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.

FRANCE SCO BIRAGHI

Au lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprèt e et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.

FRANCESCO BIRAGHI.

Guitar - Intermediate

SKU: MB.WBM58M

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 Teach Yourself. Classic. Level: Beginning. Book DVD. Size 8.75x11.75. 112 pages. Published by Mel Bay Publications, Inc.

Guitar solo

SKU: DZ.DZ-4280

Composed by Francis Kleynjans. Score. Les Productions d'OZ #DZ 4280. Published by Les Productions d'OZ (DZ.DZ-4280).

ISBN 9782898521973.

Câ� �™est un beau voyage aux travers des tonalités que je vous propose avec ces deux pièces.

La première Le chemin de croix expriment les 14 tableaux de la Passion du Christ par l’intermédiaire d’un simple arpège et de 14 tonalités différentes. Les 12 tonalités mineures qui débutent l’œuvre de façon parfaitement naturelle (ré, la, mi, si, fa#, do#, sol#, ré#, sib, fa, do, sol) sont suivi par deux tonalités majeures (ré et la) qui viennent conclurent l’œuvre comme une triomphante délivrance.

La deuxième pièce Labyrinthe reprend le même principe, mais de façon différente. Avec un autre arpège et des tonalités majeures et mineures qui s’enchainent en s’alternant d’une façon naturelle par le biais d’une légère mutation, nous égarant dans les méandres des tonalités, pour enfin nous retrouver dans le ton original, nous délivrant ainsi de ce grand labyrinthe (do, lam, ré, sim, mi, do#m, fa#, ré#m, lab, fam et do).

J’espÃ� �re que les découvreurs de ces pièces auront le même plaisir que j’ai eu à les composer pour eux.

Francis Kleynjans

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.

Francis Kleynjans.

By Mel Bay. For Guitar (All). Method. Modern Guitar Method. All Styles. Level: Beginning-Intermediate. Book/CD Set. Size 8.75x11.75. 88 pages. Published by Mel Bay Publications, Inc.

Guitar - intermediate to advanced

SKU: M7.GHE-702-96

Composed by Manuel Ponce. Edited by Stefano Grondona. This edition: Saddle-wire stitching. Sheet music with Online material. Critical Edition. MDS (Music Distribution Services) #GHE 702-96. Published by MDS (Music Distribution Services) (M7.GHE-702-96).

ISBN 9783890447056. English.

HIS IS THE FIRST CRITICAL EDITION OF THESE WORKS AND IT OFFERS WE HOPE A STANDARD READING WHICH EXAMINES, WITH SOLUTIONS, MANY UNEXPLAINED DIFFERENCES BETWEEN THE COMPOSER'S MANUSCRIPTS, OUR EDITED MUSIC TEXT, AND PREVIOUS EDITIONS. 70 years after Ponce's death in 1948, we celebrate his life with a new critical-performing edition of his 24 Preludios newly prepared from the original manuscripts by Stefano Grondona. We proudly present a totally new edition with audio files of the 24 Preludios para guitarra. This is the first critical edition of the 24 Preludios para guitarra. The audio files of all 24 Preludios are played by Stefano Grondona and for download with a code printed in the book. This edition is really two editions in one. Not only is it a performing edition meticulously fingered by Stefano Grondona, but as well it is also an Urtext edition of the original manuscripts. Our pragmatic critical apparatus permits the player simply and clearly to see also what was in the original manuscripts, and what was not. With this publication it is now possible to clarify some long-standing issues relevant to our aim of presenting an accurate final music text; it is now possible to see where previous publications of this repertoire have varied with the manuscripts and how we have treated these situations in our edition, and how these were treated differently in previous editions. A comprehensive critical commentary is included together with copious historical and informative notes about the selection of the works and how and why our edition took its present form and content. At last we believe to have an edition which takes the form which the composer intended and new source material is also included, such as the Ramaugé ms for Prelude no. 6.

Guitar Solo

SKU: IS.G6764EM

Composed by Silvio Leopold Weiss. Arranged by Ben Beuming. Plucked - Guitar. Metropolis Music Publishers #G6764EM. Published by Metropolis Music Publishers (IS.G6764EM).

ISBN 9790365067640.

This sonata (WeissSW No. 23, London) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XVII comes from Weissâ??s middle â??productiveâ?? period, thought to have taken place between 1719 and 1725. The original tablature manuscript is in the British Library (London Ms. Add. 30387). It is the only London Sonata with a title: Divertimento à solo. The Sonata has ten separate movements: Prelude (PrÇ£lude), Entrée, Bourée I and II, Gavotte I and II, Sarabande, Menuet I and II, and Saltarella. The Entrée is nothing more than an Allemande. The Saltarella resembles the Scottish Gigue. The pairs of the middle â??dancesâ?? are intended to be played side by side, as one coherent movement in which the second part complements the musical notion of the first part. There are concordant copies of the first parts of the Bourée, Gavotte and Menuet in the Sächsisches Landesbibliothek in Dresden (Suite XXVI). Bourée I can also be found in the Bayerische Staatsbibliothek in München, although it is quite different from the London version. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute, but rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to G major. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.

by Charles Postlewate. For Guitar (Classic). technique. Classic. Level: Intermediate. Book. Size 8.75x11.75. 56 pages. Published by Mel Bay Publications, Inc.

By Harvey Vinson (Editor). For Guitar. Classical. Sheet Music. 96 pages. Published by Music Sales.

Composed by Mark Cruz. Squareback saddle stitch. Classical. Book. 136 pages. Mel Bay Publications, Inc #30841. Published by Mel Bay Publications, Inc

Guitar - Advanced

SKU: DY.DO-1529

Composed by Dusan Bogdanovic. Score. Les Editions Doberman-Yppan #DO 1529. Published by Les Editions Doberman-Yppan (DY.DO-1529).

ISBN 9782897963095.

Homa ge to the English guitarist-composer John Duarte, In an English Garden, is a short Neo-Baroque triptych based on a charming harmonic fragment from the second movement of the composer’s well-known work English Suite. The blueprint for the Prelude is in the French Overture style and Sarabande with the accompanying Double is modelled after Bach’s Partita no.1 in B minor. The quote Sitting in an English garden, waiting for the sun, is from one of my favorite songs by John Lennon, I Am The Walrus.

Hommage au guitariste-compositeur anglais John Duarte, In an English Garden est un court triptyque néo-baroque basé sur un charmant fragment harmonique du deuxième mouvement de l’œuvre bien connue du compositeur English Suite. Le plan du Prélude est dans le style de l’Ouverture française et la Sarabande accompagnée du Double est calquée sur la Partita n°1 en si mineur de Bach. La citation « Assis dans un jardin anglais, attendant le soleil » est tirée d’une de mes chansons préférées de John Lennon, I Am The Walrus.

Guitar

SKU: HL.49010834

Volume 1. Composed by Anton Stingl. This edition: Saddle stitching. Sheet music. Gitarren-Archiv (Guitar Archive). Classical. 23 pages. Schott Music #GA 420. Published by Schott Music (HL.49010834).

ISBN 9790001096706. UPC: 073999637540. 9.0x12.0x0.082 inches.

Contents: Light Suites in C (Variations) * Three Folksong dances * Three light Pieces in C Major * Four little Studies * Light Sonatina in G * Abends will ich schlafen gehn (Variations) * Prelude and March in E minor.

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.

Edited by Harvey Vinson. Guitar solo book for guitar. With standard notation (no tablature) and fingerings. Series: World's Favorite Series. 127 pages. Published by Ashley Publications, Inc.

Composed by Lily Afshar. Squareback saddle stitch. Classic. Book. 80 pages. Mel Bay Publications, Inc #30831. Published by Mel Bay Publications, Inc

Guitar (classical) - Beginning

SKU: MB.20133

Composed by Elias Barreiro. Style, Classical and Lute, Method, Perfect binding. Classic. Book. 168 pages. Mel Bay Publications, Inc #20133. Published by Mel Bay Publications, Inc (MB.20133).

ISBN 9780786666805. UPC: 796279087247. 8.75 x 11.75 inches. By Elias Barreiro.

The result of decades of experience in teaching the classical guitar, this method introduces the student to the earliest stages of learning how to play the classical guitar, from learning how to read music to becoming an accomplished player. This gradually progressing approach covers scales, including scales in thirds, sixths and octaves in all major and minor keys, arpeggios, chords, slurs, harmonics, and more. The technical aspects in this book are supplemented with a vast number of exercises and solos, from easy to more advanced, including repertoire music to make the process of learning to play the guitar a most enjoyable experience. Written in standard notation only.

Guitar - Intermediate

SKU: MB.93203

Saddle-stitched, Classical, Jazz, Contemporary, Rock, Method, Christian. Modern Guitar Method. Learn To Play. Instructional book. With instructional text, standard guitar notation, chord names and fingerings. 48 pages. Mel Bay Publications, Inc #93203. Published by Mel Bay Publications, Inc (MB.93203).

ISBN 9780871663634. UPC: 796279000222. 8.75x11.75 inches.

Now clearly at the intermediate level, Grade 4 begins by introducing the E major scale in three octaves plus the principal chords in E major. The C# harmonic and melodic minor scales are introduced followed by a wealth of carefully arranged solo and duet study material in various keys in the fourth, fifth, seventh, and ninth position. Three basic shapes for major and minor chords are reviewed through chord studies in various keys through the seventh position. Theory lessons address identification of intervals, the dominant seventh chord, and modulation. Written in standard notation only.

Composed by Lily Afshar. Squareback saddle stitch. Classical. Book. 116 pages. Mel Bay Publications, Inc #30832. Published by Mel Bay Publications, Inc

Guitar Solo

SKU: IS.G6761EM

Composed by Silvio Leopold Weiss. Arranged by Ben Beuming. Plucked - Guitar. Metropolis Music Publishers #G6761EM. Published by Metropolis Music Publishers (IS.G6761EM).

ISBN 9790365067619.

This sonata (WeissSW No. 48, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIII comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIII is a large and mature piece. It probably dates to the last period of the life of Weiss. The Sonata has seven movements: Prelude, Allemande (andante), Courante, Bourée, Sarabande (andante), Menuet, and it ends with a Presto. The use of tempo indications for French dance movements is characteristic for the later work of Weiss. The purpose of beginning a lute sonata with a Prelude is to introduce the specific key and the harmonic design of the sonata. However, not every sonata in the Dresden manuscripts has a Prelude. About one third of the 34 Dresden Sonatas opens with a Prelude, but only six of them may be considered truly integral to the sonata. The other Preludes are composed in a rather â??rudimentaryâ?? style, as a model for the less experienced lute player to improvise on the central key and theme. They may have been added later in the copying process. The Prelude of this particular Sonata is regarded as spurious, in respect to composition, a rather weak addition. I have included the Prelude in this Edition, leaving it to the guitar player to judge whether it fits with the musical style and idiom of the Sonata or not. Originally, the Sonata is written in F sharp minor, a key often used by Weiss as it is appropriate for playing the lute, but rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a major second lower to E minor. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 2nd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 1st fret.

Guitar Technique. By Charles Duncan. Stylistic Method. Size 9x12 inches. 72 pages. Published by Hal Leonard.

Edited by Jerry Willard. For guitar. Format: guitar solo book (spiral bound). With standard notation (no tablature) and fingerings. Renaissance, baroque, classical period and romantic period. 240 pages. 9x12 inches. Published by Music Sales.

Guitar Solo

SKU: IS.G6763EM

Composed by Silvio Leopold Weiss. Arranged by Ben Beuming. Plucked - Guitar. Metropolis Music Publishers #G6763EM. Published by Metropolis Music Publishers (IS.G6763EM).

ISBN 9790365067633.

This sonata (WeissSW No. 25, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIX comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIX comes from Weissâ??s middle â??productiveâ?? period, around 1720. The Sonata has seven movements: Prelude, Allemande (andante), Passepied, Bourée, Sarabande, Menuet, and it ends with a Gigue. There is another copy of this Sonata, known as Suite XIX, in a London Manuscript (British Library Ms. Add. 30387). The London version does not include a Prelude, and the Sarabande is completely different. The other movements are similar to those in the Dresden Manuscript. The Sonata in this Edition is based on the Dresden Manuscript. The purpose of beginning a lute sonata with a Prelude is to introduce the specific key and the harmonic design of the sonata. However, not every sonata in the Dresden and London manuscripts has a Prelude. About one third of the 34 Dresden Sonatas opens with a Prelude, but only six of them may be considered truly integral to the sonata. The other preludes are composed in a rather â??rudimentaryâ?? style, as a model for the less experienced lute player to improvise on the central key and theme. The Prelude in this particular Sonata cannot be regarded as integral. It has been added later, either by the compiler of the volumes or perhaps by Weiss himself. Originally, the Sonata is written in G minor, a key not often used by Weiss, but considered appropriate for playing the lute. With the guitar, however, the key is rather awkward. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to E minor. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.

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.

(Revised and Updated Edition) Compiled by Jerry Willard. Guitar solo book (spiral bound) for classical guitar solo. With standard guitar notation. 256 pages. Published by Music Sales.

Guitar

SKU: HL.50148750

Guitar Solo. Composed by Johann Sebastian Bach. Edited by G. Schwarz. Guitar Collection. Baroque, Classical, Collection. 32 pages. Sikorski #SIK340. Published by Sikorski (HL.50148750).

UPC: 073999779769. 9.25x12.25x0.123 inches.

Contents: Allegro Moderato • Aria (Willst Du Dein Herz Mir Schenken) • Bourrée • Chorale • Double • Entree (Overture in F) • Gavotte • Gavotte • Gigue • Giguetta (Partita in C) • Kleiner Kanon • March in D Major • Menuett • Moderato • Polonaise in A Minor • Prelude in A Minor • Prelude in C • Prelude in C Minor • Sarabande • Scherzo.

Guitar Solo

SKU: IS.G6765EM

Composed by Silvio Leopold Weiss. Arranged by Ben Beuming. Plucked - Guitar. Metropolis Music Publishers #G6765EM. Published by Metropolis Music Publishers (IS.G6765EM).

ISBN 9790365067657.

This sonata (WeissSW No. 4, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIV comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIV comes from Weissâ??s late â??productiveâ?? period, after 1730. The Sonata has six movements: Prelude, Ouverture (including allegro and largo), Courante, Bourée, Menuet and Gavotte. There is another copy of this Sonata, known as Parte (or Partita) no. 11, in a London Manuscript (British Library Ms. Add. 30387). The London Manuscript seems to be incomplete. It does not include a Menuet and a Gavotte. The Sonata in this Edition is based on the Dresden Manuscript. However, both the Prelude and the Bourée are coming from the London copy. The Dresden Prelude is regarded as spurious, and the London Bourée is more lively and in balance with the other movements. In a few passages of the Ouverture and the Courante I have made some adaptions on the basis of the London manuscript, to create the best of the two versions. In the Ouverture I have omitted the repeat indications. There are two Menuets in the Dresden Sonata. One has been crossed in the original manuscript with the accompanying note: ist nicht von Mr Weis. The other one has been added later, probably by the compiler of the volumes. The original London Prelude of this particular Sonata is composed in a â??simplifiedâ?? style; a common practice for adding preludes to lute sonatas in the 18th century. I have added the original example to my transcribed version. Perhaps it invites others to make their own arrangement. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute. With the guitar, however, the key is rather awkward. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to G major. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.