Guitar Play-Along
Series
The
Guitar Play-Along Series
will help you play your
favorite songs quickly
and easily. Just follow
the tab, listen to the CD
to hear how the guitar
should sound, and then
play along using the
seperate backing tracks.
The melody and lyrics are
also included in the book
in case you want to sing,
or to simply help you
follow along.
Composed by Mark Tonelli / Philip Groeber. For guitar. Way To Play. Intermediate...(+)
Composed by Mark Tonelli
/ Philip Groeber. For
guitar. Way To Play.
Intermediate/late
intermediate.
Supplemental book with
online audio. Published
by The FJH Music Company
Inc
Guitar (flatpick/plectrum) - Intermediate SKU: MB.95696 Composed by David...(+)
Guitar
(flatpick/plectrum) -
Intermediate
SKU:
MB.95696
Composed by
David Grisman. Squareback
saddle stitch. Acoustic
Disc Records. Bluegrass
and Country. Book. 88
pages. Mel Bay
Publications, Inc #95696.
Published by Mel Bay
Publications, Inc
(MB.95696).
ISBN
9780786616572. UPC:
796279028691. 8.75 x
11.75 inches. By David
Grisman and Tony Rice,
transcribed by John
Carlini.
In 1994,
Acoustic Disc issued a
landmark CD by David
Grisman and Tony Rice.
The central idea behind
the album called for the
artists to play a
different vintage
mandolin or guitar on
each cut. On this
remarkable recording,
David and Tony perform 17
original compositions on
a wide range of vintage
instruments. Mel Bay
Publications, Inc., is
proud to present this
guitar edition and a
separate mandolin edition
of Tone Poems, both
transcribed by noted
guitarist/arranger John
Carlini. All 17 solos in
each book are written in
notation and
tablature.
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.
In
September of 2018,
guitarist, Toby
McWilliams commissioned
Cruz to write a
three-movement guitar
solo after hearing his
Five Pieces in C on the
internationally
syndicated radio show,
Classical Guitar Alive.
McWilliams requested the
first movement to be in
sonata-allegro form
followed by two other
pieces that reflect the
tempo choices of a
typical three-movement
sonatina. As is the case
with most of Cruzâs
music, this Sonatina was
completed as music
written for musicâs
sake. However, in his
quest to find titles
other than tempo
markings, Cruz plucked
three words from the
correspondence between
himself and McWilliams
that together, add a
personal touch to the
collection while
suggesting a progression
of an imaginary
dayâs
events.
A point of
interest in the first
movement, A theme: Cruz
begins on the IV chord
and intentionally avoids
using a proper I chord
throughout. While the B
section does begin in the
dominant key, it moves
quickly towards a D major
tonal
center.
Festival
(3rd movement) uses a
bitonal opening theme: E
major in the top voice
while the bass line uses
E minor.
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.
Guitar SKU: M7.VOGG-492 Composed by Peter Bursch. Musical instrument. Vog...(+)
Guitar
SKU:
M7.VOGG-492
Composed
by Peter Bursch. Musical
instrument. Voggenreiter
#VOGG 492. Published by
Voggenreiter
(M7.VOGG-492).
Voggy's
Kindergitarren-Set (1/2)
Dieses Gitarren-Set
für Kinder enthält
alles, was für einen
sofortigen Einstieg
benötigt wird. Die
Gitarre ist aus folgenden
Materialien gefertigt:
Hals: Linde,
mahagonifarbig gebeizt,
Hochglanzlackierung
Decke: hochwertige
Fichtendecke für einen
guten Klang Boden und
Zargen: Catalpa
Mechaniken: verchromt,
perlmuttfarbene
Acryl-Knöpfe
Griffbrett: Palisander
natur Bünde:
Neusilber, seitliche
Bundmarkierung
Größe: 555 mm
Mensur, 41 mm
Sattelbreite, 875 mm
Gesamtlänge Das Set
enthält außerdem:
Robuste und gepolsterte
Textiltasche mit
Notenfach,
Rucksackfunktion zwei
verstellbaren
Schultergurten Peter
Bursch's
Kinder-Gitarrenbuch
vermittelt erste
Gitarrenkenntnisse ganz
leicht und ohne Noten
nach der millionenfach
bewährten und
beliebten Methode des
bekannten
Gitarrenlehrers. Mit
Begleit-CD zum Mitspielen
und Anhören der
Ãœbungen und Songs.
elektronisches
Stimmgerät DT-1000
(inkl. Batterien) für
die perfekte Stimmung
einen Satz VOLT
Akustik-Gitarrensaiten
Plektrum.