Guitar - Intermediate SKU: MB.WBM75M Saddle-stitched. Folk. Book and onli...(+)
Guitar - Intermediate
SKU: MB.WBM75M
Saddle-stitched. Folk.
Book and online audio.
Mel Bay Publications, Inc
#WBM75M. Published by Mel
Bay Publications, Inc
(MB.WBM75M).
ISBN
9781737795353. 8.75X11.75
inches.
This is a
collection of 86 guitar
solos in notation only
from William Bayâ??s
books, Solo Guitar in
Worship,
Communion,
Psalms,
Timeless Gospel
Melodies and
Spirituals. The
solos work well as
preludes, offertories,
communion hymns,
recessionals or they can
be played for
enjoyment. All 86
solos have been recorded
and are available as
online downloads with
this book.
Guitar/Bass/Drum. J-POP.
Sheet music. Yamaha Music
Media #GTL01097129.
Published by Yamaha Music
Media (YM.GTL01097129).
ISBN
9784636971293.
25
Famous melodies for
guitar solo. Players are
able to listen the model
performance on the
smartphone through the QR
cords attached to each
page. 25Shou Ji Ta Du
Zou Ming Qu . Yan Zou Zhe
Ke Yi Tong Guo Sao Miao
Er Wei Ma Shi Yong Zhi
Neng Shou Ji Shi Ting Shi
Fan Yan Zou .
1.
Liszt: Liebestraum; 2.
Debussy: La fille aux
cheveux de lin; 3.
Dvorak: Largo from A New
Wrold Symphony; 4.
Satie/Ju te veux; 5.
Chopin: Prelude Op.28/7;
6. Haydn: Theme from 2nd
movement of Kaiser
Quartet; 7. Verdi:
Triumphal March from
Opera Aida; 8. Ravel:
Bolero; 9. Massenet:
Meditation from Opera
Thais; 10. Borodin:
Polovtsian Dances from
Opera Prince Igor; 11.
Moussorgsky: Promnade
from Pictures at an
Exhibition; 12. Smetana:
Melody from Moldau; 13.
Schubert: Melody from
Trout Quintet; 14. Bach,
J. S.: Prelude from Suite
for Cello No.1; 15.
Liszt: La campanella; 16.
Paganini: Caprice No.24;
17. Tarrega: Adelita; 18.
Tarrega: Etude No.1; 19.
El Noi de la Mare; 20.
Sanz: Canarios; 21.
Tarrega: La'cryma
Christi; 22. Sol: Waltz
from 6 pieces; 23.
Siciliano; 24.
Londonderry Air; 25.
Gershwin: Rapsody in
Blue.
Traditional, Wire bound,
Celtic. Folk. Book and
online audio. 216 pages.
Mel Bay Publications, Inc
#WBM58M. Published by Mel
Bay Publications, Inc
(MB.WBM58M).
ISBN
9781736363058. 8.75x11.75
inches.
A
comprehensive collection
of 172 guitar solos for
the flatpick or plectrum
guitarist. All solos are
written in standard
notation with
accompanying online
recordings by the author.
The solos include
beautiful American,
British and Celtic airs
and ballads, Celtic dance
tunes, lute and early
music, popular classical
repertoire and
contemporary etudes.
Includes access to online
audio.
By William Bay; performed by Ben Bolt. For Guitar (Classic). method. You Can Tea...(+)
By William Bay; performed
by Ben Bolt. For Guitar
(Classic). method. You
Can Teach Yourself.
Classic. Level:
Beginning. Book DVD. Size
8.75x11.75. 112 pages.
Published by Mel Bay
Publications, Inc.
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 - Advanced SKU: DY.DO-1551 Composed by Yorgos Nousis. Score. Les E...(+)
Guitar - Advanced
SKU:
DY.DO-1551
Composed
by Yorgos Nousis. Score.
Les Editions
Doberman-Yppan #DO 1551.
Published by Les Editions
Doberman-Yppan
(DY.DO-1551).
ISBN
9782897963316.
PULS
O DE LA VIDA was composed
as part of my dear friend
Kostas Tosidis' doctoral
thesis with the title
Bowing technique on the
guitar. The character
of the piece changes from
simple and meditative to
rhythmic and
tension-filled,
reflecting different
stages of our
lives. Using a C, G, D
tuning for the bass
strings, the guitar
utilizes resonance to
create sustained,
cello-sounding melodies
on the fourth string,
complemented by harmonies
on the fifth and sixth
strings. The bowing
technique is introduced
with a continuous tremolo
accompanied by an
extended form of the
first theme. The more
dancelike and rhythmical
part of the piece uses a
19/16 measure that allows
us to experience a sense
of disparity.
Finally, the
simplicity combined with
a sense of completeness,
but also of abandonment
of the beautiful gift of
life, leaves us in a
state of stillness for
any kind of
introspection.
Having
been invited several
times onto the jury of
the prestigious
Certamen Tarrega
in Benicasim, I thought I
would involve a few
composers in a gift to
the father of the modern
guitar. So I asked the
composers to write a
Prelude of the kind that
Tarrega wrote and which
count among his most
significant
compositions. These
Preludes for Tarrega, all
written between August
and November 2015, are
very different from each
other. The common
feature, however, between
these and the Preludes by
Tarrega is their brevity,
an average level of
performance difficulty
and guaranteed easy
listening, even when
written in a non-tonal
language (like the
meditative and melancholy
piece by Emilio Calandin
and the one by Marco
Smaili, with its
Impressionistic feel
reminding one of
Tarrega's most famous
pupil, Miguel
Llobet). In some
Preludes (the ones by
Paolo Ugoletti, Roberto
Tagliamacco, Claudia
Montero) the reference to
Lagrima, one of
Tarrega's most famous
Preludes, is evident in
form, title and some
citations. Ugoletti and
Tagliamacco work well and
expressively on harmony
and counterpoint, while
the Argentinian Claudia
Montero links Tarrega to
a heartbreaking Buenos
Aires... In Alessandro
Spazzoli there is rather
more a connection with
Tarrega's sense of melody
and deep simplicity,
while Marco Reghezza
remembers ironically what
was brewing in European
music when Tarrega was
alive: in fact, his
Como Preludio goes
across the 24 keys - and
even a reference to
Wagner's Tristan
raises its head... I
am delighted for this
volume to come out at the
time of the fiftieth
edition of the Certamen
Tarrega. (Piero
Bonaguri).
